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vol. 4 2017



We take saving the fashion industry - one of the world’s most polluting industries - seriously. Because whilst we applaud her creativity, we abhor the crisis she causes. The time is ripe for all of us - as global citizens and as citizens of fashion - to take this fight for better fashion, and indeed a better world, into our conscience and closet. Because dressing from the heart is the best way to win. So too is designing and producing clothes from the heart. And we’re witnessing radical disruption hit the fashion industry, from education, design, sourcing to business practices. This demonstrates that heart and mind are now starting to work together. As Redress celebrates our 10 year anniversary, we have renewed passion and commitment at the frontline of this battle. Despite the challenges, we keep our eye on the prize that Redress’ far-reaching projects - the EcoChic Design Award and BYT, the new up-cycled social impact fashion brand that Redress gave ‘birth’ to this year - can collectively prove that fashion can be a force for good.

我們認真地想拯救時裝界 — 全球造成最多環境污染的行業之一。 「她」的創造力雖值得讚揚,但其造成的危機卻惹人嫌棄。 時機現已成熟。作為全球公民和時尚公民的我們,是有責任為時裝、為 世界爭取更美好的未來,並將這場變革傳播至每個人的良知和衣櫥。 只有隨「心」的穿著才是勝利之道。 同樣地,設計和生產衣服上也要從「心」。另外,我們目睹時尚界起了 根本性的變化,由教育、設計、採購到商業實踐,展示出大家正開始同 心一意地合作。

Redress  正慶祝成立十週年,站在這場變革最前線的我們會繼續抱有 一顆熱熾的「心」和堅持承諾。儘管面臨挑戰,我們會著眼於既定的目 標,包括 Redress 影響深遠的項目「衣酷適再生時尚設計」和於今年誕 生的新興升級再造、具社會影響力時裝品牌 BYT —  由此證明時裝 也可成為正向的力量。 我們誠邀你一起拯救時裝界。這並非總是容易,卻總是來得有意義。

We’re inviting you to save the fashion industry with us. It won’t always be easy, but it will always be meaningful.

CHRISTINA DEAN 丁潔絲 Founder and Board Chair, Redress Redress 創辦人及董事長

Please support our work by making a charity donation via www.redress.com.hk/donate 請透過 www.redress.com.hk/donate 捐款以支持我們的工作





Organised by Redress, the EcoChic Design Award has been inspiring emerging fashion designers and students to create mainstream clothing with minimal textile waste since its conception in 2011. The EcoChic Design Award is a true pioneer of sustainable fashion design, and the competition has continued to expand to include more designers across the globe throughout the years. The current competition cycle opened to designers in Asia, Europe and the USA. Create Hong Kong, being the major sponsor of the EcoChic Design Award since its conception, is most delighted to see it grow in prominence and recognition. We see the work Redress puts into designing every competition cycle, and are happy for the growing support the Award has convened over the years. We are also impressed by the growing network of alumni, and the influence this network can wield in the global fashion industry. I would like to congratulate all awardees of this competition cycle, and appeal to your continued dedication to sustainable fashion in the years to come. The Hong Kong SAR Government will continue to render full support to this Award with a view to building a better, sustainable future for our next generations.

「衣酷適再生時尚設計」於 2011 年由 Redress 創辦,旨在啟發新晉時裝 設計師及學生在創造符合大眾市場的設計同時儘量減少材料浪費。這 項比賽是可持續時裝設計的先鋒,其規模並在過去數年逐漸擴大。今 年的比賽涵蓋了來自亞洲、歐洲及美國的設計師。 「創意香港」一直是比賽主要的贊助機構,對於比賽逐漸得到認同,深 感高興。多年來,各界對比賽的支持有增無減,Redress  的努力也得到 回饋。比賽過往的參賽者,也形成了一股無法忽視的力量,在國際時裝 業界為可持續時裝設計發聲。 我藉這個機會恭賀這屆比賽的得獎者,祝願大家在未來的日子堅持可 持續時裝設計的方向。香港特區政府也將繼續支持「衣酷適再生時尚 設計」,以期建造可持續的、更好的未來。

Mr. Jerry Liu Wing-leung 廖永亮 Head of Create Hong Kong 創意香港總監



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Designing for the future 設計出未來

Winning prizes, starting labels, building brands: our alumni have been busy 得獎者獎項、 開創品牌、 打造品牌:我們的歷屆參賽者一直忙於設計工作

Emerging brand 新晉品牌

What’s it like, setting up a sustainable brand? Bel Jacobs speaks to Catherine Hudson of Leif Erikkson Bel Jacobs 與 Leif Erikkson 創辦人 Catherine Hudson 對談:建立可持續時裝品牌是怎樣的?



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This year’s finalists’ collections offer unique reflections on a brave new world 今年的總決賽者之時尚系列為「勇敢新世界」提供獨特的反思

Meet the finalists 認識總決賽者

Introducing the newest recruits of the EcoChic Design Award 2017 介紹 2017 年度「衣酷適再生時尚設計」的最新成員




The months leading up to the Grand Final are a journey of discovery and innovation for finalists 在總決賽前的幾個月是總決賽者的發現與創新之旅

Meet the judges 認識評審委員

Hailing from retail, design and beyond, our judges represent the best of industry expertise 從零售、設計和其他方面出發,「衣酷適再生時尚設計」評審委員是業界最佳專家

Rewarding talents 表彰人才

This year’s prizes offer winners unparalleled opportunities to present their work around the world 今年的獎項為得獎者提供了無與倫比的機會,讓他們向世界各地展示自己的工作



Behind the scenes 鏡頭背後

Skill, beauty and creative talent merge to create this cycle’s stunning photoshoot with Wing Shya 要將技巧、美觀和創意人才結合,才造就出今屆令人為之一嘆的時尚照片

Supporting change 推動變革

Meet this year’s ambassadors who offer a potent mix of brains and beauty 認識今年美貌與智慧並重的比賽大使


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Innovating for a better future 創出更好未來

Meet the organisations changing the way clothes are made and sold 了解改變造衣和零售方法的組織

Get informed 了解更多

Being well informed is half the battle in winning sustainable victories 「知己知彼,百戰百勝。」可持續時裝的世界也是一樣


Key influencers at sustainable fashion’s frontline 可持續時裝的關鍵前線有力人士


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Rewriting the rules of fashion 重譜時裝定律

Redress’ bold new up-cycled brand, BYT, is pushing boundaries Redress 大膽新興升級再造品牌 BYT 正不斷突破局限

Training the trainers 教育家教育

A new report shines light on the gaps in education in sustainable fashion 這份新報告揭示了現時可持續時裝教育的差距

At the frontline of fashion 走於時尚之先

Read how Redress’ documentary, Frontline Fashion, is changing the perceptions of millions 了解 Redress 電視紀錄片《時尚先鋒Frontline Fashion》如何改變數百萬人的看法

Going circular 走向循環

You spin me right round, baby. Christina Dean explores how notions of a circular economy are taking hold 丁潔絲探討了循環經濟的觀念是如何見效

ON THE COVER 封面 Model Xu Yao Yao wears halterneck top up-cycled and reconstructed from textile swatches, damaged textiles and secondhand clothing. Design by EcoChic Design Award Hong Kong Best Winner, Gao Qing Zi. Photo by Wing Shya, styling by Sean Kunjambu, hair by Marco Chan, KMS Guest Artist & International Session Hairstylist, make-up by Elaw Wong, thelook-studio.com 模特兒 Xu Yao Yao 身穿掛頸上衣, 是 將 紡 織 樣 品、已 損 壞 紡 織 品 和 二手 衣 服 升 級再造 和 重 新 構 造 而 成。作品由「衣酷適再生時尚設計」 最 傑 出 香 港 得 主 高 青 紫 設 計。由 夏永康拍攝、Sean Kunjambu 負責 造型、KMS 客席髮型師兼國際髮 型創造師 Marco Chan 擔任髮型指 導、thelook-studio.com 的 Elaw Wong 擔任化妝師。

EcoChic Ad 2017 Final FA.pdf




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ACKNOWLEDGEMENTS 鳴謝 We would like thank all of our sponsors and partners, who without their generous support, the EcoChic Design Award would not be possible. We are also lucky to have the support of more than 80 university partners across the world. All partners can be viewed at www.ecochicdesignaward.com/partners 我們希望籍此機會感謝全體贊助機構及合作夥伴,各方的慷慨解囊成就「衣酷適再生時尚設計」順利舉行。 同時亦感謝全球逾80所支持教育機構的鼎力支持。 詳細贊助機構及合作夥伴名單請瀏覽: www.ecochicdesignaward.com/partners Major Sponsor 主要贊助

Logistics Partner 物流夥伴

Airline Sponsor 航空公司贊助

Clothing Care Sponsor 衣物護理贊助

Hotel Partner 酒店夥伴

Education Donors 教育項目贊助機構

Bronze Sponsors 銅贊助

Hair Sponsor 髮型贊助

Prize Sponsors 獎項贊助

Food & Beverage Sponsor 餐飲贊助

Media Partners 媒體合作夥伴

Fashion Academy Venue Partners 時尚學院場地合作夥伴

Exhibition Partners 展覽合作夥伴

Make-up Sponsor 化妝贊助

Supporting Organisation 支持機構

Supporting Organisations 支持機構


Editor 編輯 Hannah Lane 林禾雅

Contributors 撰稿 Amy Chan 陳姿 Christina Dean 丁潔絲 Bel Jacobs Hannah Lane 林禾雅 Kay Liu 廖詠芝 Mia Shu 舒泳蓁

Translators 翻譯 Queenie Cheung 張楚君 Megan Lee 李鍵欣 Designer 版面設計 Kevin Ho 何敬謙

Grand Final Fashion Show Stylist 總決賽時裝表演造型設計 Holly Suan Gray

With thanks to all the other members of team Redress, past and present, who are the driving force behind the EcoChic Design Award, including Katrina Gao, Jill Grinda, Malique Goldin, Katherine Hsuan, Anneleise Smillie, Patricia Wagner, Satien Wiliawaty and Sophie Zwingelstein, and our volunteers Ruby Au Yeung, Molly Bray, Crystal Chan, Manuela EberKoyuncu, Oscar Lai, Chloe Lee, Ho Kei Leung, Pearl Li, Yan Ping Loo, Tora Northman, Emma Steen, Steffi To, Jade Wilting and Jodi Wong. 特 別 鳴 謝 推 動「 衣 酷 適 再 生 時 尚 設 計 」的 Redress 成員及義工團隊。

EcoChicDesignAward RedressAsia




Disclaimer: The Government of the Hong Kong Special Administrative Region provides funding support to the project only, and does not otherwise take part in the project. Any opinions, findings, conclusions or recommendations expressed in these materials/events (or by members of the project team) are those of the project organizers only and do not reflect the views of the Government of the Hong Kong Special Administrative Region, the Communications and Creative Industries Branch of the Commerce and Economic Development Bureau, Create Hong Kong, the CreateSmart Initiative Secretariat or the CreateSmart Initiative Vetting Committee.  免責聲 明:香港特別行政區政府僅為本項目提供資助,除此之外並無參與項目。在本刊物/活動內(或由項目小組成員)表達的任何意見、研究成果、結論或建議,均不代表香港特別行政區政府、商務及經濟發展局通訊及創意產業科、創意香港、創意智優計劃秘書處或創意智優計劃審核委員會的觀點。



Redress is proud to be working with over 120 alumni of the EcoChic Design Award, previous semi-finalists and finalists, since its inception in 2011. This is a dynamic, passionate group of creatives, committed to Redress’ mission of reducing waste in the fashion industry and beyond. Many have now established sustainable fashion brands of their own. See what they have been up to and just how far they’ve come in the following pages that prove the competition’s potent legacy. 自 2011 年成立以 來, Redress 很 榮幸能 與 超 過 120 位「衣 酷 適 再生時尚設計」歷 屆參賽者、準決賽者和總決賽者合作。這是 一群充滿活力和熱誠的創作者。他們非常認 同 Redress 想要進行時尚減廢的目標。當中 許多都已經成立了自己的可持續時裝品牌。接 下來就讓我們看看歷屆參賽者的最新發展, 藉此證明我們比賽的影響。

cora bellotto orsola de castro & cora bellotto ‘the initiation’ COLLECTION

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Photo credit: CORA BELLOTTO


I was so excited to meet Cora at the show. Her work offers customers beautifully luxurious alternatives to conventional fashion. I look forward to everything her new brand will bring us! 非常高興能在總決賽認識 Cora,其作品為顧客提供傳統時裝以外、亮麗奢華的選擇。 我十分期待她的新品牌的設計!

bonnie chen 陳碧舸

EcoChic Design Award Ambassador「衣酷適再生尚設計」大使

CORA BELLOTTO In 2016, Cora Bellotto won the EcoChic Design Award second prize, a mentorship with one of the world’s leading authorities on sustainable fashion, Fashion Revolution Cofounder Orsola de Castro. “We talked about fabric sourcing, fundraising, sales platforms, communication,” recalls Cora, the Milan-born designer. “She told me about many marvellous smaller initiatives that have made me believe in change. But the most useful advice I got? Stop thinking about how to start. Just start.” In 2017, Cora launched her eponymous brand in which natural and organic fibres such as linen, cotton, taffeta and jacquard are worked into new definitions of sustainable luxury with rich textures and pure lines. Where 100 per cent certified fabrics aren’t available, Cora turns to zero-waste techniques. Within the main collection, a small capsule of unique pieces is also dedicated to the up-cycling of vintage fabrics. Delicately handwoven panels appear across the collections, as they did in her EcoChic Design Award capsule, ‘Love Endings’, becoming the designer’s signature response to the fast fashion fashion industry. This cycle, winning the kapok Alumni Prize means her work will now be available to a new range of Asian customers.

