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6-7 that’s weird / that’s nice 8-9 i am still a plastic bag by kate spicer 10-11 interview: camila Batmanghelidjh

THE ESTETHICA REVIEW

12 noki’s way by tamara cincik 13 A sequin’s big secret by lucy siegle 14-15 i just don’t know what to do with myself 16-17 made in london 18 interview: joe and charlie casely-hayford 19 the story of a good cotton company by conor woodman 20-21 louise gray’s bra 22-29 fashion: clara paget wears estethica’s finest 30-31 what to do now by katherine hamnett 32-33 gizzi erskine pulls it on 34 hair today, gone tomorrow by nathalie olah 35 mrs. jones’ guide to saving your clothes 36 the back page 37 estethica designer directory 38-39 map of THE estethica exhibition

Editor-in-chief Jessica Brinton www.twitter.com/jessiebrinton Creative Director Margot Bowman www.margotbowman.com Picture Editor Jonnie Begood www.jonniebegood.com Fashion Director Avigail Claire www.silverspoonattire.com Sub-editor Alison Thomson Fashion Assistant India Trusselle Writer Ben Benjamin

Contributors Bella Howard Conor Woodman Gizzi Irskine Joe & Charlie Casely-Hayford Kate Spicer Katherine Hamnett Lily Cole Louise Gray Lucia Davies Lucy Siegle Nathalie Olah Tamara Cincik

This magazine was published by R.A.D. in London for Estethica sponsored by Monsoon www.twitter.com/radishlondon.com www.londonfashionweek.co.uk/estethica


Welcome to Estethica Spring/Summer 2012. Five years on from its launch at London Fashion Week in 2006, Estethica has evolved into a ground-breaking concept supporting the rise of sustainable fashion and showcasing the best of eco design. Monsoon – now enjoying its ninth season of sponsoring the Estethica exhibition – proudly continues its eco journey alongside the designers of the future. We are proud to present our third L.O.V.E. collection for the new season; a range of beautifully designed clothes encapsulated in two stories, Elements and Ethereal. Embracing modern design with traditional Indian craftsmanship, the collection incorporates craft techniques including hand block printing and embroidery, beautiful hand-knitting and the use of organic fabrics. We are also excited to launch the Monsoon Trust Boutique collection; an online fair trade initiative selling exquisite and innovative ethically produced pieces, including home furnishings, childrenswear, kitchenware and stationery. The collection will aim to create livelihoods for craft communities in India by giving them access to markets and raising funds for women’s and children’s health and educational projects throughout Asia. 100% of profits will go to the Monsoon Accessorize Trust. Estethica is such an inspiring platform to be a part of and we are proud to be sharing our values with great new design talent. Enjoy the show!

Peter Simon Founder

Nidhi Dress from Monsoon’s A/W ’11 L.O.V.E collection


love your clothes

The future is being invented. We don’t know what it will look like yet (or how it will dress) but it will be, has to be, smarter. This is a magazine about loving clothes and finding a way of continuing to do so. Fashion is made and worn by real people in real places. The Estethica Review, September 2011 5


That’s weird / That’s nice

fashion’s night in

A Brooklyn-based designer has joined together photovoltaic film strips and USB connectors with conductive thread to create a solar-powered bikini that charges up not only your love life but also your iPhone. Electric beach sounds, here we go!

home. we asked our favourite fashion-loving friends: what did you last hand-wash?

LULU KENNEDY: ‘I took my chances and hand-washed a dry-clean-only Richard Nicoll dress. I’m delighted to say that it survived the experience.’

MANDI LENNARD’s tip: ‘Lay your hand-washed garment out flat on a towel to absorb the moisture. It’ll dry much more quickly than if you hang it up.’ (What about your fake nails, Mandi? ‘I can do anything with them except pick a 1p piece up off the pavement.’)

ELIZA DOOLITTLE: ‘I hand-wash my knickers all the time, but the last piece of clothing I hand-washed was a vintage cheerleader skirt.’

is she sure? This girl is going to spend a year wearing only other people’s clothes. www.swishing.com/blog/one-year-of-swishing

NO WAY! FASHION FACTS 94, 670, 778 pairs of jeans will be sold globally this year

india’s largest

1.8 million tonnes

polyester

of clothes &

manufacturer

textiles in the uk

will be making 1,400

every year

tonnes per day

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In The Spirit In the race to be the first 100% sustainable global fashion brand, the boring-but-functional Esprit appears to be stealing a march. Perhaps it isn’t such a surprise. Esprit’s founder, Douglas Tompkins, left the business in the late 1980s to become a full-time environmentalist and owner of 2 million acres of pristine wilderness in Chile and Argentina. This season’s collaboration with the Royal College of Art (left, top) is proof, if any were needed, of the creative avenues working within reasonable ecological limitations can lead you down. In the shops themselves it will be T-shirts, hand-knitted sweaters and denims. And they’re, like, dead nice.

Height disadvantaged? Then LiftKits are for you. These Californian insoles are plastic and polyurethane and add inches to your height instantly. They’re recyclable!

A Plastic Wedding Dress! Thinking of getting married? Green With Envy by Mancunian Michelle Brand, is no ordinary wedding gown: made from 2,200 recycled plastic bottle bases, 6,512 plastic bottle tops and 13,880 tags, it weighs in at an impressive 22lb. And it won’t spoil if it rains.

DAISY LOWE: ‘I only hand-wash my underwear. While I’m doing it, I like to listen to Octopus’s Garden by the Beatles and have the dinner cooking downstairs.’

approximately

An Amsterdam company has invented a pair of trainers that, when worn out and buried in the ground, produce a fiery bouquet of wild flowers within days. What happens to the shoes? Made of hemp, bio-cotton, cork and biodegradable plastic, they simply degrade into the soil.

Recyclable Shoe Lifts!

JODIE HARSH: ‘The last piece of clothing I hand-washed was probably something jewel-encrusted. I’m ultra-careful with my clothes and jewels don’t go so well with Mr Washing Machine.’

by december,

Naked Fashion is a book about people who love fashion and want it to survive in a world that we can survive in too. Written by Safia Minney, founder and director of People Tree, it’s full of interesting nuggets about where fashion has been and where it’s going. Contributors include Emma Watson, Vivienne Westwood and Caryn Franklin, plus a pleasantly surprising appearance from Monocle magazine. A thoughtful primer for anyone with a curiosity about the industry’s next big challenge. (New Internationalist, £14.99)

Shoes That Bloom!

never mind the throngs on new bond street when there’s a whole world of entertainment at

we throw away

Fashion Laid Bare

A Solar Panel Bikini!

the carbon footprint of one womens t-shirt is 5 kg over its lifetime

Meet The Maker The I Owe U Project is delightful. The output of this yearold fashion label isn’t just beautifully designed (yes we’ll have some of those plaid trousers please). Nor merely well-made from locally-grown cotton. The way the website works means that you get to “meet” the people who’ve created your clothes, removing that strange impersonal feeling you get sometimes shopping on-line. Hit the website and you’ll find a system for tracking the journey your garment makes, from weaver, to sewer, to seller, to you, the wearer. It’s the most intimate and heartwarming shopping experience we’ve had in a long time, and now someone’s done it so well, there’s no going back. www.iouproject.com

Compostable Swimwear! Miami Swim Week in July saw the debut of the world’s first compostable swimwear. “You can use it again or throw it away,” said designer Linda Loudermilk. Derived from plant starch, the cossie breaks down when buried for 180 days.