2016年, Cora Bellotto 於「衣酷適再生尚設計」中,嬴得世界可

持續時裝權威「時尚革新」聯合創辦人 Orsola de Castro 的啟導計 劃。米蘭出生的 Cora 回憶說:「我們探討了織品採購、募資、銷

售平台、宣傳等議題。她跟我分享了許多奇妙的小舉措,讓我對 時裝變革充滿信心。但最有用的建議是什麼呢?那一定是『千里 之行,始於足下』─不要想怎樣展開旅程,出發就好了。」

Cora  於2017年成立與其同名的品牌。其用料選取如亞麻、棉、

塔 夫 綢 和提花等天 然 和有 機 纖 維,豐富質 感 和簡約線條的組 合賦予可持 續奢華一 個嶄 新的定義。每當Cora找不到認證的

百分百天然和有機物料,她就會改而使用零廢棄設計技巧。在 品牌的主打系列中,有部分以復古衣物升級再造而成,全都是 獨一無二的單品。一如 Cora 在「衣酷適再生時尚設計」所設計

的 Love Endings 時尚系列般,精緻的手工編織在品牌設計中無 處不在,是她對快速時尚產業的標誌回應。今年,Cora  更贏得 kapok 歷屆參賽者獎項,這意味著有更多亞洲的消費者將能夠購 買到她的設計了。


Alumni successes 歷屆參賽者成就

Photo credit: SHANGHAI TANG



Photo credit: PAT GUZIK

PAT GUZIK 3 ‘heaven is a place hong kong stories’ collection 4 shanghai tang x patrycja guzik ecochic capsule collection 5 DESIGNING FOR JANET MA


I had the chance to wear Pat’s designs on the catwalk and their intricacy and the skills it took to make them really impressed me.

我有機會在時裝表演上穿上 Pat 的設計,其複雜性和技巧,令我 印象非常深刻。

Sofia Wakabayashi

EcoChic Design Award Ambassador「衣酷適再生時尚設計」大使

PAT GUZIK After winning both the First Prize and the Special Prize at the EcoChic Design Award 2015/16, Polish designer Patrycja Guzik spent three months in Hong Kong creating an up-cycled capsule collection for luxury fashion house, Shanghai Tang. “Making the collection and translating what I’ve learned for this prestigious brand is a huge opportunity for any emerging sustainable designer,” says Pat. “It was so rewarding working alongside this experienced design team seeing how sustainable fashion can be implemented on a commercial scale.” The eight pieces, inspired by the vivid blues and neons of Hong Kong’s night skyline, are crafted from leftover silks, wool and velvets from the Shanghai Tang archives. The Special Prize offered a different challenge: a high profile collaboration with style icon Janet Ma. Featured in the September 2016 issue of Marie Claire Hong Kong, the standout piece was a richly textured, rock chic ‘EcoFur’ jacket, up-cycled from Janet’s own preloved t-shirts. Today, Pat lives and works on her own sustainable brand in Poland, extending the aesthetic and the principles of her work with Shanghai Tang. “Now that my work is available to customers, it brings all of my aspirations for a more sustainable fashion industry into reality,” she says.

繼勇奪 2015/16  年度「衣酷適再生時尚設計」第一名及特別獎後, 波蘭設計師 Patrycja Guzik 逗留在港3個月,為高級時裝品牌「上

海灘」設計了一個升級再造精品系列。Pat  說:「對新晉設計師而 言,能為著名品牌創造時尚系列,並將所學到的一切全部傾注在這 個系列之中,讓我受益匪淺。另一得著是向經驗豐富的設計團隊學

習,了解到可持續時裝可如何應用在商業模式當中。」此一共 8  件

的時尚系列靈感源於香港璀燦夜色中的湛藍,以及那五光十色的 霓虹燈,全部運用「上海灘」過往系列所盈餘的絲綢、羊毛和天鵝 絨所製成。

而特別獎則為 Pat 帶來另一 個完全不同的挑戰:就是與香港潮 流指標馬詩慧合作。該設計 使 用馬詩慧的T 裇升級再造而成。這 件與眾不同、質感豐富,搖滾味十足的型格「環保皮草」外套是由 馬詩慧心愛的舊 T  恤製成。設計亦獲得了《Marie Claire  瑪利嘉


Pat  已返回波蘭生活,為自家可持續品牌努力,延續「上海灘」時尚 系列的美感和理念。她表示:「我的設計現已正式發售,這實現了 我對可持續時裝界的所有抱負。」






Photo credit: LICKSTUDIO

Clémentine Sandner 8 COMPUTER BACKPACK ‘SHRINE’ 9 collection at KAPOk 10

lickstudio 10,11 ‘FRESH EGG’ collection

Photo credit: LICKSTUDIO

ClEmentine Sandner


Since the launch of her 2015/16 capsule collection in Asian lifestyle store kapok, as part of her Alumni prize last year, EcoChic Design Award alumni Clémentine Sandner has been busy. Her Kyoto-based namesake brand builds on the techniques of her prize-winning work, combining antique silk kimonos and obi belts with up-cycled fabrics, such as seat belts and military blankets, to create beautiful bags and backpacks, which sell in Kyoto, Paris and Hong Kong. Clémentine also lectures at the new ESMOD Kyoto and one of her students, Ayako Yoshida, is now an EcoChic Design Award 2017 finalist, continuing the thread of inspiration created by the competition.

Sustainable womenswear brand Lickstudio is the result of a collaboration between not one but two EcoChic Design Award alumni designers: Laurensia Salim, 2014/15 Special Prize Winner and Juliana Ng, 2015/16 semi-finalist, both graduates of Raffles College of Higher Education Singapore. The duo’s free spirited, romantic designs are created from up-cycled industry surplus fabrics, sourced in Indonesia.

「衣酷適再生時尚設計」歷屆參賽者 Clémentine Sandner 自嬴得了去年比賽的歷屆參賽者大獎,

可持 續 女 裝 品 牌  L i c k s t u d i o  是 兩 位「衣 酷 適 再生 時尚設

成立與 其同名的品牌,以 其得 獎設計系列中的設計技巧為基 礎,並 結合古董 絲 綢和服、和服

度特別獎項得主 Laurensia Salim 及 2015/16  年度準決賽

在亞洲生活時尚品牌 kapok 的店舖內銷售她的獲獎系列起,便一直忙過不停。她在日本京都 腰帶,以及升級再造安全帶和軍用毛毯,設計出精美的手袋及背包,並於京都、巴黎和香港出

售。 Clémentine 亦在京都 ESMOD 國際時裝藝術學院任職講師。她的一位學生-吉田絢子,更 成為 2017 年度「衣酷適再生時尚設計」總決賽者,將她在比賽中獲得的啟發延續下去。


計」歷屆參 賽設計師的合作成果。她們分別是 2014/15  年 者 Juliana Ng,兩位均畢業於新加坡萊佛士高等教育學院。其

隨性又充滿浪漫的設計,全採用來自印尼業界的盈餘織品升 級再造而成。

Alumni successes 歷屆參賽者成就 12


Photo credit: ALEX LEAU



Photo credit: zerobarracento

ALEX LEAU 12 ss2017 collection 13 alex law with his collection zerobarracento 14,15 a/w 16-17 collection



Hong Kong based designer Alex Law’s brand, Alex Leau, up-cycles end-of-roll textiles to form dramatic, minimalist silhouettes for men and women - with a punk edge. Highlights of the SS17 collection include slogan-painted t-shirts and leather jackets.

Made-in-Italy label Zerobarracento - launched in 2015 by Camilla Carrara - boasts timeless designs and an impressive roster of focus areas around sustainability: from zero-waste patterns and reduced pollution and emissions, to traceability and transparency. Dedication won Camilla third prize at Recycling Designpreis 2015 and bronze at the Creative Conscience Award 2016.

Alex Leau 以卷軸尾端布料升級再造出多款

由 Camilla Carrara 成立的意大利品牌 Zerobarracento,不僅




和透明度等。她的努力為她帶來了「Recycling Designpreis


獲展於 CENTRESTAGE 2016 的「衣酷適再 生時尚設計」歷屆參賽者展位。

題,例如零廢棄剪裁、減少污染與排放、特料來源的追蹤 2015」三等獎和「 創意良心獎 2016 」的銅獎。





Photo credit: WANTED?NEEDED

I took part in Angus’ workshop during the EcoChic Design Award 2017 press conference, weaving up-cycled denim scraps to create a pouch, and I just loved his passion and ingenuity. I’d wear this bright pink zerowaste outfit again any day!

ANGUS TSUI SHOWCASE AT THE ALUMNI 16 BOOTH, CENTRESTAGE 2016 Astra tailoring ‘MODUS VIVENDI’ 17 collection wanted?needed Opening collection 18

於 2017 年度「衣酷適再生時尚設計」新聞 發佈會當天,我有份參與徐逸昇主持的工作 坊,利用升級再造牛仔布碎屑,編織出一個 小錢袋,非常欣賞他的熱誠和聰明才 智。我願意在任何場合穿著這件亮粉 色零廢棄服裝! Photo credit: ASTRA TAILORING

Sofia Wakabayashi

EcoChic Design Award Ambassador 「衣酷適再生時尚設計」大使



While enjoying success through his namesake sustainable brand, which employs techniques of zero-waste and up-cycling to excess fabric stock and organic textiles, Angus Tsui continues to explore the commercial potential of sustainable design through collaborations, contributing to the circular economy through his endeavours. In July 2017, with business partner Ayumi Kwan, he launched ASTRA Tailoring. A unique proposition, ASTRA Tailoring offers bold, confident men’s tailoring with the sustainable techniques of zero-waste, upcycling and the use of dead stock fabrics at its very core. By working closely with clients to create garments that uniquely reflect their personalities, Angus and Ayumi aim to challenge the inefficiencies of disposable fashion.

One year after participating in the EcoChic Design Award 2014/15, Kirstine Hansen launched her sustainable streetwear label, WANTED?NEEDED. Designed and made in Copenhagen, Denmark, the brand works with unbleached, undyed GOTS-certified organic cotton, collaborating with local artists to create bold, graphic print designs. Everything is designed to be worn outside of fads and trends, encouraging consumers to question fast fashion shopping habits.


在參加 2014/15 年度「衣酷適再生時尚設計」的翌年,Kirstine

貨和有機紡織品。2017 年 7 月,徐逸昇與合夥人 Ayumi Kwan 推出了服裝品牌 ASTRA Tailoring。



品牌的定位獨特, ASTRA Tailoring  提供大膽又不失得體的男士定制服飾。品牌的核心理念包

括採用零廢棄和升級再造這兩種可持續技巧,以及滯銷織品存貨。徐逸昇和 Ayumi 通過與客人 的密切合作,創造出反映其獨特個性的服裝,並希望以此挑戰即棄式時裝所涉及的低效問題。


Hansen 推出了她的可持續街頭時裝品牌 WANTED?NEEDED。

全球有機紡織認證 (GOTS) 有機棉作為用料,更與當地藝術家

合作,攜手創作出大膽的印花圖案設計。所有設計都是為了讓穿 著者跳出所謂「流行」的框框,鼓勵消費者反思自己的快速時尚 購物習慣。

Alumni successes 歷屆參賽者成就



Photo credit: BENU BERLIN

Photo credit: FARRAH FLOYD

farrah floyd 19 ‘Av.B.C.R.LL.’ collection

benu berlin ‘indigo child’ COLLECTION 20 SUSTAINABILITY & STYLE event 21





Few brands use punctuation like Farrah Floyd. After L.i.Elsewhere and Heroine_collection, the Berlin-based womenswear label, founded by Bojana Drača, introduces Av.B.C.R.LL. Featuring an eclectic selection of zero-waste pieces, influenced by Bojana’s experiences in the past year, styles span elegance and urbanity, playfulness and sophistication.

Bold, conceptual Benu Berlin - launched by Karen Jessen, winner of the 2013 competition cycle - turns streetwear into wearable art through punchy up-cycling and material manipulation. Her SS17 collection draws inspiration from the New Age concept of the Indigo Child, a ‘gifted being’ set to challenge the status quo. Karen was one of four German designers to present designs at the ‘Sustainability & Style’ event hosted by the U.S. Embassy Berlin together with VOGUE Germany and the Fashion Council Germany during Berlin Fashion Week 2016.