Pachacuti playlist A selection of Central American sounds inspired by Pachacuti Panama hats, provided exclusively by Purasonica.com, a digital radio station broadcasting from a beach in Costa Rica.

Quote of the season

Latin lounge (Putumayo World music)

“Organisations have three options: 1. Hit the wall; 2. Optimise and delay hitting the wall; 3. Redesign for resilience — simultaneously optimising existing networks while embracing disruptive innovation and working collaboratively with partners..” Dawn Vance, global supply chain director at Nike, on how businesses must transform and embrace the future by adopting sustainability.

Billy Cobham and Asere - Destinos (USA/Panama/Cuba) Cabin in the Wata - Walter Ferguson Guillermo Anderson – En Mi Pais Trio los Panchos – Cielito Lindo Rainsong – Putomayo (Nuevo Latino)

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IMAGE BY Jonnie Begood

old questions and new answers by kate spicer www.iloveboxie.com

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IMAGE BY Jonnie Begood

I am still a plastic bag.

Do you own an I Am Not A Plastic Bag cloth shopper? In spring 2007, a brown and cream five pound cotton and rope tote by Anya Hindmarch was snapped on the right arms and re-sold for three figure sums on eBay. It was worn not carried, like all the best It-bags, yet unlike the others, its status was also a statement of intent. What IAMAPB galvanised and achieved went way beyond what people expect of fashion, let alone a little cloth sack. With humour and a playful font, it expressed the creeping sense of shame people felt about the grotesque quantity of plastic carriers being given away every time a till rang. Worst were the wispy and fragile plastic bags that were being spewed into our lives and on into the environment, where everything must go. You know the sort, the ones that never make it to the front door, especially if you’ve bought a cucumber. Their most visually-distressing crime is their lightness, which means wind, currents and tides whip them to the skies and the oceans where they choke wildlife. Fashion has always had ethical and ecological issues it likes to get behind, and this, in itself, is great. Women in particular are attentive to fashion’s voice in a way they probably wouldn’t be an MP or sensibly-shod activist. The problem is that fashion has tended to treat its serious matters like a hot heel: with an obsessive attention that slowly wanes until the next one comes along. The fashion brain is necessarily short termist. If it weren’t, the fashion industry would simply be, “the style industry.” That Bag was the start of something big, though. Do you still carry it? Possibly not – was there ever a bag more strongly defined by its moment than that bag? – but you did buy one, didn’t you, and it did change you a bit? The campaigning effect of consumers on retailers has seen plastic bag use drop from over 11 billion in 2006 to 6.5 billion by 2009. Brilliant. For 2010, single-use plastic bag use rose again to 6.8 billion. Annoyingly, issues cannot be archived as readily as old handbags. No one wants to bequeath their kids a bolus of plastic bags the size of a small continent to feed ocean life on. Something has been learned and it isn’t just, plastic bags=bad. There has been a shift in the fashion sensibility. Enjoying fashion is not an ethical crime. It can be a game-changer. The definition of consuming is changing. Since the recession, mainstream retailers have seen a “flight to quality” with luxury brands profits Burberry’s up 39% this last year, Hermes’ 49.5% in the last half dwarfing those on the faster end of the high street. Slow fashion, quality, care, craftmanship have meaning. As much as fashion is about embracing the new, now it’s also about the renewable and the durable. Like a retail heretic, Dame Vivienne Westwood was once labeled “mad and irresponsible” when she encouraged a less incontinent approach to consuming. “Stop shopping, just stop!” she cried (can’t you can hear her saying it?). “Save up your

pot of money, and then come and buy something of a beautiful quality in my shop.” As usual, like the wise fool, Dame Vivienne made a lot of sense to our hearts, if not, strictly, to the ailing economy. Brands cannot maintain credibility without some meaningful commitment to positive change. Whilst reluctant to talk about it for fear of being held up to impossible scrutiny, they are having to build sustainable meaningful ideologies and nurturing models of manufacture and business. M & S’s ambitious Plan A intention to provide complete supply chain transparency for all non-food products takes the image of kids and sweatshops out of the shopper’s mind. Nike, once demonised, are so committed to sustainability they do experiments in recycling in a “business innovation lab.” H & M

Something has been learned and it isn’t just, plastic bags =bad

by kate spicer

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are exploring new high-tech methods of recycling polyester. The biggest noise of the summer, retail wise, was Selfridge’s flamboyant and successful Project Ocean exhibition: not just a party, but an ongoing campaign. Did we misjudge fashion? Eugenie Harvey who is co-founder of We Are What We Do, the organisation that made I Am Not A Plastic Bag, didn’t. “Nothing says that something is having a moment more unequivocally than when it’s seized on by fashion,” she says. “And at the moment, there is nothing more powerful. in these incredibly tough times, it’s holding its own.” Amazingly, given its rep, she says that: “Fashion has the possibility to be a real beacon of hope. We still need people who undertake to change their behaviour. We still need organisations like retailers to facilitate the change. And we really need the government to show muscle, to come along and say, ‘we want this to be how things are done now.’ So far, we have two out of three.” People power works, especially when it comes from the surprising quarter of fashion. Word has it Mayor Boris is considering banning plastic bags from London. Maybe it’s time to dig out the nicelydistressed I Am Not A Plastic Bag shopper again. It qualifies as vintage now, anyway.

Follow Kate Spicer on Twitter www.twitter.com/spicerlife


“If I was Anna Wintour for a day? i would find all the beautiful fat people and put them in the magazine with the title: ‘Is This What You’re Afraid of?’ ” You might have seen Camila Batmanghelidjh around recently. The founder and director of Kids Company, has not only given voice to a generation of lost children, but has accidentally become a bit of a British fashion icon. Camila Batmanghelidjh represents the best of fashion. She’s bold and creative and daring (in her work, in her form, and in her style). She’s humorous and jolly and brightens peoples’ lives. She has a natural style all of her own. She’s very clever indeed. She’s comfortable in her skin. She epitomises, in all her glory, what fashion should, but sometimes forgets, to be about. And we think a massive nod is owed to the fact that she’s not one of those “there are more important things in life than fashion” charity bods. Hooray for Camila! Hello Camila. What do clothes mean to you? They’re like a portable church, mosque, and temple – a place of joy, celebration and artistic delight. What do you wear in bed? I’m deliciously nude!