少數品牌會像 Farrah Floyd 敢於「標」奇立

風 格 大 膽 的 概 念 時 尚 品 牌   B e n u   B e r l i n,是   2 0 1 3   年 度「 衣 酷

立。 繼 推 出   L . i . E l s e w h e r e  和

衝 擊 力 的 升 級 再 造 和 物 料 處 理 手 法,將 街 頭 服 飾 轉 化 成 富 藝

異。這個柏林女裝品牌是由 Bojana Drača 成 Heroine_collection  這兩個時尚系列後,便推出 了 Av.B.C.R.LL 系列。該系列由設計師嚴選出


Bojana  過去一年

的體驗匯聚而成。而系列款式則包羅萬有,從 優雅到都市風、由玩味至成熟。

適 再生 時 尚 設 計」第 一 名 得 主   K a r e n   J e s s e n   所 成 立。透 過 極 具 術 色 彩 的 穿 搭。品 牌 的   2 0 1 7   年 春 夏 系 列,靈 感 源 自 於 新 時 代

「靛藍小孩」的概念,一份勇於挑戰現狀的天才。 Karen 是 2016 年柏

林時裝週「Sustainability & Style」活動的 4  位參展德國設計師之一。該 活動由駐柏林美國大使館、《VOGUE 時尚》德國版和德國時尚協會聯 合舉辦。




Photo credit: LEIF ERIKKSON

ABSURD LABORATORY 22 ‘INTERLUDE’ collection LEIF ERIKKSON 23 ss18 collection AMA AWE 24 ‘P, DSM! UTS. JDI. 16’ collection



Photo credit: AMA AWE

Absurd Laboratory

Leif Erikkson


Since taking part in the inaugural 2011 competition in Hong Kong, Eric Wong has continued to develop his dynamic womenswear and menswear brand, Absurd Laboratory. Non-trend led pieces are created by up-cycling offcuts and end-of-roll textiles sourced from manufacturers in Mainland China to create collections that range gloriously in style from futurism to romance.

Inspired by her experiences as a finalist in the competition, Manchester Metropolitan University graduate Catherine Hudson launched her Prince’s Trust-approved menswear brand, Leif Erikkson. The collection of coats and jackets up-cycles discontinued fabrics from local manufacturers and uses organic textiles sourced from the Netherlands and the UK. The new SS18 collection of up-cycled denim is inspired by constructivism.

Since taking part in the EcoChic Design Award 2014/15, Swedish designer Amandah Andersson has founded a sustainable womenswear brand, AMA AWE, which boasts bold graphics printed onto luxury, industry surplus textiles. In November 2016, Amandah won the annual Swedish Fashion Talents competition. Recently, she collaborated with Scandinavian Airlines for their new uniform scarf – a print inspired by landscapes viewed from a plane.



自參加 2014/15 年度「衣酷適再生時尚設計」起,瑞


由王子基金會 (The Prince’s Trust) 支持的男裝品牌

品牌 AMA AWE。品牌特色是那些編印在收集奢侈



女裝品牌 Absurd Laboratory。他的設計多變,卻非隨


曼徹斯特城市大學畢業生 Catherine Hudson 推出了

Leif Erikkson。其大衣和夾克時尚系列,採用了來自 的有機紡織品升級再造而成。最新的 2018 春夏升級 再造牛仔系列靈感則來自結構主義。


典設計師 Amandah Andersson 便創辦其可持續女裝

品牌的盈餘紡織品上的大膽印花圖案。Amandah 在 2016年11月贏得年度 Swedish Fashion Talents 大賽,並

在最近與北歐航空合作,以從飛機上俯瞰到的地形 為靈感,為他們設計最新的制服絲巾。

Alumni successes 歷屆參賽者成就


Photo credit: KÉVIN GERMANIER / Phil Lewis/WENN.com





Kévin Germanier 25 BETSY 26 ba final collection


Kévin Germanier



2014/15 winner Kévin Germanier presented a truly electric collection in the Central Saint Martins BA Fashion Graduate Show 2017 which was made from multi-coloured up-cycled beads and a fine knit made from recycled fibres. Neon wigs and oversized jewellery complemented the vibrant collection, which was a hit with media and celebs alike, with pop sensation Betsy wearing his design for her performance at Pride in London 2017.

Janko Lam, EcoChic Design Award 2011 winner, runs her brand Classics Anew from the lively shared Three Artisans store in Hong Kong. She creates modern interpretations of traditional Chinese costume, including the qipao and cheongsam, from forwardlooking fabrications such as up-cycled denim. Janko’s love for the heritage and cultural significance of qipao continues to drive her work through regular workshops and in her recently published book, Ingenuity.

As part of Redress’ EcoChic Design Award alumni showcase, four brands - Alex Leau, Angus Tsui, Classics Anew and Wan & Wong Fashion - exhibited their collections at HKTDC’s CENTRESTAGE 2016 in Hong Kong, providing global buyers and media with fashion forward, sustainable options in design. This year for CENTRESTAGE 2017, Angus Tsui and Classics Anew will be joined by newly launched minimal waste brands, Artisan and ASTRA Tailoring.

2014/15 年度比賽冠軍 Kévin Germanier 在中央聖

2011 年度「衣酷適再生時尚設計」冠軍林春菊,與香

Redress 活動之一的「衣酷適再生時尚設計」歷屆參


營其品牌新裝如初 (Classics Anew)。她用現代演釋

和 Wan&Wong Fashion 這4個品牌的作品,於香港貿

馬丁藝 術與設計學院時裝學位畢業時裝表演展示


髮和龐然首飾,均為此充滿活力的時尙系列增添多 一番美感。作品深受媒體和名人愛戴,流行音樂歌

手 Betsy  於今年「倫敦同志大遊行」表演中穿上了 Kévin 的設計。

港熱鬧的 Three Artisans 商店共享零售空間,在此經 手法來詮釋中國傳統服裝,包括旗袍及長衫,均由

賽者展位,去年由 Alex Leau、Angus Tsui、新裝如初

發局舉辦的 CENTRESTAGE 2016 展出,為全球買




續參與,而新興減廢品牌 Artisan 及 ASTRA Tailoring

對旗袍歷史和文化意義的熱愛,將繼續推動她的工 裁:香港華服製造的故事》。

的 CENTRESTAGE 2017, Angus Tsui、新裝如初將繼 亦將加入。




TIFFANY PATTINSON 29 ‘Trans’ collection 30 TIFFANY PARTICIPATES IN H&M Circular Economy event in Hong Kong


Photo credit: PHINE RAUN





Tiffany Pattinson’s role as an advocate for sustainable fashion in China continues to grow, with highlights including her recent talk at the Swarovski Innovation Forum in Shanghai and the screening of Redress’ documentary, Frontline Fashion. Her lively Shanghai-based brand focuses on up-cycling and zero-waste design and offers multi-functional designs for men and women that can be worn several ways, reducing the wearer’s need to buy new items.

Fashion label Phine Raun, founded by Josephine Raun, is driven by deep commitments to local production and a slow fashion future. The latest collection up-cycles vintage bedsheets and crochet work into dresses inspired by 1970s Flower Power.

Tiffany Pattinson 繼續在中國推動可持續時裝的發展,包括最近在上海施華洛世

時裝品牌 Phine Raun 由 Josephine Raun 成立,其創

奇創新論壇進行分享、出席 Redress 紀錄片《Frontline Fashion時尚先鋒》放映會



「權力歸花兒」這口號 (意指和平與愛)。他們所有

等。她於上海創立的品牌活力十足,採用升級再造和零廢棄設計技巧,為一眾男 需要。


慢時尚的信念。品牌的最新系列靈感源自 70 年代 的長裙皆以古董床單和鈎編手工升級再造而成。

PHINE RAUN ‘Flower Power’ Collection

Alumni successes 歷屆參賽者成就


Photo credit: KATIE JONES


Photo credit: KATIE JONES KATIE JONES 32 ‘ Pepperland’ collection 33 Save Our Skills (SOS) ARTISAN 34 ‘BACK TO NATURE A’ collection


Photo credit: ARTISAN

Find out more about our EcoChic Design Award alumni here: 瀏覽以下網頁以了解「衣酷適再生時尚設計」歷屆參賽者: www.ecochicdesignaward.com/alumni



Katie Jones has forged a definitive path for herself on the London fashion scene. An energetic participant of the annual Fashion Revolution campaigns, Katie constructs bright, bouncy knitwear from surplus textiles and secondhand garments. Her collaborations with cutting edge brands - such as knit-it-yourself kits with Wool and the Gang - communicate Katie’s skills to new audiences. Last year, she was awarded the Selfridges Bright New Things bursary. She’s also behind Save Our Skills (SOS), a new project designed to teach young people to sew, mend and crochet, encouraging them to understand the true value of clothes. The latest Katie Jones collection, Pepperland, offers one-off knitted cardigans and patched denim, all in the designers signature electric palettes.

Alumni David Lee launched his Hong Kong-based menswear brand, Artisan this year. Minimising the impact of production and applying techniques of zero-waste to designs lie at the heart of this exciting new contemporary label.

Katie Jones 在倫敦時裝界為自己鋪了一條明確的時尚之路。作為年度「時尚革新」活動的活躍份子,Katie 從盈

歷 屆參 賽者李偉龍 於本年推出以香

聯手推出的「knit-it-yourself」學習套,將 Katie 的編織技巧傳授予一眾編織新手。去年,Katie 更獲得了 Selfridges


餘紡織品和二手衣物中,創造出亮麗跳脫的針織品。另外,與其他尖端時尚品牌合作,譬如和 Wool and the Gang

Bright New Things 獎學金。她亦創立了新項目 Save Our Skills (SOS),旨在教育年輕人縫製、修補和鉤編技巧,並鼓

勵他們發掘衣物背後的真正價值。而她最新的 Pepperland 系列則包括了限量針織外套和拼牛仔布款式,設計亦秉 承了她一貫的電子色彩。

港男裝品牌 Artisan,將生產所帶來的 棄設計技巧,均是這個叫人興奮的當 代新興品牌之重要核心。



䄀 一䔀圀 䘀䄀匀䠀䤀伀一 䈀刀䄀一䐀  吀䠀䄀吀 䐀䄀刀䔀匀 吀伀 䐀刀䔀䄀䴀


䘀䤀一䐀 伀唀吀 䴀伀刀䔀 䄀吀  圀圀圀⸀䈀夀吀䰀䤀䘀䔀⸀䌀伀䴀


䈀夀吀 䜀䤀嘀䔀匀 ㄀ ─ 倀刀伀䘀䤀吀匀 吀伀 刀䔀䐀刀䔀匀匀 ☀  匀唀倀倀伀刀吀匀 吀䠀䔀 䔀䌀伀䌀䠀䤀䌀 䐀䔀匀䤀䜀一 䄀圀䄀刀䐀

⌀䘀䄀匀䠀䤀伀一䄀匀䄀䘀伀刀䌀䔀䘀伀刀䜀伀伀䐀 ⌀䈀夀吀䰀䤀䘀䔀 

Redress is celebrating 10 years of working to cut waste out of fashion! Through our programmes, initiatives and campaigns, Redress aims to enhance, educate and enable the adoption of a more sustainable fashion industry that helps to minimise the negative and maximise the positive impacts of the fashion industry on society and the environment.