IMAGE BY Jonnie Begood

What’s under your head scarf ? Black hair, held up by a funky elastic. Who is the most chicest person you’ve ever met? I love the style of the children of Kids Company. They have this mixture of chic and street – a sort of graffiti-tailored look. What’s your London shopping secret? I wear the curtains and the sofa coverings of the Designers’ Guild, combined with the Sudanese reject fabric shop on Edgware Road, spiced with accessories from Amanda’s in Notting Hill and anything delightful in the charity shops. They’re all cut up, eccentrically

collaged, and then I wear them. My shoe heaven is Selfridges’ shoe department. I enjoy one luscious velvet chair after another whilst I ridicule and try out different shoes.

What’s your favourite fragrance? Calvin Klein’s Obsession is the only one I’m not allergic to: everything else makes me sneeze or my lips swell.

What do you wear when you’re cooking ? You would not want me near the kitchen. Because of my learning difficulties, all the oven dials will be turning the wrong way. God denied me cooking talent, whilst he gifted me with food snobbery.

Please complete the sentence: “… is the new black.” I actually think purple and orange combined is the new black.

How long can you stand in 5 inch heels? There are better things to use a toothpick for... Please describe the contents of your handbag. I love felt tips, so there are lots of multicoloured ones strewn at the bottom of the bag, accompanied by luscious lipsticks, then all the pills that my doctors force me to have (even they are multicoloured – both the doctors and the pills), a remote-controlled car just in case I come across a disturbed child who needs to be distracted whilst I talk to them, multicoloured tissues for when the kids cry, and two purses – one for my money, the other for Kids Company’s money. The credit cards are in my bra, just in case the bag gets snatched on one of the dodgy housing estates I frequent.

Please complete the sentence: “If I was Anna Wintour [editor of American Vogue] for a day, I would …” ...find all the beautiful fat people and put them in the magazine, with the title: ‘Is this what you’re afraid of ?’ Please give one piece of advice for the aspiring style leader... Arrive at an authentic expression of yourself. Don’t worry about what other people think, or copy other people for the sake of keeping up with a particular trend. Fashion is about heart and mind singing for joy. Be true, because integrity generates grace, and those who are in tune will pick up the aesthetics of it. Those who are not should be compassionately forgiven. What would happen if fashion didn’t exist? The human canvas would be dulled, because fashion is portable art. Let’s be honest: I for one would be devastated by the deprivation.

Are you a lipstick sort of a girl? Oh my God, can’t live without it. What does your dressing gown look like? My dressing gown is Scottish. I love tartan. 11

www.kidsco.org.uk


Noki’s Way by Tamara Cincik

JJ Noki doesn’t compromise and never looks anything less than his best. Dr Noki, also known as JJ Hudson, the masked maelstrom designer, is an old friend of mine. Something of a seer, his poetic commentary about the industry we work in is a witty counterpoint to cliched pronouncements on fashion websites. The other day, he said: “One-off pieces are the final countdown, a positive consumption trend created by a niche market force, sold through a pop-up high street, marketed through a guerrilla information highway to a

silent footfall.” It was a bit of mouthful but it sounded exciting. Noki, a highly lovable, if sometimes infuriating, member of the London fashion firmament, is getting more recognition than ever. Politics and awareness have always been a part of his manifesto. Perhaps it’s because, while he loves clothes, he remembers his Generation X youth. He openly stands against all the principles of mainstream fashion and yet he’s the one it most readily embraces. This season,

Love magazine have asked him to produce 50 limited-edition, organic cotton Noki Amnestee T-shirts for London Fashion Week. Last year, Chloe invited him to Paris to add a Noki touch to catwalk pieces. At Fashion East, he collaborated with Judy Blame on clothes he made from “the rag ”, the bag of off-cuts he receives every week and turns into one-off pieces of clothing. Noki always says, “I’m a futurist. I’m interested in what’s ahead, not what has been,” and a raft of other young designers, including Eva Zingoni, formerly of Balenciaga, and the lingerie label Charini, are following his lead. I styled a Noki show at the Victoria and Albert Museum, and one idea was an interactive installation called Cut the Brand. He invited

I’m a futurist. I’m interested in what’s ahead, not what has been.”

IMAGE BY Jonnie Begood

people to pick a random, branded T-shirt from a shop rail and cut it into one-inch-wide ribbons. Those ribbons were then turned into cotton yarn and given one of his knitters and crocheters to make into new garments. Most of the guests got it, but some were upset to be cutting up a T-shirt they were also desperate to buy. This was Noki at his most powerful. His label isn’t a brand, it’s a glimpse of a future where creativity and not wrecking the planet collide, and that’s where I want to be.

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the secret of sequins by lucy siegle The back story of embellishments First, a few effusive points in praise of the sequin: shimmering discs of spangled possibility, sequins give a garment lift-off, no matter how humdrum the base fabric. Operating in their thousands (because less is never more with a sequin), they are the sartorial equivalent of an Esther Williams aquatic number. They are a shorthand to celebration, but also signal of a type of joy and even innocence. God, I love a sequin. However, one particular question haunts me. How do they get onto a garment? While there’s no shortage of sequins, there’s a dearth of information. When I fell for a jumper dress with sparkly shoulders, naturally I asked how the sequins had been applied. The shop assistant and I wondered together what kind of machine on the global assembly line was clever and deft enough to spear these delicate discs into the soft wool in a random formation, without crinkling or splitting the sequin. Was this the work of a state-of-the-art robot? As I soon discovered, it was not. Although there are automated embellishment machines – these more usually apply rhinestones than plastic sequins – in most cases, sequins are applied by human hands, predominantly those

of young women (the younger they are, the more nimble the fingers) in Asia. Well behind the scenes, a global army of about 30 million embellishers work from home in the fashion supply chain. To call this downtrodden and vulnerable group of producers an ‘army’ is to undermine the truth, however; these are among the most vulnerable workers in the entire fashion jigsaw. They are also the workers that the Self Employed Women’s Association (SEWA) tries to represent. It is a strange truth that while couture tends to talk up the number of hours of handiwork that go into making a piece, fast fashion often attempts to ignore or gloss over the issue (hence the pervading view among consumers that most embellishment is probably done by machine). As you might deduce from the phrase ‘homeworker,’ they work at home, but often in highly challenging conditions — badlylit corners of houses where they battle to keep pieces clean and strain their eyes doing repetitive hours of close-up work without electric light. Payment is sporadic and grossly unfair. Often the only connection these women have with the wider supply chain comes in the form of a middleman, who will 13

resort to aggression to get orders fulfilled on time. SEWA has numerous testaments of payments being routinely withheld. Pay tends to be chronically low. The SEWA solution is to set up an embroidery garment industry in Delhi. According to Sanjay Kumar, who helps to run the project, SEWA’s homeworker scheme, ‘has increased our home-workers’ wages by nearly 100%, and enabled a lot of Muslim women to come out of their homes to a SEWA centre to collect their work and meet. There they can engage with other ideas, like microfinance or education for their children. This business model doesn’t just increase their income but also their mobility’. The sequins and embellishment we rely on to uplift our fashion lives must have greater resonance. These sparkly symbols of joy and celebration need to be connected to the people who put them there. Embellishment is a symbol of man (or woman) hours, dedication and skill. A sequined garment is for life, not just for Christmas parties.

To Die For: Is Fashion Wearing out the World?, by Lucy Siegle (Fourth Estate, £12.99)


i just don’t know what to do with myself Interesting times in fashion. Whilst the industry has never known such global influence, the darker side of consumerism is making some of us question what it’s all for. Two influential players speak candidly. Sarah works for a UK high street retailer I do worry daily about the ethics of the business which is why I have a life coach and a therapist. I wasn’t going to take the job, but then I thought, if I take it, I’ve got a massive voice, and amazing access to important people in retail. If I ever wanted to help on a personal level, this could be my chance. It’s where I am, so I do the best I can with it. I had meetings with all the ethical people in the company and they’re doing more than I thought. If I’m honest, most of our rivals are too, but they don’t talk about it because it could never be watertight. It’s coming down from CSR and they’re uncovering problems they weren’t even looking out for. Inequality for women is one. The way things are done are often very biased towards men with horrible results. The fashion community has a bad name and I don’t know that it’s always justified. Yes, there are idiots, but there are idiots everywhere. Fashion does take itself too seriously though. And there’s a lot of wasted money. We all love the parties - I’ve signed off a few of them – but do they need to be so over the top? At the same time, so much positivity comes out of fashion and more light needs to be shone on that. My mum says, “Everyone’s got a right to look and feel nice.” Being able to afford an outfit and put it on, you can feel different and worthwhile. There are more people than you might think in this business who are as bothered as me by the impact of it, although people are still quite reticent when it comes to talking about it. But when I first came into the office, and I had those meetings, some of the buyers were actually upset. They said, “it’s awful being accused of this. None of us wants to do things badly.” So it isn’t just CSR. As people, they could just not care, but they do. More and more of my colleagues do. There’s a real desire to do good things and to make the most of being part of an industry with all this power.

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Anna works for an international fashion house For me personally it’s about addressing the fact that I work for a company that churns out products that are a false need, not a real one. You don’t need this handbag this season, you already have one. We’ve been living in a time of take, take, take. It’s not right, obviously. When you’re the best, you really need to be the best in all areas. Luxury is supposed to be about respecting the product and its environment — having high profit margins but doing things properly. Five years ago, almost nothing was being done in terms of sustainability. There was one old woman in the environment department. I don’t think anyone spoke to her. There wasn’t the structure or the impetus. For a minute, there was talk of me being the person who changed everything. I was certainly having a lot of conversations with myself. It was a moment, but that moment came and went. There are many signs of change, even if we know that we’re running behind on this and that change needs to be faster. In the last couple of years, the drive has come from the shareholders. If the end-of-year report says that we’re aiming for these targets, it reads well. And if they hear others are doing it, too, there’s competitiveness. Analysis of the energy used from production to retail revealed that usage in the stores was huge, so now there’s a target to reduce that. Internally, they send us a pamphlet every season telling us about the latest, most innovative and environmentally-aware materials, which they try get us to use in the design studio. And there are domestic initiatives. For example, on each corridor there is now somewhere you can put used batteries. They send around quizzes about recycling stuff. We have green audits when everyone’s questioned. I like to think that everyone realizes we’re on this planet to save it. You can’t change things overnight, and we won’t stop consuming. What we must do is create a structure so we know what we don’t need and what we do need. Ironically, it’s my own life I despair of. The travelling, the spending, the chasing the dream. There’s a lot of waste, a lot of consumption, there’s too much rubbish in the mind. I have thousands of emails in my in-box. That’s clutter. But it’s changing. For me and for the business. It’s looking for harmony and how to make everything balance. Fundamentally, that’s what good design, what luxury, is about. Names have been changed

A T-shirt maker explains her craft. A few years ago, I went out with a T-shirt maker. When we broke up, I wrote 237 pages to say goodbye and he made me a T-shirt. The T-shirt was better. Mine was made for me, but everybody has a T-shirt like it. It’s the one which belongs to an ex-love – usually crumpled on a shelf, though that T-shirt is more important than something anally dry-cleaned and kept in plastic. Because even though they might seem flippant and cheap, T-shirts are the most sentimental piece of clothing we own. So these days, I hear people’s stories and turn them into tees. My customers tell me it’s excellent therapy. Some frame their T-shirt, others have worn and washed them so much, the words have faded to nothing. “Only I know that this T shirt meant something,” they write. I’m not doing anything new. I’m simply honouring the history of emotional secrets between a T-shirt and its owner. www.iloveboxie.com

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IMAGE BY Jonnie Begood

Mastered queueing at the farmer’s market for your Chelsea cheese? Next is locally-sourced fashion. Have some London ingredients you can really use.

MADE IN LONDON

Paper Accessories By Fred Butler (Hackney) Wedges By Terry De Havilland (Dalston) Leather Clutch By Marte Brauter (London Fields) Bag By Lost Property Of London (Islington) Stuffed Rabbit By Christopher Raeburn (Hackney Wick) 16

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The Good Profit My friend says, “buy cheap, buy twice Charlie!” The Casely-Hayfords on suits.

text lucia davis There’s some calm emanating from the studio of Joe Casely-Hayford and his son, Charlie. Is there a more debonair duo in fashion – or one happier to 10 minutes of an hour pondering well-made suits. CHARLIE: I don’t have anything else in my wardrobe except a row of suits, a stack of white t-shirts and white pocket squares - and a row of boots. JOE: Every man should have a suit. CHARLIE: It’s frustrating that most people assume things aren’t made to last these days. My friend says, “buy cheap, buy twice Charlie!” My old man’s always been into slow fashion. JOE: Don’t just get a jacket and trousers that happen to come in the same cloth. Get a wellcrafted two-piece which flatters the form. It should be possible to be simultaneously outside of fashion and totally cool. Charlie: My favourite is a two-button, light

grey Prince of Wales check suit my dad copied from a suit he made me when I was one. Joe: Mine has a specially-formed chest piece, prominent sleeve head roll, sloping English shoulders, well-shaped sleeves and good body-shaping. I don’t wear it very often. Charlie: A suit should adopt the personality of its wearer. Last year, Tinie Tempah and one of the XX both wore the same Casely-Hayford suit but you wouldn’t have known. Joe: The Duke of Windsor was a great role model because he made up his own rules. Today it’s Prince Charles. His double-breasted suits are based on Edward’s template. Charlie: Not many from my generation know a good suit. Ryan Gosling is the exception – you can see from the small details. New band Spector and the guy from Alpines are getting it right. Joe: The suit I’m wearing today is cotton/ cashmere mix and works well for most of the 18

year. We use a light chest canvas and specially constructed sleeve head roll. The shaped sleeve has a high under arm. My trousers have a pretty slim cut with a permanent turn up and 7.5” hem worn very slightly short. Charlie: Mine is for everyday so its casual and loose-fitting. The jacket has very little shaping around the waist and the trousers are heavily tapered and finish just before my boots. It’s kind of my uniform. JOE: What do I think of the private members’ club suit ban? Today, the most fashionable young men are drawn to a sartorial mode of dress. CHARLIE: A suit is a uniform that means different things to different people. It’s not the suit, but the man who wears it. CHARLIE: How do I feel in this suit? Minimal. JOE: I feel like Joe Casely-Hayford