The positive power of fashion 18

Find out more about how you can join us to create positive change at www.redress.com.hk Donate to support our work now via:

Support our work through:










From the offbeat and the eccentric to the overtly playful, talented stylist Sean Kunjambu and internationally renowned photographer Wing Shya capture the mood of each of the EcoChic Design Award 2017 finalists’ unique waste-reducing designs in a photoshoot to remember. The spotlight is firmly on what can be achieved when you mix boundless creativity, genuine innovation as well as a fresh fight for change in fashion and on the planet with beautiful, raw, waste materials. Emphasising the aims of the competition, the rich, intricate textures of the collections are juxtaposed against everyday items which are often discarded too soon to demonstrate the detrimental effects of consumerism and the scale of wastefulness in Hong Kong and across the world. 無論從另類、奇異到俏皮設計風,極富才華的造型師 Sean Kunjambu 和國際知名攝影師夏永康, 在時尚拍攝中均成功捕獲了 2017 年度「衣酷適再生時尚設計」總決賽者的獨特減廢作品之神緒。 當你將無限創意、真正創新、時尚變革和地球上美麗的原材料與廢料結合時,便能得心應手地拍 到你所想的效果。當中將比賽目的和參賽系列上既豐富又複雜的紋理,與經常被棄置的日常品作 對比,以展示於香港及至全球,由過度消費和浪費所帶來的不利影響。






Playful multicolour zerowaste knit dress made from reconstructed secondhand t-shirts. Design by Kate Morris. 以二手 T 恤重新構造製成的俏皮 多色零廢棄針織連身裙,由 Kate Morris 設計。

Monochrome woven textured overcoat and skirt, up-cycled and reconstructed from secondhand clothing, cut-and-sew waste, and textile swatches. Design by Candle Ray Torreverde. 以二手布料碎屑、紡織品樣品升級再 造和重新構造而成的黑白針織紋理大 衣和短裙。由 Candle Ray Torreverde 設計。

Hand painted floral wideleg trousers and oversized knot detail halterneck up-cycled from jute sacks. Design by Sarah Devina Susanto. 從黃麻袋升級再造的手繪 花卉寬褲和特大打結的掛 頸上衣。由 Sarah Devina Susanto 設計。

‘Equality’ draped dress up-cycled from industry textile waste, paired with red corset (worn as headdress) upcycled from damaged textiles. Design by Lina Mayorga. 從業界紡織廢料升級再 造的「Equality」垂褶連 身裙,再搭配已損壞紡 織品升級再造的紅色緊 身胸衣 (攝影時當成頭飾 穿戴)。由 Lina Mayorga 設計。

Up-cycled and reconstructed hybrid shirtdress made from end-of-roll textiles and secondhand clothing. Design by Claire Dartigues (blue raincoat stylist’s own). 從卷軸尾端布料紡織品和二 手衣服升級再造,並運用重新 構造設計技巧製成的半襯衫 裙。由 Claire Dartigues 設 計。(藍色雨衣由造型師提供)

Natural dye lace top overlaid white patchwork vest, upcycled from waste textiles from bridal wear production. Design by Lia Kassif. 從婚紗廢料升級再造的天然染 整花邊上衣疊加拼湊白背心。 由 Lia Kassif 設計。

Multicoloured top upcycled from secondhand textiles and damaged umbrellas, paired with up-cycled tatami skirt and wrap jacket reconstructed from secondhand kimonos. Design by Ayako Yoshida. 從二手紡織品和已損壞雨傘升 級再造的多色上衣,再搭配升 級再造榻榻米短裙和從二手和 服重新構造的束腰寬身外套。 由吉田絢子設計。

Zero-waste pleated teal polyester blouse and zero-waste charcoal grey wool trousers made from up-cycled end-ofrolls. Design by Amanda Borgfors Mészàros. 從升級再造卷軸尾端布料 製成的零廢棄褶皺淺灰聚 酯襯衫和零廢棄炭灰羊毛 褲。由 Amanda Borgfors Mészàros 設計。

Embellished detachable sleeves and asymmetric skirt up-cycled and reconstructed from secondhand sweaters, endof-roll and damaged textiles. Design by Sung Yi Hsuan. 從二手毛衣、卷軸尾端布料和 已損壞紡織品升級再造與重新 構造而成的可拆卸裝飾袖子與 不對稱短裙。由宋怡萱設計。

Layered top and tailored trousers up-cycled and reconstructed from secondhand clothing and textile swatches and embellished with paper receipts. Design by Joëlle van de Pavert. 從二手衣服和紡織品樣品升級再造 與重新構造而成的層次上次和量身 定造的褲子,並配有紙質收據作裝 飾。由 Joëlle van de Pavert 設計。




Most people think sustainable fashion is dirty or poorly finished. 許多人都認為可持續 時裝是髒的或完成得 不完美。

Jute has a unique place in Indonesian history. During the brutal Japanese occupation of WWII, Indonesian workers were forced to wear jute sacks as clothing. Today, as part of the country’s annual Independence Day celebrations, the jute sack race is a key event a defiant re-purposing of a fabric once associated with slavery and subjugation. The struggle between the two nations forms the narrative heart of Jakarta-born Sarah Devina Susanto’s up-cycled collection named Dirgahayu - Sanskrit for ‘Long Life’. Used jute, hand-painted with Hokusai-inspired flower drawings, are woven into Japanese-inspired silhouettes such as kimonos, obi belts and pleats. Hemp rope and braid details refer to the tug-of-war competition that also take place during the celebration’s games.

Meet the finalists 認識總決賽者 Entering the EcoChic Design Award has brought a new depth to Sarah’s concern about waste in fashion and her grasp of sustainable fashion and its possibilities. “I’ve found that sustainable fashion takes twice as long as normal collections to source and produce,” she says. “But, although materials are limited, it was interesting to see how damaged textiles - things that seemed insignificant - could be turned into something unique.” “Most people think sustainable fashion is dirty or poorly finished,” continues Sarah, who holds an Advanced Diploma in Fashion Design from the Raffles Institute of Higher Education in Jakarta. “I want to change their mindset. To me, sustainable fashion means a system which can be supported indefinitely in terms of human impact on people and planet. I want to be a sustainable fashion designer so that I can raise awareness about the environment and show consumers that we can make beautiful clothes using textile waste.”

黃麻在印尼歷史上有著獨特的位置。二戰期間印尼遭日本殘酷佔領, 當地工人被逼以黃麻袋作為衣服。時至今日,黃麻袋競賽 ─ 為國家年 度獨立日慶祝活動中最值得紀念的關鍵部分,這是反抗性的表現,因 為此織物曾與奴隸制和被殖民有關。 兩國之間的角力催生了印尼雅加達設計師 Sarah Devina Susanto 名為 「Dirgahayu」(梵文:長壽) 的升級再造時尚系列。將舊麻袋、靈感源自 日本葛飾北斎 (Hokusai) 的手繪花卉圖畫,編織成具日本風格的剪裁, 如和服、和服腰帶和褶皺。大麻繩和絛子則喻意拔河遊戲,是慶祝活 動中會出現的遊戲。 參加「衣酷適再生時尚設計」,為 Sarah 對紡織廢料的關注、對可持續 時裝的掌握及其可能性有了更新更深的 了解。 她表示:「我發現比起正常的做法,可 持續時裝在採購物料和製作都需兩倍 多的時間」。「然而,即使物料有限, 但有趣的是看到已損壞 紡織品或看 似是不重要,也可變成與眾不同的東 西。」 擁有印尼雅加達 萊佛士高等教育 學院 (Raffles Institute of Higher Education) 時裝設計高級文憑的 Sarah 補充:「許多人都認為可持 續時 裝 是骯 髒的或完成得 不完 美的」。「我想改變他們的思考 方式。」「對我而言,可持續時 裝意味著創造和維護一個永久 持續、不會對環境或社會造成 破壞性影響的系統。我想成為 可持續時裝設計師,提高人們 對環 境的關注,並向消費者 展示紡織廢料也可用來製成 美麗的衣裳。」


For her EcoChic Design Award collection, Israeli designer Lia Kassif applied techniques of upcycling and reconstruction to old military uniforms and scraps from Israel’s thriving bridal wear industry. “The uniforms were donated by the Israel Defence Forces. The leftover pieces of lace, chiffon and silk were from the bridal studio where I work,” says Lia. “My concept was to combine different fabrics with opposite purposes and different characters, but yet still have an essential meaning to the young people of Israel.” The combination, which bring together notions of love and war, politics and romance in textured utilitarian pieces, has already won Lia the EcoChic Design Award People’s Choice vote.

SECOND & SPECIAL Prize Winner 第二名及 特別獎項得主


Lia was introduced to the codes of circular design at a lecture by EcoChic Design Award judge and ethical pioneer, Orsola de Castro. “Orsola talked about the global problems of the fashion industry and about ways to minimize and reduce its impact,” says Lia. “It moved me strongly and I realised it was something I wanted to do.” Giving old garments, rich with their own histories, new life, is now one of Lia’s greatest pleasures - as is reworking small, irregularly sized pieces of fabric. “I love the challenge of pattern cutting, designing and creating a new concept from old, useless materials,” she says. “The knowledge that I am taking part in the global effort of sustainability and helping reduce the amount of garbage in the world gives me great satisfaction.”


Meet the finalists 認識總決賽者

I love the challenge of pattern cutting, designing and creating a new concept from old, useless materials.

我喜歡挑戰從殘舊沒用的物 料中,剪裁出各式圖樣、設計 甚至打造出全新概念。

就 她 的「 衣 酷 適 再 生 時 尚 設 計 」參 賽 系 列 而 言,以 色 列 設 計 師 Lia Kassif 應用了升級再造和重新構造這兩種設計技巧,將軍服與 婚紗業界所剩的碎屑結合。 她說:「軍服是由以色列國防部捐贈的,而這些盈餘蕾絲、雪紡和絲綢 則是從我打工的婚紗工作室取得的。」「我的概念是將感覺截然不同 且用途迴異,但對以色列年輕人來說別具意義的織品合而為一。」 將愛與戰爭、政治與浪漫的概念,與質感十足的設計相結合,也使 Lia 成為人氣大獎得主。 在「 衣 酷 適 再 生 時 尚 設 計 」評 審 委 員 兼 道 德 先 鋒 Orsola de Castro 的一場講座中,Lia  認識到有關循環式設計的 種種綱要。她說:「Orsola 在講座中談及全球時裝界的問題,以及減 少其影響的方法。」 「我被其分享深深打動,並意識到這就是我想要做 的事情。」 為有豐富歷史底蘊的舊衣物注入新生命,是  Lia  現在最大的樂趣之 一,正如將不規則織品碎屑重新組合所帶來的快樂一樣。她說:「我喜 歡挑戰從殘舊沒用的物料中,剪裁出各式圖樣、設計甚至打造出全新 概念。」 「知道自己是推動全球可持續發展的一員,並在協助減少全球 垃圾量,真的為我帶來極大的滿足感。」



For her EcoChic Design Award collection, design assistant Yi Hsuan decided to mix discarded, massproduced fast fashion items and secondhand clothing with one of the oldest production techniques in the world - weaving. The up-cycled and reconstructed collection, in which asymmetric cutting lends energy to damaged industry textiles, symbolises a spirit of awakening in a time of anxiety. “Making the most of our possessions can be very satisfying - but this does not fit with the current model of the fashion industry,” she says. Interest in sustainability came during Yi Hsuan’s degree in Fashion Design at Shih Chien University in Taipei. In order to save costs, students worked rigorously to employ existing resources to create their collections. This quickly turned into a passion: “Sustainable fashion materials can come from many different sources - and 34

the amounts can be very limited,” says Yi Hsuan, who describes herself as ‘realistic’ and ‘adaptable’. “You have to think about how to transform each piece with different design techniques.” “There’s nothing traditional about the production process,” she continues. “Designers are often asked ‘Where does your inspiration come from?’ The production of sustainable fashion is always at the forefront for me, so my inspiration depends on resources.” “The fascinating thing about sustainable fashion is that the order of design is reversed. We no longer look for inspiration and then the materials to fulfil them. Instead, we take inspiration from existing fabrics. I like this new causal relationship! Finding renewed value in waste drives my work forward creatively.”

Meet the finalists 認識總決賽者

The fascinating thing about sustainable fashion is that the order of design is reversed.

女裝設計助理宋怡萱在她的「衣酷適再生時尚設計」系列當中,決定以 升級再造及重新構造技巧,將棄置品、大量生產的快速時尚品和二手 衣服,與世上最古老的生產技術之一的編織結合。此不對稱剪裁的時 尚系列,為業界已損壞的紡織品注入新力量,象徵著在焦慮時代下的 精神覺醒。 她說:「物盡其用能使人知足,但並不符合這個時裝界的模式。」怡萱 在台灣實踐大學修讀時裝設計學位期間,已對可持續發展感興趣。為 節省成本,學生會努力運用現有資源去製作時尚系列,而在其中一個 項目當中,她便將橡筋編織成服裝作品。

這也是可持續設計迷 人之處,設計順序是顛 倒的。

物料稀少的問題迅速轉化成一種熱誠。用「實事求是」和「變通」來形 容自己的怡萱表示:「可持續時裝的物料來源不一,而單一物料的數量 也有限。你必須因應物料而採用不同的設計技巧。」她補充:「生產過 程亦有別於傳統。設計師經常被問:你的靈感從哪來?製作可持續時裝 的靈感總是出自眼前,靈感乃是取決於資源。」 「這也是可持續設計迷人之處,設計順序是顛倒的,不是憑空找尋靈 感再去開發物料,而是從現有織品中獲得靈感,我喜歡這個新的因果 關係!為廢料尋找新的價值,無疑激發了我的創造力。」


Visual merchandiser and stylist Candle Ray Torreverde was a devotee of sustainable fashion before he’d ever even heard of the term. “I’ve always reconstructed secondhand clothing, updating it to fashion I can wear; it fulfils me to see the transformations,” he says. “During my years in fashion school, I was on a tight budget so I always tried to up-cycle materials used on previous projects.” Necessity bred deep artistic pleasures in working with textile waste. “There are endless possibilities to create amazing designs from unwanted materials,” says Candle, who holds a degree in Fashion Design and Marketing from SoFA Design Institute in Manila. “It makes you realise that creativity can be applied to any material; be it end-of-rolls, damaged or secondhand clothing, or even cut-and-sew fabric waste.” For his collection, Candle applied up-cycling and reconstruction along with the use of natural dyes to transform old textiles. Inspiration came from the chaos

RUNNER-UP PRIZE Winner 優異獎得主


Meet the finalists 認識總決賽者 caused by sea storms. “I wanted to highlight how vulnerable we are to natural disasters and how severe the consequences will be if we continue to be insensible towards the environment.”