Money doesn’t have to be a dirty word, and fashion doesn’t have to mean exploitation. One company investing in Cote d’Ivoire has risen to the challenge by showing that doing business fairly can be good for everyone. Conor Woodman reports.

has tripled in those two years. Not only that but there has been a steady rise in yields from an average of 600kg to nearer 1,000kg per hectare. That’s great news for both Olam and the farmers because better yields buffer farmers from price fluctuations. And farmers living on the edge of subsistence are no good to Olam if a fall in global prices pushes them over that edge.

To make money growing cotton in Africa and selling it on the British high street, you have to be cut-throat, right? We all know how it goes: big business exploits poor farmers, screwing them into the ground on price, paying them a pittance, if anything at all. Well, maybe it doesn’t always have to be like that. In the last three years, one major international supply chain company, Olam, has challenged conventional wisdom and taken a rather different approach to sourcing cotton from Africa.

The gin is now running at full capacity. Farmers are planting cotton again for next year and Olam are making a solid return on their investment. It’s a great example of how poor rural farming communities can benefit from an association with an enlightened corporate. Farmers and corporates working together in partnership, both sides doing what they do best to make the business profitable all round is the only way to ensure a longterm sustainable future for cotton cultivation in Africa. It seems simple but it only works when everybody is profiting and nobody feels exploited.

In 2008, Olam made a multimillion dollar investment in a dilapidated cotton gin [the machine that separates the fibres from the seeds] in the north of Cote D’Ivoire, a country ravaged by civil war and experiencing extreme levels of rural poverty. It was a massive risk to take, as many Ivorian farmers had abandoned cotton altogether after years of being exploited by unscrupulous foreign companies and their own corrupt government.

The long-term challenge will, of course, be how to keep scaling up, when increasing scale requires considerably more working capital for the farmers. The hope is that, as farming groups in Côte d’Ivoire prove that they are commercially viable once again, they will be able to develop a credit rating which will allow them to apply for loans from rural banks. This is the key to farmers achieving true self-sufficiency, and is fundamental to the initiative being truly sustainable long-term. That could be the point when people who were previously thought to be “unbankable” can become investors in their own futures.

For the scheme to work, Olam knew they would need to produce enough processed cotton to cover both the renovation and the running costs of the old gin. They calculated that to break even, they would need local farmers to supply them with a minimum of 15,000 tonnes of seed cotton per annum. When they arrived in 2008, the total production was less than 9,000. But in the last two years, Olam have worked hard with 5,000 Ivorian farmers to help them return to profitable cotton cultivation. Olam’s part of the deal is to provide free high-quality seeds, subsidised fertilisers and pesticides, and to always pay up front and on time. Ivorian farmers have responded well and risen to the challenge. The total number of farmers supplying Olam

Unfairtrade: How Big Business Exploits the Poor — and Why It Doesn’t Have To, by Conor Woodman (Random House, £12.99)

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A Bra By Any Other Name Louise Gray and her bra reminisce about the fun they’ve had together

ONE DAY, IT WILL FALL APART I feel a bit like I need to have a ceremony just to put it to bed now. For me, it signifies fun times. Maybe I’ll just frame it when I can’t wear it any more.

THIS GREEN THREAD REPRESENTS A FASHION MOMENT: It was originally a 1960s conical cup bra but I wanted it flat so I sewed it up. I did it really quickly the first night I wore it out, to the Dolphin pub in Hackney.

THE LAST TIME I WORE IT It was two Saturdays ago, under a beaded dress. I just went for a walk around Hackney. It was one of those rare sunny days that we had this summer.

I EVEN WORE IT TO A JOB INTERVIEW ONCE It was for a design consultancy — I got the job. It was a bit of a conversation starter.

I WAS WEARING IT WHEN I MET MY HUSBAND I think he likes it, although that’s irrelevant, because I dress for myself.

There are a few things in my wardrobe that I’ve had for a long time. I bought this bra 8 years ago when I first moved to London. It cost about £30 from Portobello Market.

PEOPLE KNOW IT’S MINE: I sometimes wear it on its own but more often with something underneath. I think people know it as my thing now — so they’re not shocked

Louise Gray

WHERE I GOT IT: I bought this tasselled bra when I first moved to London. It cost about £30 from Portobello Market.

THE FIRST TIME I WORE IT: It was with a white T-shirt underneath, loads of jewellery and a pair of fringed shorts.

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I ALMOST LOVE IT TOO MUCH I wear it three or four times a month, which is why it’s falling apart. The nicest thing about it is that it’s old.

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Trousers by Ada Zanditon Mesh Top by Partimi Mask Worn As Bra by Dr Noki Cuffs by Michelle Lowe Holder Earrings by Joanna Cave Headpiece by Joanna Cave Necklace, stylist’s own candy

Try not to worry too much, work too hard, or lose sight of what really matters. Tomorrow’s another day. Life is long (maybe). The world keeps turning. What seemed urgent, isn’t. What seemed unbearable, passed. The world is moving forward and so are you. You can’t stop it. Embrace the slate being wiped clean. You are yourself. Everyone else is busy being themselves, no one has what you have. You are unique. alex box’s facebook status 10:24am 19/08/11

photography by bella howard

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Hat by Dr Noki Dress by Monsoon Sweater by Noki Shoes, stylist’s own Rings by Haribo Bandana, stylist’s own

Dress by Junky Styling Shoes by Terry De Havilland Bandanna, stylist’s own Multi-coloured rings by Haribo Blue rings by Michelle Lowe Holder Bangles by Michelle Lowe Holder Tights by Capezio

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Pleated shirt dress by Emesha Pink t-shirt dress by Emesha Socks by Tabio  Shoes by Katy Eary  Rings by Haribo

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Shirt by Emesha Skirt by Henrietta Ludgate Necklace by Hotel of Things 

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Jacket by RDK rubber  Dress by Ada Zanditon Mask (worn around neck) by Dr Noki Boots by Terry De Haviland  Earrings by Joanna Cave

Jacket by Christopher Raeburn Crop top by From Somewhere Earrings by Joanna Cave  Fashion editor: Avigail Claire Fashion assistant: India Trusselle Hair and makeup: Laurey Simmons using Chanel and Bumble & Bumble Model: Clara Paget, Next Models D.O. Lee Whittaker at Studio Private Photographed at Kingsland Road Studios


Katherine Hamnett’s DIY guide to changing the world through fashion.

Established Fashion Label

Indie Fashion Label Start-up

1. Demand organic cotton, or cotton in conversion. The message will ripple down the supply chain and encourage farmers to grow it. (And make sure it’s FLO-certified.)

1. Made in England is the supreme mark of quality in Asia. On a national scale, we should be looking at the Venezuelan model of forming co-operatives. Taking old businesses and setting them up as cooperatives would be a solution to the disappearance of manufacturing and rising unemployment.

1. Educate yourself. There are so many fibres that are quite dodgy and so much greenwash. We license our product, so we have to find some good manufacturers that are genuinely interested in making products sustainably.

1. Source fabric. How much money have you got? There’s a hell of lot more choice of sustainable materials around now than there was four or five years ago.

2. Use recycled polyester. Stockpile a chunk of petrochemical for the future.

TEXT: JESSICA BRINTON For once, Katherine Hamnett is in a good mood with the fashion industry. A new and very promising project is in the offing and while she won’t tell us what it is, it’s put quite a bounce in her stride. “I’ve been waiting for this to happen since 1989,” she says, looking sparkly. It hasn’t been a bad year for Hamnett, all in. Fashion’s most pessimistic optimist received an CBE from the Queen in May. Her organic cotton No More Fish in the Sea? and Save the World t-shirts for the Selfridges Project Ocean exhibition were a sell-out. She did a line for Net-a-Porter, has launched a foundation in support of west African cotton farmers called “Fashioning the Future,” is planning an optical and sunglasses range inspired by her extensive archive, and now this. This what? Oh, never mind. I’m sure we’ll find out in due course. “It’s nose-down time but I feel really happy,” says Hamnett. “It’s very large scale and the people I’m dealing with have their hearts in the right place. And now I’m getting calls from people I’ve worked

NationalSized Brand

with in the past, where I’m finally able to say, ‘there’s a chance I can include you in this.’” Hamnett overcame a built-in suspicion of department stores like Selfridges to be involved with Project Ocean (there was also, among many other experiments, a brief relationship with Tesco). She’s evidently pleased with how things went with the t-shirts, although she worries constantly about the devastating plight of the cotton farmers and the oceans. “It was good for raising awareness, it was sexy and I’ve been told I’ve got to start sounding more positive when I feel it,” she says. “Although I suppose, yes,” she adds, “I wish they’d said more about the acidification of the seas which is actually a bigger problem for our survival on the planet than over-fishing.” Well it’s always going to be frustrating when you’re so much more of an expert about a subject than almost anyone you know.

3. Make sure the board of directors is committed to turning the company around. 4. Improve factory conditions. Insist that factories achieve SA8000 certification within two years, or you’ll move your manufacturing. 5. Be prepared to pay more when you pay people properly. 6. Think through your orders carefully. Workers and the environment take the hit if you make a mistake. 7. Introduce traceability. Historic Futures does the software for it.

2. Anyone who’s turning over more than £1m could afford to do organic cotton. There’ll be a little less profit early on, but as an investment it would be worth it because you’d end up with a share of a rapidly growing market in the future.

2. Don’t let perfect be the enemy of the good. I tend to rip up contracts before I’ll make compromises — but don’t be like me. 3. Phase out non-environmental clothing and replace it with environmental. The consumers want it but the key is that they want it at the same price. They don’t want to pay any more for it. 4. Put fashion first. Don’t think of sustainability as added value. They don’t buy it because it’s ethical, they buy it because they love it and they don’t have it. There used to be lots of hideous eco products made by well-meaning people, but if it isn’t grown-up, you’re not going to sell it. Fashion first!

www.katherinehamnett.com 30

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2. Be resourceful. The curse of a small company is the minimum order. Thank God for the internet, because you can do a huge amount of research. 3. Partner overseas cooperatives. India, for example, is full of weaving cooperatives that have the skills but need help producing something suitable for the western market. If you’ve got a western designer and you can make something that is exquisitely beautiful and sustainable, with traditional skills, that’s exactly what we need. 4. Avoid the eco look. The eco look is death! It’s got to be something really beautiful or it isn’t going to go out of fashion. On a design level, something that lasts a long time, wherever it’s made, is more sustainable than something that’s suddenly hideous.

illustration : margotbowman

What To Do Right Now:

Multinational Corporation


Gizzi Pulls It On

LONDON FASHION WEEK CAN BE A CHALLENGING PROSPECT IF YOU DON’T HAVE YOUR SARTORIAL AND DIETARY PLAN OF London’s best-dressed cook tells us how she ACTION TO HAND. GIZZI ERSKINE SHARES HERS. deals with the sartorial challenges of lfw

“I like getting dressed up for London Fashion Week. I love having a bit of an outfit to show off. As soon as I get out of bed, though, I have to put something in my face. So I’ll have my Turkish eggs, and then jump in the shower and start to get ready. I do fret about what to wear. I have a look, but how much of a look depends on who I’m with. Most fashion weeks I go like a 1960s cartoon character. I love all my clothes to death but I spend my money on vintage designer. I’ve got a Dior dress, a Balenciaga, and a Balmain. They’ve got history, they’re better made, the fabrics tend to be better quality. Am I organisd ? I might be good in the kitchen, but I’m no domestic goddess in the bedroom. I get my clothes dry-cleaned but if not, I’m picking them off the floor. And then I’ll choose my outfit. Yes I get insecure going to the shows, but I have a look so I don’t ever feel like I’m wearing the wrong thing. Plus I’ve always been into subcultures, and fashion is a subculture. I wouldn’t be worried standing next to a punk so why would I worry standing next to a fashion person? After breakfast, I’ll do my hair and put my beehive up. I do extra eyelashes and eyeliner because I like to look like I’m going to a photoshoot. I get tummy tickles when I’m in the taxi on my way there, butI like touching down at Somerset House. At that point, I forget myself and start looking at everyone else. It’s fascinating theatre.”

5 minute breakie recipe – Speedy late-night fashion Turkish eggs with toast week supper – crab, chilli, (poached eggs in yoghurt and lemon linguine with melted paprika butter Okay this may sound a little swanky for a late-night dinner and you may be thinking: “linguini? At night?” but I promise it’s the easiest, most and Turkish bread toast) satisfying, thrown-together dish you can ask for when you’re getting in at 10.30 after a day’s shows and haven’t eaten a proper meal. This will be done from fridge to table in 10 minutes. (I’ve done a small pasta portion too, so no need to freak).