Most profound for Candle is the conviction that fashion can change the world. “Knowing I am taking part in saving the environment is the greatest pleasure I have had through sustainable fashion design,” he says. “As designers, it is our responsibility to live and breathe sustainability. Creativity can go beyond creating wonderful things; it has the power to create great progress for the environment.”

As designers, it is our responsibility to live and breathe sustainability. Creativity has the power to create great progress for the environment.

作為時裝設計師,我們是有 責任去執行可持續發展。創 造力能為保護環境注入重要 的力量。

早 在 接 觸「 可 持 續 時 裝 」這 名 詞 之 先,商 品 展 示 設 計 師 兼 造 型 師 Candle Ray Torreverde 已是它的擁護者。他說:「我一直有重新 構造二手衣服的習慣,將它們改成我能穿戴的時裝。另外,看到二手衣 服的轉化使我感到非常滿足。在時裝學院讀書時,資金很少,所以總 要嘗試升級改造過往項目所剩的物料」。 利用紡織廢料是必須的,漸漸地亦愛上這件樂事。擁有菲律賓馬尼 拉 SoFA Design Institute 時裝設計與巿場推廣學位的 Candle 表 示:「運用紡織廢料造出美好的設計也能蘊含著無限可能性。原來創意 可應用於任何物料,不論是卷軸尾端布料、已損壞的或二手衣服,甚 至是布料碎屑。」 在參賽系列當中,Candle  應用了重新構造和升級再造這兩種設計技 巧,以及使用天然染料來改造舊紡織品。其設計靈感源於海上風暴帶 來的混亂局面。「我想藉此強調人類在天災面前是如斯脆弱,持續而 不負責任地消耗自然將帶來嚴重的後果。」 「時裝可改變世界」這個信念對 Candle 有著深遠影響。「知道自己 有份拯救環境,是我在可持續時裝設計過程中最感愉快的部分。作為 時裝設計師,我們是有責任去執行可持續發展。創造力不僅能做出美 妙的事情,亦能為保護環境注入重要的力量。」



Tsukumogami - tools which, in Japanese folklore, acquire impish spirits after many years of use - provided the starting point for Ayako Yoshida’s application to the EcoChic Design Award. Her interest in sustainable design, however, comes from an altogether more modern source.

A blend of ancient and modern runs throughout Ayako’s work, from the influence of her birthplace, Kyoto - famous for Buddhist temples and Shinto shrines - through to techniques of reconstruction and upcycling. These are lovingly applied to discarded tatami mats and old kimonos, giving traditional Japanese fabrics bold, new leases of life.

“I started to like the idea of creating sustainable fashion when I discovered Shima Seiki, the computerised knitting manufacturer in Wakayama, Japan,” says Ayako, who is currently studying Fashion Design at ESMOD Kyoto. “They can produce knitwear in one entire piece without seams or cutting waste. Using this technology reduces material, time and costs. Until then, I had no idea that making clothing could create so much waste. I now realise that, with good concepts and technology, that this impact can be reduced.”

Perhaps it is no wonder that Yoshida’s favourite designer is Issey Miyake: “His way of thinking is closely linked to Japanese culture and his brands try to create and use new materials such as recycled polyester,” she says. “Miyake creates products by using traditional techniques and advanced technologies. I sympathise deeply with both his spirit and creation.”


Meet the finalists 認識總決賽者

I now realise that, with good concepts and technology, that this impact can be reduced.

現在才意識到, 要減輕影響便得有 良好的概念與技術。

付喪神 - 日本民間傳說中,工具器物放置多年後,收集靈力轉化而 成的妖精。這傳說為吉田絢子的「衣酷適再生時尚設計」系列提供了設 計意念。然而,她對可持續設計的興趣則受現代事物所影響。 現於日本京都 ESMOD  國際時裝藝術學院修讀時裝設計的吉田絢 子說:「萌生創造可持續時裝的想法是源於 發現了株式會社島精機 製作所 (Shima Seiki),一家位於日本和歌山的電腦針織編技術製造 商。他們可製作一幅過、不用縫製和留有紡織廢料的針織品。此技術 可節省物料、時間和成本。在此之前,我並沒想過製衣會造成的那麼 多浪費。現在才意識到,要減輕影響便得有良好的概念與技術。」 吉田絢子的設計貫穿著傳統與現代,受其出生地、以佛寺和神社而著 名的京都影響。她應用了重新構造和升級再造這兩種設計技巧,賦予 棄置疊蓆和舊和服等日本傳統織品一個新生命。 難 怪吉田 絢 子會 如此 喜 歡 設計 師   Is s e y  M i y a ke:「他 的 想 法 跟 日本 文化 有 著 緊 密 連 繫,嘗 試 創 新 和 使 用 回 收 聚 脂 纖 維 等 新 物 料。  Miyake  揉合了傳統與先進的技術,我能體會到他的精神和創 意。」


A mongst the powerful images of Amanda Borgfors Mészàros’ moodboard for her EcoChic Design Award collection, one photograph stands out; the hands of a boy diving into the water meeting those of his reflection. They look as though they’re holding hands. The worlds above and below the ocean’s surface - like the boy and his reflection - provide the origin for Amanda’s collection, in which diverse textures are blended from industry surplus textiles through techniques of zerowaste and up-cycling. Knotting techniques recall the abandoned fishing nets that litter the world’s shores. “I am saddened to live and work in a world where clothing consumption is a growing problem,” says Amanda, who is currently studying Fashion Design at the Beckmans College of Design, Stockholm. “Fashion is such an inspiring, dream-like industry to work in. We must take collective responsibility to achieve effective change. We

need to challenge our design processes and our ways of thinking.” Her vision is a beautiful, positively contributing fashion system both for the industry, and the way people consume. “I like the feeling of solving equations that will contribute to a healthier planet. Being a fashion designer today is both exciting and challenging.” “I believe small steps are being taken to create a better industry, but I also think that it can be improved more efficiently. The EcoChic Design Award is a perfect example of demonstrating how industry can take a more considered, mature and responsible approach, to encourage people to contribute to a better industry.”



Meet the finalists 認識總決賽者

Fashion is such an inspiring, dream-like industry to work in. We must take collective responsibility to achieve effective change.

時裝是一個啟發人心、如夢般 的行業,我們必須承擔集體責 任,以帶來有效的改變。

在 Amanda Borgfors Mészàros 的「衣酷適再生時尚設計」概念板 中,一張照片於云云有力的影像中脫穎而出。一名躍進水中的男孩與 其在水中的倒影接合,看起來像是手拉著手。 水面和水下的世界-如同男孩與其倒影-為 Amanda  的時尚系列提 供了起步點。其設計透過零廢棄和升級再造這兩種設計技巧,將業界 不同盈餘織品的紋理混合。而打結技巧使人聯想起被棄置在各地岸邊 的漁網。 現於瑞典斯德哥爾摩貝克曼斯設計學院  (Beckmans College of Design)  修讀時裝設計的 Amanda  表示:「我對自己生活和工作在 過度消費的世界裡感到難過。時裝是一個啟發人心、如夢般的行業, 我們必須承擔集體責任,以帶來有效的改變。另外,亦要挑戰我們既有 的設計流程和思維方式。」

她的願景是「美好的、正面的時裝體系能為業界和消費方式帶來轉 變」。她解釋:「我很喜歡為改善地球而解決問題。對當代時裝設計師 來說,這是既使人興奮,又充滿挑戰的行業。 」 「我相信微小的進步也能創造更好的業界,同時亦相信它會變得更有 效率。『衣酷適再生時尚設計』是一個非常適合的例子,去展示業界可 如何採取更周詳、成熟又負責任的方法,並鼓勵人們為更好的時裝業 作出貢獻。」



Slim pencil skirts and sassy halternecks, upcycled and reconstructed from industry surplus and coloured with natural dyes, make up Claire Dartigues’ EcoChic Design Award collection which is inspired by polluted rivers. “Sustainable fashion has become a nonnegotiable action that all brands and designers must adopt if we are to protect our people and our planet,” says the Parisborn fashion designer, currently living in New York. “It should be as normal to be communicating sustainable values for fashion as it is to add the perishable date on food packaging.” Thinking about the environment came early to Claire, who holds a degree in Fashion Design from Parsons School of Design, New York and a Masters in Luxury Management in


Europe and Asia from Paris Dauphine University. “I grew up in a family where we used to recycle everything: I was raised with the spirit of ecology.” The world of sustainable design came later. “I was asked to develop a zero-waste product for a class at Parsons. At the beginning, I was very confused but the research gave me the desire to go deeper. Becoming a sustainable fashion designer is a way of protecting the world and people, while allowing the fashion dream to go on.” Her learning curve has been steep but fulfilling. “The biggest challenge is to keep sustainability in mind throughout all the creative and production processes,” says Claire. “I learnt everything from my grandmother and my mother, who are incredible dressmakers and taught me how to start and finish a piece, which are the most complicated things for a designer! The secret is planning and choices.”

Meet the finalists 認識總決賽者

Sustainable fashion has become a non-negotiable action that all brands and designers must adopt if we are to protect our people and our planet.

如要保護人類和地球,可持續時裝定當成為所有品牌和設計師 必須採取的方向。

貼身鉛筆短裙和時髦掛頸上衣,都是由業界盈餘紡織品升級再造及重 新構造而成,並以天然染料著色,從而組成了 Claire Dartigues  的 「衣酷適再生時尚設計」系列。其靈感源自於受污染的河流。 現居於美國的法籍設計師 Claire 說:「如要保護人類和地球,可持續 時裝定當成為所有品牌和設計師必須採取的方向。傳播可持續發展的 價值觀是尤其正常,應像在食品包裝上看見有效日期般尋常。」 Claire 擁有紐約帕森斯設計學院 (Parsons School of Design) 時裝

設計學士學位,以及法國巴黎第九大學 (Paris Dauphine University) 歐洲與亞洲奢侈品管理碩士學位。她早已關注到環境議題,「我成長 於一個慣於回收物品的家庭,從小便對生態學有所認識」。

而踏進可持續設計的世界則是後來的事,「在帕森斯設計學院讀書 時,我被要求為課堂設計出一件零廢棄產品。開始時非常迷惘,但在 做資料搜集期間,卻燃點了我的求知慾,想了解得更深入。成為可持續 時裝設計師是保護世界和人類的一種方式,同時繼續追尋時裝夢。」 學習的過程一直舉步維艱,慶幸最終能付諸實現。 Claire 表示:「最 大的難處是要在整個創作和製作過程中保持可持續發展的想法。我所 有東西都是從外婆和母親身上學。她們是出色的製衣人,教我如何開 始和完成一件衣服,這對設計師來說是最複雜的事情。而秘訣就在於 計劃和選擇。」


promote compassion for the planet,” she says. “Knowing my designs can motivate people to make better fashion choices is the best gratification I could ask for.”

Sustainable design is my medium to promote compassion for the planet.

The sustainable underpinnings of her work are born from her concern about animal welfare. “I learnt about the detrimental effects of the fashion industry when I became a vegan,” recalls Lina, who holds a degree in Fashion Design from Parsons School of Design, New York. “Every year, millions of animals are killed by the fashion industry and people still don’t understand why this matters…”

可持續設計是一種宣揚對 地球關懷的媒介。

For her EcoChic Design Award collection, Colombian-born Lina Mayorga was influenced by the 17 Sustainable Development Goals of the United Nations. She created a collection featuring hoodies, patchwork coats and corsets, all crafted from up-cycled textile waste and reconstructed garment sampling waste.

The use of fashion as a vehicle for wider beliefs is important for the designer and blogger. “Sustainable design is my medium to

“I decided that, if I was going to change my personal habits, I must also change my method of design,” she continues. “It would be irrational to advocate for only one environmental concern while continuing to harm the planet with unsustainable designs.” No wonder then that punk activist Vivienne Westwood is Lina’s dream dinner guest. “Westwood showed me the role fashion can play in society and politics,” says Lina. “Stella McCartney designing without animal-derived materials inspired me to stay true to my morals. Yamamoto’s mix of tailoring and avant-garde showed me that innovation starts with the designer.” “Fashion and sustainability should not be mutually exclusive,” she concludes. “They should be mutually beneficial to create a better world for future generations.”