Let’s face it, most people who are hitting up fashion week will be lovers if not livers of Dalston, which is where I got inspiration for this recipe. Due to its Turkish population, the people of Dalston have access to some very sexy food. The great thing about this dish is that it’s low in fat, high in energy and takes 5 minutes to make.

Serves 2 Cooking time 10 minutes

Serves 2 Cooking time 5 minutes

180g linguini 50ml really good olive oil 3 cloves garlic, finely chopped 1 large red chilli, finely chopped 1 lemon, the zest and juice 4 medium to large vine ripened tomatoes a handful fresh basil, torn Sea salt and freshly ground black pepper 100-150g fresh, picked white crab meat (get it from www.fishforthought.com - they deliver straight from Cornwall).

200g Greek yogurt 1 small garlic clove, crushed 4 medium organic eggs, I love Cotswold legbars 25g butter 1 tsp hot paprika

IMAGE BY Jonnie Begood

A squeeze of lemon juice Sourdough bread, sliced, griddled and buttered to serve

Cook the linguini in lots of boiling salted water for 8-10 minutes or until the pasta is cooked to al dente.

Mix together the yoghurt and garlic, and split between two small bowls. Bring a pan of salted water to the boil then poach two eggs for 3 minutes so the yolks are still soft. Lift each one out with a slotted spoon and drain the underside with kitchen paper. While the eggs are poaching, heat a frying pan over a high heat with the butter and paprika and cook until it starts to go slightly brown and nutty. Add the lemon juice, watching out as it will splutter. Place two eggs into each bowl of yogurt. Drizzle the butter over the egg and yogurt. EAT.

Heat the oil in a small wok or saucepan. Add the garlic and chilli, and fry over a low heat for 1-2 minutes or until the room is filled with that garlic butter smell and the garlic is translucent. Put in the lemon, tomatoes and basil, and cook over a medium-high heat for 8 minutes or until the tomatoes have broken down and the sauce tastes rich. Season with salt and pepper and stir through the crab. Drain the pasta and immediately mix it through the sauce. Serve piping hot and ENJOY those carbs. Your body will thank you for them. 33


Hair Today, Gone Tomorrow Sensing a trend but not sure how to act, a dedicated follower of fashion finds the perfect solution. By Nathalie Olah.

BLISTERING BARNACLES, THERE’S A ladder IN MY WOLFORDS! Wondering how to preserve your key pieces for the grandchildren? Mrs Jones, fashion expert to the stars, is here to help. Over a bacon sandwich at the Wolseley, you drop ketchup on your tank top. Any killer stain remover tips? Biotex. It’s an old-fashioned washing powder. My mum leaves it under the sink for me.

Anyone still nostalgic for Kylie in her Can’t Get You Out of My Head prime will also remember that the stylist responsible for her look was Fee Doran, aka Mrs Jones. Her talent for transforming the mundane into the cosmic has brought her a client list that includes Madonna, Kylie, Cheryl Cole and Paloma Faith. This week, she’s here teach us how to look after our clothes for posterity.

At Scott’s, some oyster juice spills on your crépe de chine blouse. What now? Suck it out! Suck it hard.

Your favourite jumper gets into the washing machine by mistake and shrinks. What do you do? I give it to my son George. That’s the good thing about having a child.

As the environment and economic restrictions necessitate a move towards ‘Grow Your Own’ I wondered, is any of this applicable to fashion? Researching textile exportation, I found that cotton grows primarily in Asia and the Americas, whereas silk is sourced from warmer European countries. It is only the woollen market that the UK contributes to in any real way, thanks to the sheer number of sheep (pun intended) that seem to agree with our questionable climate.   With shepherding appearing to be the only option, I had to concede that sourcing one’s own fabric from scratch might be a tad impractical. But then a child’s toy gave some hint at a renewable resource common to (almost) all of us. A ceramic pot with felttip eyes and cress growing from its top stood on my friend’s windowsill. Her four year-old daughter informed me that since trimming its ‘hair’ a few days before, it had now been transformed from Phil Spector into a punk.   It made me realise that for the majority of us 100,000 strands of fine quality fibre grow from our own heads cost-free. What we choose to do with them – cut, crimp, dye, curl or shave – is entirely our prerogative. It’s the ultimate sustainable resource and allows us a form of expression that is entirely guilt-free. What’s more, it is as practical as the cress that was later squished into my sandwich, being used to keep us hot in Winter and cool in Summer. Dipdying and the current trend for pastels only widens the scope for what we can now do and with short courses in hairstyling popping up all over the country, it’s becoming apparent that this is a skill we would all like to master. Is hair the key variable for fashion followers with a conscience? Who knows. But with its endless supplies and biodegradable credentials it certainly should be.

When and how to hand -wash your knicker and bra set? It’s fine to hand-wash most things unless they’ve got lots of shoulder pads or internal workings. I do it in the sink then roll it up in a towel afterwards. If you squeeze stuff, you can ruin the shape of it. Squeezing is not good.

What are the main components of a basic sewing basket, besides Chanel knitting needles? A lighter for lighting cotton thread to cut it. And if you run a lighter along the seam of most fabric, it seals the edges and stops fraying.

Instant fag burn remedy? Go with it and make it into a pattern. Or put a sequin on it.

IMAGE BY Lily Bertrand-Webb

It’s 2 am on a Tuesday night at Club Silencio in Paris and your skirt rips at the seam. What do you do? I always carry a needle and some black cotton in my handbag so I get to work.

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Should white wine follow red wine? I don’t drink red wine.

always

Your nail catches on Wolfords. Nail varnish? Yes.

Your over-the-knee socks are wearing away at the heel. How to darn them? You sort of follow the pattern. If it’s knitted, push your finger into it and see where the weave is going on. But usually I’d just put a motif over it.

your

Do you mothball your margiela? I hate mothballs but I can’t find a replacement. Mostly I sit there with a deodorant waiting to zap them as they approach my jumpers.

How do you deal with deodorant marks on your vintage Balenciaga ball gown? I haven’t had any of those marks for a long time – deodorant is good these days, isn’t it?

Visit Mrs Jones’ bespoke fashion shop: www.mrsj.co.uk

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Estethica’s 5th Birthday Party

Christopher Raeburn & rabbit

Laura Bailey & friend

Livia Firth & Harold Tillman C.B.E.