Meet the finalists 認識總決賽者

於哥倫比亞出生的 Lina Mayorga,受到聯合國 17 個可持續發展目標的啟發,由此創造出她的「衣 酷適再生時尚設計」系列,以升級再造和重新構 造技巧將紡織廢料及服裝樣品製成連帽衛衣、 拼布大衣及緊身胸衣。

她補充:「我決定,如果我要改變個人習慣,也必須同時 改變我的設計方法。當我注意一個環境問題,卻繼續以 不可持續的設計傷害地球,這是不合理的。」

利用時裝來傳遞信念對這位設計師兼博客而 言是至關重要的。她說:「可持續設計是一種宣 揚對地球關懷的媒介。最大滿足感莫過於看到 自己的設計有鼓勵他人作出更好時裝抉擇的作 用。」

怪不得龐克風社會倡議者薇薇安‧魏斯伍德(Vivienne Westwood)會是 Lina 最希望一同共進晚餐的貴賓。她 表示:「薇薇安‧魏斯伍德展示了時裝可在社會和政治 中扮演一定角色。」她續說:「斯特拉‧麥卡特尼 (Stella McCartney) 的設計並無使用任何動物物料,驅使我更 堅守個人道德。而山本耀司揉合裁縫與前衛技術的概 念,向我展示了創新是由設計師做起。」

她的可持續設計基礎源自於她對動物福利的關 注。擁有紐約帕森斯設計學院 (Parsons School of

她總結:「時裝和可持續發展不應是相互排斥。它們是 互為有益,可為後代創造更美好的世界。」

Design) 時裝設計學位的 Lina 憶述:「當我成為素 食主義者時,隨之認識到時裝界所帶來的負面影 響。每年,數以百萬計的動物都被時裝界殺害,而 人類仍漠視箇中的重要性...」




I’m only happy with a design if I know I’ve done everything to ensure it has minimal impact on the world.

當我知道自己已盡全 力,來確保設計對地球 的影響被降至最小時, 便感到十分高興。


First Prize Winner


K ate Morris’ journey into fashion began with the desire to use her creativity to create functional items of beauty that could help change attitudes to fast fashion. Her medium? The traditional craft of knitwear, up-cycling end-of-line yarns and reconstructing secondhand knits, into a bold, often humorous set of garments inspired by Pop Art and 1960s psychedelia. “The concept behind the collection is technology and handcrafts working in harmony to eliminate material waste, as well as saving unnecessary energy, time and labour,” says the London-based designer. Knitwear machinery allowed garments to be made in one piece, without cutting and earning them zero-waste status. Time saved was

Meet the finalists 認識總決賽者 spent handcrafting details to clothing, creating a tactile interchange between garment and wearer. Kate’s biggest challenge in creating a sustainable collection is tracing where the materials came from and who made them. “There’s such a long, complex supply chain,” she says. Luckily, the Masters graduate from Nottingham Trent University enjoys a challenge. “I get a lot of pleasure from working within boundaries and overcoming problems to produce designs with a story. I’m only happy with a design if I know I’ve done everything to ensure it has minimal impact on the world. It’s very rewarding when you can prove to people you don’t have to compromise on superior design to create a product that will work long term.” For Kate, the designer is just one point in the longer supply chain of sustainable fashion with each element - from planter to manufacturer - working to reduce impact on the planet and its people. Her dream? “To run my own successful vegan knitwear brand and to contribute to changing people’s attitudes towards fast fashion and to persuade people to buy less, choose well, recycle and re-use.” K ate Morris 的時裝旅程始於一個願望:創造具備功能性又美觀的物

品,從而改變人們對快速時尚的態度。其採用的物料?整個時尚系列 結合了傳統針織工藝、升級再造盈餘紗線,以及重新構造的二手針織 品,是一個充滿普普藝術風和 60  年代迷幻風格的大膽幽默之作。

這位倫敦設計師表示,「該時尚系列背後的設計概念,是要通過科技與 手工藝的和諧結合,以減少廢棄物料和不必要的能源、時間和人力消 耗」。利用針織機織成的衣物可達至無縫、無剪裁的效果,甚至為衣物 嬴得零廢棄的美名。所節省的時間可用作衣物手工細節加工,為穿著 者和衣物帶來一種相依相偎的觸感。

Kate  在製作可時續時裝時遇到最大的挑戰,便是追蹤物料來源,以

及找出物料製作者:「整條供應鏈真是又長又複雜。」幸運的是,這位 來自英國諾丁漢特倫特大學的碩士畢業生將這個挑戰視為一種享受。 「我非常享受在界限之間工作和解決問題,創造出有故事的設計。當 我知道自己已盡全力,來確保設計對地球的影響被降至最小時,便感 到十分高興。加上若你可向他人證明,無須在高級設計上作出妥協,便 能創造出耐用的設計,那是件非常成功的事。」 對 Kate  而言,設計師僅是長長的可持續時裝供應鏈的其中一環。當 中上至農民下至製造商等元素及參與者,都在為減少時裝對地球和人 類的影響而努力。她有什麼夢想?「我希望建立一個成功的純素針織 品牌,並繼續改變人們對快速時尚的態度,冀他們在們購物時做到重 質不重量,甚至回收或是重複穿著。」


Joëlle van de Pavert’s interest in sustainability has a genesis that many people around the world will recognise. “I used to be an overconsumer, driven by the satisfaction of a purchase - at times I still am - but I began to hate my compulsive need to buy too often,” she says. “As a fashion designer, I asked myself: why couldn’t I appreciate garments more?”

knitted and tailored pieces energised with asymmetric lines and pleat detailing.

A degree from ArtEZ, University of the Arts in the Netherlands, led to a greater recognition of the value of good tailoring and design as well as her interest in many different ways a fabric can be worked and transformed to a create a series of never-ending stories.

Her days as an over-consumer continue to influence her work. “It’s the one thing I’d like to change about the fashion industry today,” she muses. “I want people to appreciate design more, instead of just buying for the sake of it. Through my own exploration with textile waste, I hope to inspire behavioural change, encouraging a shift away from what has become one of the most challenging human issues of our time: overconsumption.”

For her collection, Joëlle applied techniques of zero-waste, upcycling and reconstruction to a range of textiles, creating a fusion of

“I enjoyed making a collection with materials I’d forgotten about and bringing them altogether,” says Joëlle. “And I’m pleased to see when it works, creating new purpose for the materials.”



Meet the finalists 認識總決賽者

I hope to inspire behavioural change through my own exploration with textile waste.

我希望透過對紡織廢料的探索, 激發他人作出行為轉變。

J oëlle van de Pavert 對可持續發展

萌生興趣的起源, 或許不少人也感似曾 相識。她說:「我曾是過度消費人士, 至今偶爾仍是,藉消費以獲得滿足感。 但我開始討厭自己是一個過度消費者 的事實。作為時裝設計師,我經常問 自己:為何不能更欣賞衣物?」

荷 蘭 阿 爾 特 茲 藝 術 大 學  ( A r t E Z , University of the Arts) 的學位課程, 使 她 更 能 認 識 到出色 剪裁 和設計 的價值,並對許多不同的方式感興 趣,令一種織品可交織出一組永恆 的故事。

Joëlle  的參賽系列將零廢棄、升級再造和重新 構 造 這 三種 設計技 巧應 用在一系列的 紡織 品 上,創造出針織交融、量身打造、佈滿不對稱線 條和褶皺的設計。 Joëlle  說:「我喜歡將自己已遺忘的物料組合於 一起,以製成時尚系列。每當成功(為物料)創 造出新的用途,我會感到很高興 。」 消費者的身份繼續影響著其工作,她認為:「其 中一件我想改變當下時裝界的事情,是令人們 更加欣賞設計,而非僅僅為了購買而購買。透過 我對紡織廢料的探索,激發他人作出行為轉變, 改善這個時代最具挑戰性的人類問題之一:過 度消費。」


Educating designers



competition opens



The Redress team travelled Asia, Europe and the USA, reaching around 1,300 students with a series of 38 lectures and workshops about the competition and its principles. Redress 分別在亞洲、歐洲和美國 舉辦了一共 38 場有關比賽及其綱 要的講座和工作坊,接觸約 1,300 名學生。

With the support of 90 institutions worldwide, the competition opened in January 2017 to Asia, Europe and, for the first time ever, the USA. 在全球 90  個機構的支持下,本 屆比 賽 於 20 1 7  年 1  月揭 幕, 歡 迎 居住在亞洲及歐洲人士參 加,並首次開放予美國。




Judging applications



Realising designs



This year in the seventh and largest cycle of the competition to date, Redress received a recordbreaking number of applications from 46 countries, from designers determined to cut waste out of fashion. From these, 24 semifinalists and then 10 finalists were chosen. 比賽今年踏入第7屆,並是迄今為止 最大型的一次。Redress收到來自 46 個國家的破紀錄申請,從中篩出 24 名準決賽者和十名總決賽者,全都 致力於減少時尚浪費的工作。


The finalists were given 10 weeks to explore different waste streams using one or more of the different techniques of zero-waste, upcycling and reconstruction, translating what they learnt into a six piece collection. 十名總決賽者花了十週時間,運用 零廢 棄、升級再造 和重新構造 這 三種 設計技巧,來 探索不同的廢 物流,並將他們所學的,應用在一 共六件的時尚系列中。

For emerging designers, the road to the EcoChic Design Award final offers a rich, exciting learning journey, inspiring and enabling them to positively contribute to a circular economy for fashion. 對新晉設計師而言,「衣酷適再生時尚設計」總決賽之旅既是個豐富又令人興 奮的學習旅程,同時又能啟發他們,使之能積極地促進時裝界的循環經濟。

Photo credit: Seven Continents

Fashion Shoot



From a combined distance of 40,000 miles, the finalists’ collections were transported to Hong Kong, where they were styled by Sean Kunjambu and photographed by leading photographer Wing Shya in an edgy, energy-filled shoot, called ‘Fresh Fight’. 總決賽者的參賽作品橫跨了 40 萬 英里,終抵達香港。不僅由 Sean Kunjambu 負責設計造型,並由首 席攝影師夏永 康 親自操 刀,拍攝 艷光四射的照片。

Arriving in Hong Kong


8 dayS

Finalists arrived in Hong Kong to embark on an inspiring eightday journey of workshops and challenges, exploring issues of uniform waste, customer care and design to manufacturing - as well as model fittings, rehearsals and the all-important pre-judging. 總決賽者抵步後,即展開為期八日 的工作坊和挑戰自我活動之旅,以 探索棄置制服的議 題、消費者護 理、與設計和生產有關的問題。另 外,模特選秀、採排及重要的評委 預審亦會隨之進行。

Grand Final




The EcoChic Design Award Final took place at HKTDC’s fashion week CENTRESTAGE on 7 September to a 600 strong, international fashion audience. The event was also livestreamed worldwide. 「 衣 酷 適 再 生 時 尚 設 計 」總 決 賽,會 於香港貿易發展 局主 辦的 CEN T R ES TAG E  時 裝 週舉 行, 向 600 位強勁的國際時裝界人士 展示。本次活動亦設有全 球 網上 直播。

After the show




The finalists’ work will be exhibited at venues across Asia and Europe, including Hong Kong’s Hysan Place and the Fashion for Good Centre in Amsterdam. The second edition of Frontline Fashion, Redress’ documentary about the competition and its designers, will air on Lifetime throughout Asia. 總決賽者的作品將於亞洲及 歐 洲 各 地 展 出,包 括 香 港 希 慎 廣場和阿姆斯特丹 Fashion for Good Centre。紀錄片《時尚先鋒 Frontline Fashion》是有關 Redress 主 辦 的 比 賽 和 其 參 加 者,將 於 Lifetime Asia 播出。



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The EcoChic Design Award judges represent the creme de la creme of sustainable industry expertise. Drawing from the worlds of retail and design, making and manufacturing, the judges looked for qualities of creativity, originality, sustainability, marketability and craftsmanship in the work of the participants. Special thanks goes to the regional judging panels, who shouldered the tough role of shortlisting the entries. They are Michelle Bang, Co-founder and CEO of BYT; Catherine Chiu, General Manager, Corporate Quality and Sustainability Department of Crystal Group; Sabyasachi Mukherjee, Fashion Designer; Vega Wang, Fashion Designer; Queennie Yang, Managing Editor of The Business of Fashion China; Reet Aus, PhD, Designer and Researcher; Christopher Ræburn, Fashion Designer; Magdalena Schaffrin, Co-author, Fashion Designer and Co-founder of the GREENshowroom; Stefan Siegel, Founder and CEO of Not Just a Label.

「衣酷適再生時尚設計」評審委員是可持續行 業的頂尖專家。由零售與設計、製作到生產過 程,他們冀在總決賽者的作品中看到創意、原創 性、可持續性、市場認受性和工藝技巧這幾個特 質。 特別 鳴謝 地區評 審團,他 們 肩負 起 篩 選 入 圍 者此 艱 鉅 任 務,當中包 括  BY T  首席 執行官 Michelle   Bang、晶苑集團集團品質及可持續 發展部總經理趙玉燁、時裝設計師 Sabyasachi Mukherjee、時裝設計師王在實、《BoF  時尚 商業評論》編輯總監 Queennie Yang、身兼博 士、設計師及研究員的 Reet Aus、時裝設計師 Christopher Ræburn, 身兼作家、時裝設計師 及 GREENshowroom 聯合創辦人的 Magdalena Schaffrin 以及 Not Just a Label 創辦人兼首席執 行官 Stefan Siegel。

Queennie Yang Regional Judge 地區評審

I’m delighted and surprised to see so many talented designers who have such enthusiasm for conscious fashion. Some show great potential in their innovative approach and balanced thinking on both the sustainability and business side of the equation. 諸位才華洋溢的設計師對可持續時裝的熱情讓我感到非常高興和讚嘆。當中幾位設計 師在創新方法及尋找可持續性與商業之間的平衡表現出巨大的潛力。

Meet the JUDGES 認識評審委員

Redress’ EcoChic Design Award is doing the important work of galvanising the next generation of sustainable designers and paving the way for a bright future in fashion. Judging proved quite challenging as there was so much amazing talent. I can’t wait to see who will end up ultimately winning and working with our team at BYT!

Redress  主辦的「衣酷適再生時尚設計」,為培育新一代可持續設計師作出重要的工作,同時亦

為時裝界的光明未來而鋪路。當中有許多令人讚嘆的人才,由此證明這項比賽是富有挑戰性。我 迫不及待想揭曉誰最終會與 BYT 團隊合作!




Previously Chief Operating Officer of Redress and currently a board member, Michelle is a fashion and business expert who is now CEO and Co-founder of BYT, the new up-cycled fashion brand borne from the work of Redress.

As Co-founder of Estethica, London Fashion Week’s platform for sustainable brands, and of Fashion Revolution, Orsola is a seminal advocate for better practices in the fashion industry, and she regularly speaks at universities and fashion summits around the world.

With 20 years of experience, Joanna, currently Chief Brand Officer at Lane Crawford, has played a key role in high profile store launches across Hong Kong and China.

Redress 前首席執行官,目前是董事會成 員。Michelle 不僅是名時裝及商業專家, 亦是 Redress 姊妹品牌丶新興升級再造 時裝品牌 BYT 的首席執行官。

作為倫敦時裝週可持續時裝展銷 會  Estethica  及時尚革新  (Fashion Revolution)  的聯合創辦人,Orsola 是驅 動更好時裝未來的倡議者,並定期於世 界各地的大學和時尚峰會上發表演講。

擁有 20 年經驗的 Joanna ,現為連卡佛 的首席品牌官,於支持中國及香港開設分 店中扮演著關鍵角色。





Central Saint Martins graduate Johanna Ho is a fashion designer with a strong sustainable philosophy. Her brand is sold in 40 retailers internationally.

Anderson is Board Member of the Sustainable Apparel Coalition. He is a highly respected apparel technical expert and a leader in promoting sustainable business practices.

Chairman of TAL Apparel Limited (TAL), Dr. Lee was appointed Managing Director of the company at its establishment in 1983. TAL Apparel now has over 26,000 employees and continuously strives to minimise its environmental impacts.

畢 業 於 中 央 聖 馬丁 藝 術與 設 計 學 院 的 何志恩,擁有強大的可持續發展信念。 40 家國際零售商亦有出售其品牌設計。

李明威 是可持 續 發展 成 衣聯盟 (Sustainable Apparel Coalition) 的董事 會成員。他不僅是位備受尊崇的成衣技 術專家,亦是促進商界實施可持續發展 的領導者。

聯 業 製 衣 有 限 公司 主 席 李 乃熺 博 士, 於 1983 年被聯業集團任命為總經理。 聯業集團現有逾 26,000 員工,不斷致 力於盡量減少對環境的影響。







The First Prize Winner will join the design team of BYT - the new and audacious Hong Kong up-cycling fashion brand that is set to prove that fashion can be a force for food - to create an up-cycled collection for retail on BYT’s e-commerce platform. Plus, the winner’s collection will feature prominently in an installation at Asia’s leading iconic luxury department store, Lane Crawford. This winner will also receive a sewing and overlock machine from Juki. 第一名獎項得主將加入香港大膽、新興的升級再造時尚品牌 BYT 設計 團隊,為其網上商店設計一個升級再造時尚系列。品牌旨在證明時尚 可成為不可或缺的力量。另外,獲獎系列亦會於亞洲首屈一指的精品 百貨連卡佛展出。此得獎者亦將獲得 Juki 縫紉及包縫機。


2 | LEARNING FROM THE BEST 頂尖指導 The Second Prize Winner will receive a tailored mentorship with one of the most influential figures in sustainable fashion, Orsola de Castro, who has nurtured many pioneering names, from early designers to established brands. The mentoring will give expert, targeted support to this winner. 第二名獎 項 得主 將 獲 得,由可持 續 時 裝 界 中其中一 位 最 顯 赫人物 Orsola de Castro  負責的量身打造啟導計劃。她曾培育出無數時尚先 鋒,從新晉設計師到知名品牌。此計劃會向得獎者提供專業並導向的 支持。

3 | A BRUSH WITH CELEBRITY 轉瞬成名 Hong Kong indie singer-songwriter Ellen Loo will select a Special Prize Winner to produce a show stopping sustainable outfit for her to wear. Collaborating closely with Ellen, this winner’s design will showcase how textile-waste can be used to change mindsets. 香港獨立唱作歌手盧凱彤 (Ellen Loo) 將親自選出「特別獎項」得主, 為她創造一件可持續演出服裝。這次與盧凱彤的緊密合作,將展示紡 織廢料的用途,以改變全球觀眾的思維方式。



All finalists will receive a prize package including a six-month subscription to Bloomsbury Fashion Central’s unparalleled online Berg Fashion Library and a 12-month membership to the Common Objective (CO) community platform. Finalists will also appear in season II of Redress’ documentary, Frontline Fashion and have their designs join various public exhibitions. Finally, each will receive a Seven Continents mannequin upholstered with surplus textiles.

From the semi-finalists, it was Israeli designer Lia Kassif who impressed the global public, to win the People’s Choice Prize through online voting. Her prize includes promotion across Redress’ social networks and a copy of The Handbook of Design for Sustainability, by Stuart Walker (Bloomsbury).

所有總決賽者均獲得豐富獎品,包括 Bloomsbury Fashion Central  旗 下的 The Berg Fashion Library 六個月網上訂閱會籍,以及瀏覽社區 平台 Common Objective (CO) 的 12 個月會籍。另外,總決賽者將 參與 Redress  紀錄片《時尚先鋒 Frontline Fashion》第二季的拍攝, 而其參賽作品亦將展出於各項公開展覽。最後,他們將收到由 Seven Continents  提供,利用優質盈餘紡織品製成的人體模型。

5 | MUSIC MEETS FASHION 音樂碰時尚 To further support talent in Hong Kong, Redress has teamed up with Ear Up Music to match rising stars from sustainable fashion and entertainment. As ‘Hong Kong Best’ designer, Gao Qing Zi will create a unique outfit for rising indie musician, Linda Chow Wah-yan, to be worn during her appearance on Ear Up Music’s music tour. 為支持香港人才,Redress 正與「搶耳音樂廠牌計劃」(Ear Up Music) 合作,將時裝界新星及音樂界的明日之星結合起來。「最傑出香港獎 項」得主高青紫,將為香港獨立音樂人周華欣創造一件别具一格的服 裝,讓她在「搶耳音樂廠牌計劃」的表演中穿上。



在云云準決賽者當中,以色列設計師 Lia Kassif  令全球觀眾讚嘆不 已,經網上投選,勇奪「人氣大獎」的殊榮。她將獲得  Redress  在 社交平台上推廣,以及由  Stuart Walker (Bloomsbur y)  撰寫的 《 The Handbook of Design for Sustainability 》一本。

7 | BUILDING NETWORKS 建立網絡 Alumni designers are also given recognition this cycle with Cora Bellotto receiving a customised business development mentorship with Arnault Castel, owner of independent Hong Kong retailer kapok, with her collection stocked in store. Angus Tsui will receive a 12-month business membership to the CO platform, allowing him to showcase his work to like-minded organisations and make invaluable industry connections. 部分歷屆參賽設計師同樣在本屆比賽中被獲肯定。 Cora Bellotto 將 獲得由成功獨立香港零售商 kapok 創辦人 Arnault Castel 量身打 造的業務發展啟導計劃,其時尚系列亦將於門市出售。而徐逸昇亦將 獲得由 CO 平台提供的 12 個月商業會籍,讓他不僅可向志同道合的 組織展示個人作品集,還能與業界建立寶貴的網絡。


Photo credit: EAR UP MUSIC


Photo credit: LIA KASSIF

Photo credit: CORA BELLOTTO

Rewriting Rewriting the theRules Rulesof of Fashion Fashion 重譜時裝定律 重譜時裝定律 Written by 作者 Bel Jacobs

The quest to create positive change in fashion just moved one stylish step forward. Enter BYT, the pioneering new designer up-cycled brand born from Redress’ 10-year history.

Based in Hong Kong, BYT offers an almost orchestral movement for change within the industry. “Doing something to transform fashion calls for a brave, holistic approach,” says Redress’ founder and BYT’s Co-founder, Christina Dean. “BYT will show the world how sustainable fashion can fulfil its potential - for people, planet and profit - by ambitiously proving that fashion can be a force for good.” “We believe that business can be an agent of change,” says Michelle Bang, BYT Co-founder and CEO. “Pushing boundaries to do the best thing possible is at the core of what we do. Being bold calls for a bit of magic too.” And where better to find that magic than amongst the EcoChic Design Award’s own hyper-talented competitors and alumni? As part of its unique structure, BYT works with


emerging designers who want to tackle the industry’s problems head-on.

Bringing the concept to life, BYT’s first collection - classically cut jackets injected with contemporary twists and crafted in beautiful mixes of rescued fabrics – has been created by Kévin Germanier and Victor Chu, both previous prize winners of the EcoChic Design Award 2014/15. Next up to join the team will be the 2017 cycle winner. BYT has already gathered exceptional industry support in a collaborative effort to shift the fashion ‘business as usual’ needle. In addition to multiple luxury fashion brands - from where the surplus quality fabrics, trims and accessories used in the brand have been saved from landfill and incineration the brand is also working with key partner TAL, Asia’s leading manufacturer with a focus on sustainable production. What’s coming up in the future is just as exciting: design collaborations with other brands and manufacturers are in the works.

BYT - which is code for new attitudes around lifestyle and fashion, whether this means ‘Be Yourself Today’ or ‘Begin Your Tradition’ - is also about creating new ways of consuming, including valuing the pieces themselves, as they deserve to be. “Even though it’s at odds with being a commercial brand, we don’t want to perpetuate the cycle of buying more and more,” says Michelle. “That’s why pieces can be bought or rented and later returned to BYT for repair or recycling.” “We want BYT customers to buy into our belief that fashion is something that is loved and cared for. With BYT, the huge mission to inspire change in the fashion industry has finally begun.” BYT’s first collection retails at www.bytlife.com, Barneys in New York and Lane Crawford in Hong Kong from September 2017. 10 per cent of BYT’s profits will go to Redress. Follow BYT @BYTLife_ on Instagram

Rewriting the Rules of Fashion 重譜時裝定律 時裝界在追求正面轉變方面,剛邁進了型格 的一大步。具開創性的新興設計師升級再造 品牌  BY T,為  Redress  成立十週年的結精 品,亦將正式面世。 以香港為基地的  BYT  無疑在業內奏響了變 革的樂章。 Redress 創辦人兼 BYT 聯合創 辦人丁潔絲說:「要推動時裝變革,就得採取 大膽、全方位的策略。BY T  將向世界展示可 持續時裝可如何充分發揮其潛力,不管是對 普羅大眾、地球,還是在涉及利益方面,均有 著正面影響。」

BY T 的另一位創辦人兼首席執行 官 Michelle Bang 則表示:「我們相信企業

能擔當推動變革的角色。打破界限去盡力地 做最美好的事情,甚至大膽追求那神來的一 筆,都是我們的核心理念。」

而要找到這神來的一筆,又有什麼比「衣酷適 再生時尚設計」這個滙集優秀比賽者和歷屆 參賽者的平台更為適合呢?  BY T  其中一個

最獨特的地方就在於,所合作的設計師,均是 一眾致力於解決時裝界問題的新晉設計師。

B Y T   成 功 將 這 個 概 念 帶 到 生 活。品 牌 的 首個 設 計系列 是 由   20 1 4 / 1 5   年 度「衣 酷 適 再生 時尚設 計」兩 位 得 獎 設 計 師   Ké v i n Germanier  和朱 承康聯合創作而成。他們

BY T -  是一種嶄新生活時尚態度的代碼。 無論這是意味著「活出自我」( Be Yourself Today),還是「打造個人風格」(Begin   Your Tradition),它都代表了一種全新消費模式的 建立,包括一份對衣物本身價值應被重視的 尊重。

在經典剪裁外套中注入了濃厚的當代魅力, 再將艷麗的回收棄置織品裝飾加工而成。而 贏得  2017  年度比賽的第一名得主亦將加 入 BYT 的設計團隊,設計下一個升級再造系 列,並在連卡佛百貨公司發售。

Michelle 表示:「對於一個商業品牌而言,這 樣說雖然有點奇怪,但我們真的不希望人們 走進不停消費的惡性循環。因此,我們的衣物 提供購買或出租這兩種模式,更可將衣物帶 回至 BYT 進行修補或回收。」

BY T  已 獲 業界 鼎力支 持,共同努力來 扭轉 時裝界所謂「正常」的觀念。BY T  除了從堆 填 區 和 焚 化 爐 中,拯 救 多 個 奢 侈 時 裝 品 牌 的高級盈餘織品、飾邊及配飾外,他們也跟 其 主 要 合 作 夥 伴、亞 洲 領 先 生 產 商 聯 業 製 衣 (TAL ) 合作。聯業製衣一直致力於可持續 生產。而 BYT 未來的發展會有什麼叫人興奮 的計劃?那就是與其他品牌及生產商進行設 計合作。

「我 們 希望 BY T 的顧客能 認同我 們 的 理 念:時 裝 是 種 需 要 被 愛 和 關 心 的 東 西。 而  BY T  宏大的 使 命將啟發 時 裝界 推 動 變 革。」

BYT 首個時尚系列將由 2017 年 9 月起,於 www.bytlife.com、巴尼斯紐約和香港連卡佛 出售。而其 10% 利潤將捐贈予 Redress。 在 Instagram 上關注 BYT @BYTLife_



Photo credit: FABSCRAP


Photo credit: AVAMETRIC

InnovatiNG FOR A BETTER FUTURE 創出更好未來 It’s never been a more exciting time to be a sustainable designer as social and tech innovators respond with positive solutions to a new energy in the industry. Here are some of the communities finding new ways around old problems.