Fome Somewhere Wasted installation

and also ... Alex Box Allanna McAspurn The Almada Club Annoushka Giltsoff Bebe Cartouche Duffy Jewellery EFF’s The Source magazine (www.ethicalfashionforum.com/source) Ella Dror & Ash Smith at Ella Dror PR Filippo Ricci Gregory Barker Kingsland Road Studio (www.kingslandroadstudio.com) Laura Bailey Laura Carlie & Peggy Pannocchia at Sixseven Photographic Lee Whittaker at Studio Private Livia Firth Baroness Lola Young Louise Worrell Lucy Siegle Mayor of London Orsola de Castro Paula Karaiskos at Storm Models Peter Simon Sarah Leon & Emily Sykes at Next Model Management Shailina Parti Solitaire Townsend Studio Private Susanne Tide Frater Suzy Menkes Tamsin Blanchard Tracey Parks-Taylor Usha Pohl Yasmin Sewell

Thanks (Phil) We’ll just say two words: Phil Austen. Phil Austen, of Clerkenwellbased printing firm, Print Boutique, was in charge of bringing this magazine into its physical manifestation. We said it had to be recycled and carbon neutral. Phil said: “Ask and it shall be done.” And so it was. The magazine in your hands is printed on two kinds of 100% post-consumer waste, chlorine-free paper. The inks used are vegetable oil-based, with 95% of the chemicals used in the printing process being recycled again later. Ninety-nine percent of any waste associated with the production will also be recycled. And it’s carbon-neutral, meaning that the factory used has as small a footprint as possible, and the small amount it does have is offset by investing in global environmental projects such as supporting a community reforestation project in central Kenya and a Biomass waste processing plant in Thailand. Thank you Phil. www.printboutique.co.uk

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designer directory Ada Zanditon www.adazanditon.com Sales : Ashley Bewick sales@adazanditon.com +44 (0) 20 7790 3279 Press : Alison Lowe alison@felicities.co.uk +44 (0) 20 7377 6030 Aiste Nesterovaite www.hotelofthings.com Sales & Press : Aiste Nesterovaite hello@hotelofthings.com +37 (06) 8649743 Charini www.charini.com Charini Suriyage info@charini.com +44 (0) 7947501516 Christopher Raeburn www.christopherraeburn.com Sales : Lizzie McQuade sales@christopherraeburn.co.uk +44 (0) 79 0391 4102 Press : Hugh Gallagher hugh.gallagher@exposure.net +44 (0) 20 7907 7145 Dr. Noki www.elladrorpr.com Sales : Dr Noki nokinhs@gmail.com Press : Ashley Smith ash@elladrorpr.com +44 (0) 789994 4140 Emesha www.emesha.com Sales : Emesha Nagy sales@emesha.com +44 (0) 77 5903 2999 Press : Abinash Bangar press@emesha.com +44 (0) 79 2979 1513

Environmental Justice Foundation (EJF) www.ejffoundation.org Sales : Joey Abbiss-Stubbs joey.abbiss-stubbs@ejffoundation.org +44 (0) 20 7239 3310 Press : Joey Abbiss-Stubbs joey.abbiss-stubbs@ejfoundation.org +44 (0) 20 7239 3310 Eva Zingoni www.evazingoni.com Sales & Press : Eva Zingoni eva@evazingoni.com +33 (0) 620546803 From Somewhere www.fromsomewhere.co.uk Sales : Jocelyn Whipple jocelyn@element23.co.uk +44 (0)7870 400 502 Press : Amey Hill Amey@fromsomewhere.co.uk +44 (0) 20 89609995 Henriette Ludgate www.henriettaludgate.com Sales : Henriette Ludgate info@henriettaludgate.com +44 (0) 79 0896 6887 Press : Martha Zaforpeza press@henriettaludgate.com +44 (0) 77 9413 7542 Joanna Cave www.joannacave.com Sales & Press : Joanna Cave jc@joannacave.com +30 (6 9) 4419 8801 Junky Styling www.junkystyling.co.uk Slaes & Press : Krt Williams krt@junkystyling.co.uk +44 (0)20 7247 1883 Lost Property of London www.lostpropertyof london.com Sales : Katy Bell katy@lostpropertyof london.com +44 (0) 79 0442 8397 Press : Emma Harvey emma@pfefferpr.com +44 (0) 75 3042 8972 37

Michelle Lowe Holder www.lowe-holder.com Sales & Press : Rena Sala sales@lowe-holder.com press@lowe-holder.com +44 (0) 20 7613 0479 Monsoon www.monsoon.co.uk Press : Harriet Robinson hrobinson@monsoon.co.uk +44 (0) 20 3372 3106 Pachacuti www.panamas.co.uk Sales : Tracey Greenway wholesale@panamas.co.uk +44 (0) 13 3534 5851 Press : Carry Somers press@panamas.co.uk +44 (0) 13 3534 5851 Partimi www.partimi.com Sales : Julie Cunningham sales@blowsalesagency.co.uk +44 (0) 20 7436 9449 Press : Eleanor Dorrien-Smith press@partimi.com +44 (0) 79 7925 5681 Rajkumar Dyeing & Printing Works Sales & Press : Lorraine Element l.element@btinternet.com +44 (0) 1524 32407 Soil Association Certification www.sacert.com Sales : Georgina Thomas goorganic@soilassociation.org +44 (0) 11 7914 2406 Press : Clio Turton cturton@soilassociation.org +44 (0) 1179 142 448


Estethica Exhibition Map

Secretly don’t know what a “supply chain” is? here’s how to speak sustainability

You will find Estethica sponsored by Monsoon in the Embankment Galleries, Lower 1 at Somerset House.

Access from Courtyard

Friday 16th - Tuesday 20th September 2011 Friday - Monday 10am - 7pm Tuesday 10am - 6pm Eva Zingoni From Somewhere

Monsoon

Dr Noki

Junki Styling

Emesha

The triple bottom line The social, economic and environmental considerations into account.

To ethically source To find a supply of products or materials which are manufactured under respectable labour conditions – or from sustainable resources.

Supply chain A network of raw material or component suppliers, manufacturers, transporters, warehouses, distributors and retailers, who all play a role in the production, distribution and sale of a product. Carbon neutral Having a carbon footprint of zero, through off-setting your carbon emissions (planting trees, buying low-energy light bulbs for the developing world) or utilising human energy only.

Rajumar

Soil Association

Green factory A building that was designed and built, or adapted, in order to improve performance against environmental standards. End-of-line/dead stock When production of a fabric has ceased, the remaining fabric rolls are often discounted in price, and if they remain unsold, are chucked into landfill or recycling. Definitions generously supplied by the Ethical Fashion Forum, the World Commission on Environment and Development, and Worn Again.

Pachacuti

Michelle Lowe Holder

EJF

steps from lower 2

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Fairtrade cotton Guarantees the cotton farmer has been paid a fair price for his crop.

Ada Zanditon

Henrietta Ludgate

Goodone

Aistie Niesteroviate

Charini

Partimi

Co-operative An enterprise owned and operated by a group of individuals for all of their benefit. See Hugo Chavez’s new co-operative network in Venezuela.

Upcycling When you take something disposable and transform it into something wonderful and valuable.

You can access this floor from the steps outside in the courtyard or from the stairs in Lower 2.

Johanna Cave

Sustainable Meeting the needs of the present without compromising the ability of future generations to meet their own needs.

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Lost Property of London



The Estethica Review