能成為可持續設計師是件激動人心的事,擔當社會 與技術創新者的重任,為行業提供積極的解決方 案。以下是業界為常在問題尋求新方案的例子。






Photo credit: JIAREN


Photo credit: ReTuna



58 Photo credit: QUEEN OF RAW

Photo credit: PROVENANCE

Photo credit: LENZING

Photo credit: DENIM CITY




WASTE TO RESOURCES 轉廢為盈 www.fabscrap.org

FINDING YOUR FIT 衣之合身 www.avametric.com

BRINGING PEOPLE TOGETHER 團結一致 www.commonobjective.co

FabScrap picks up fabric scraps from businesses in New York and then combs through them for pieces that can be sold on to artists and emerging designers. During its first year of operation, the non-profit recycled more than 55 per cent of the 22,000 pounds of fabric it collected, amply demonstrating the potential in textiles normally regarded as waste.

Returns cost online stores £20bn a year; that’s a lot of frustration, postage and road miles. Fashion software company Avametric has developed a virtual fitting technology, which means that, once body measurements have been scanned and stored, Avametric can sync customers with an online store to make sure they get exactly the right fit.

For fashion labels trying to make better choices, finding the right suppliers, buyers and experts to work with can be tricky. Common Objective - aka CO - aims to help. Launched by the Ethical Fashion Forum, the platform draws on their sprawling 141 country-wide network to find the perfect matches for your business.

網上商店的退貨成本每年高達 200 億英鎊, 這不僅令人感到非常沮喪,亦需許多郵費和 路程。時尚軟件公司 Avametric 開發了虛擬 試衣技術,意味著一旦身體經掃描、數據被收 集後, Avametric 便可將數據與網上商店同 步,以確保消費者買取合身的衣物。

對時裝品牌來說,嘗試做出更好選擇、尋找合 適供應商、與理想買家和專家合作,也許有點 棘手。Common Objective,又名 CO,則樂 意提供協助。平台由 Ethical Fashion Forum 成立,利用道德時尚論壇延展至 141 個國家的 全國性網絡,為你的業務覓得完美搭檔。

FabScrap 從紐約的企業群中挑選織品碎屑,

然後整理出可售賣給藝術家和新興設計師的 物品。在其營運的第一年,以非營利形式、於 22,000 磅織品中收集了逾 55% 的可回收織 品,充分顯示了被視為「廢料」的所有潛力。




JEAN GENIES 牛仔的變法 www.denimcity.org

REDIRECTING WASTE 廢料再造 www.jiarenrecycle.com

BETTER SHOPPING 自覺購物 www.retuna.se

Based in a former tram repair workshop in Amsterdam, Denim City brings together designers, students, brands and academics to re-invent one of the world’s best-loved but most environmentally stressful fabrics: denim. Ideas of craftsmanship and collaborative innovation influence an energetic range of workshops and resources.

At the forefront of fibre innovation, Japanbased enterprise Teijin is joining forces with China’s Jinggong Holding Group for a recycling plant in ZheJiang Province, projected to process up to 70,000 tons of polyester per year into ‘new’ fibres. The plant will use ECO Circle Technology, boasting a quality equal to that derived directly from petroleum.

The shopping mall of the future finally opens its doors. At ReTuna Återbruksgalleria, in the Swedish city of Eskilstuna, donated furniture, bikes, clothing and household items are given new life and then sold at one of the mall’s beautiful 14 stores - all of which have to operate in environmentally conscious ways. Just a joy.

Denim City 位於荷蘭阿姆斯特丹的前電車維 修間,旨在將設計師、學生、品牌和學者集結 一起,重新創造世上最受歡迎卻對環境極大 負擔的織品之一 - 牛仔布。工藝與創新合作的 理念對一系列充滿活力的工作坊和資源產生 影響。

日本企業「帝人」(Teijin) 走在纖維創新的前 線。企業正與中國精功集團合資在浙江省組建 回收再造工廠,預計每年將加工高達 7 萬噸 聚酯纖維成為「新」纖維。工廠將使用 ECO Circle Technology,其質量相當於直接來自石 油的質量。

商 場 亦 將 敞 開 大 門,迎 接 新 未 來。瑞 典 埃 斯 基 爾 斯 蒂 納 的 一 個 名 為「 R e T u n a Återbruksgalleria」的商場,賦予捐贈家具、自 行車、服裝和家居用品新生命,於商場其中 14 家富特色、以可持續形式運作的商店出售。這 簡直是一種喜悅。




CLOSING THE LOOP 循環不息 www.lenzing-fibers.com/en/tencel/refibra

QUEEN OF RAW www.queenofraw.com

JOINING THE BLOCKS 探討區塊鏈 www.provenance.org

Few fibres tick as many eco-boxes as lyocell. Made from wood cellulose, production is clean and resource-efficient; and the product lyocell itself is recyclable and biodegradable. Now, in a leap further towards circular practices in textiles, leading producer Lenzing introduces Refibra™, fibres made from cotton scraps. Recycled and eco-friendly: who could ask for more?

Designers sometimes struggle to find high-end raw materials; factories and brands struggle to sell excess stock, which may eventually end up in landfill. Tech platform Queen of Raw named a LAUNCH innovator by NASA, Nike and the US Department of State, no less - pairs designers, students and brands with low cost textiles, finishings and even sewing machines.

The journey of a garment is a long one, in which dozens of ethical and environmental slip ups can take place. Enter blockchain technology, in which each step of manufacturing is tracked, from the gathering of raw materials to the finished garment, opening up new possibilities of transparency in the supply chain. The pioneer? Provenance.

少數纖維會像萊賽爾 (lyocell) 般具有可持續 特性。由木纖維素製成、製作過程乾淨和資 源效率極高的萊賽爾纖維,本身已是種可回 收利用和可生物降解的物料。在循環再造紡 織品不斷起飛的世代,世界領先的生產商蘭 精集團 (Lenzing ) 引進了由棉花碎屑製成的

設 計 師 會 努力 的 尋 找 高 質 原 料,工 廠 和 品 牌 亦 努力出售或 將 棄 置 於 堆 填 區 的 盈 餘 存 貨。技術平台  Queen   of   Raw,被 美國航 空航天 局、Nike  公司和美國國務院命名為 「L AUNCH」創新者。許多設計師、學生和 品牌也在此平台上尋找價廉物美的紡織品、飾 邊,甚至縫紉機。

一件成衣的旅程是漫長的,當中可發生數十 種不符道德和破壞環境的事。而區塊鏈技術 可追蹤生產的每個步驟,從原料收集到服裝 成品,以開闢供應鏈透明度的可能性。可持續 時裝先鋒?正是 Provenance。

Refibra™。既可回收又夠可持續:還有什麼更 優秀的呢?


TRAININGTHE TRAINERS 教育家教育 Written by Bel Jacobs  Contributors Hannah Lane, Kay Liu, Mia Shu

In 2005, Dame Ellen McArthur became the fastest solo sailor to circumnavigate the globe. During her journey, she realised just how important her resources were to survival: “Suddenly I realised our global economy is no different,” she told sustainable consultants McKinsey. Today, Dame Ellen is one of the world’s most high profile proponents of a circular economy, in which waste is no longer discarded but becomes, instead, another precious resource. The discussion around the principles and practices of the circular economy is growing - precisely the principles on which Redress has been working since its foundation in 2007. Through the EcoChic Design Award, Redress has reached thousands of emerging fashion designers, raising the awareness of sustainable alternatives in the industry. But recent research has reinforced that much more needs to be done, not least within educational institutes. Over the past year for the ‘Different Ways of Doing’ report, Redress with Dr. Alana M James at Heriot-Watt University and Dr. Alison Gwilt at Sheffield Hallam

University have been digging deeper into just why fashion curriculums on the whole are failing to address the most pressing needs facing the planet today. There is no lack of interest. In a survey amongst fashion designers and students in Asia and Europe conducted in 2017 by Redress, 98 per cent out of 200 respondents thought sustainable fashion education is important and 71 per cent agreed that sustainable education will enable designers to participate in providing solutions for environmental problems. And that interest is mirrored within an industry that is increasingly engaging with issues of sustainability in new and exciting ways. Consider sportswear giant Nike, which has committed to reductions in energy, waste, water use and emissions - and towards becoming a zero waste company by 2020. And consider H&M who have just committed to using 100 per cent sustainable fabrics by 2030. If initiatives like these continue to increase in number, as they are showing every sign of doing, the fashion industry will need students who are primed for a brave new world of design and sustainability.



deemed sustainable fashion education important 認為可持裝時裝 教育是重要的



believe sustainable education will enable designers to provide solutions 認同可持續教育能使 設計師解決問題


received formal sustainability education through their institutions 曾在其所屬教育機構中接受 過正規可持續教育


students are satisfied with current teaching on sustainability

學生滿意其課程中有關可持續 的教學內容

TRAINING THE TRAINERS 教育家教育 However, according to a Business of Fashion 2015 report, 44 per cent of students are satisfied with teaching on sustainability in the curriculum paired with findings from Redress that showed only 13 per cent of respondents had actually received any formal sustainability education through their institutions.

The relationship between Kering Group and LCF demonstrates just what can be achieved when industry meets new talent; more collaborations need to take place as examples of how industry can benefit from pushing boundaries and imagination when engaging with sustainability.

The conditions for change are complex, multi-layered and systemic. The ‘Different Ways of Doing’ report explores the experience of fashion educators to map the current provision of sustainable teaching within fashion in higher education and concludes with strategies that will help drive this agenda forward in the near future.

At the same time, conscious (and unconscious) educators must be supported and encouraged to enable more rapid change - and this is where new business initiatives and NGOs such as Redress and the Ethical Fashion Forum can step in.

On first evidence, while there was a will, there was rarely a way. Teachers struggled with a lack of resources and information, both on design-led approaches to sustainability and on the issues themselves, along with a lack of support from faculties. Ways in which to include sustainability - a complex, continually shifting approach - within current curriculums also proved challenging, leaving teachers feeling isolated and forced to self-learning. Even more difficult to counter are entrenched notions about sustainability as a barrier to creativity. In systems which may regard the designer as artist, even potential international icon, the complex practices of sustainability and the circular economy - such as sourcing waste fibres or working with fragments - can be regarded as obstructions to good design, restricting and curtailing creativity. And yet, research has identified that the design stage is imperative in driving change. Increasingly, the vision of the designer as a critical link in the chain of sustainable production is becoming influential in an alternative narrative. It is a narrative in which sustainability is not a barrier to creativity, but a condition of rich, exciting potential. Change is happening. A handful of institutes are leading the way, teaming up with industry pioneers to create courses that extend the technical and practical skills of their students. Since 2014, for example, luxury powerhouse Kering Group and The London College of Fashion (LCF) have worked together through awards and courses to grow the contribution fashion can make to the planet.

Redress’ work serves to educate interested parties in the urgency and practices of sustainable fashion. As the industry moves towards a circular economy, students, teachers and designers alike need to be ready for what’s coming: the shift towards new, circular business models and the need to embrace the new ways of doing fashion that lie on the horizon. In response to this need, last year, Redress launched the Sustainable Fashion Educator Pack. This comprises of ready to deliver classes in sustainable fashion specifically targeted at educators, covering the topics of a garment’s lifecycle, zero-waste, up-cycling and reconstruction, with new subjects already in the works for phase II. These teaching packs are free to use worldwide. So far the response has been overwhelmingly positive. Nonetheless, one thing is clear – Redress, along with other likeminded organisations, know that they are only scratching the surface. The systems that support the current wasteful practices of the fashion industry are strong and deeply entrenched. As the EcoChic Design Award competition goes truly global in 2018, Redress has committed to ambitiously targeting an ever-widening community of educators and students alike. The battle for change continues...

A special thanks to education sponsors Crystal Group, The Mills, Lenzing and EcoTLC who have given valuable support to further develop the work of the EcoChic Design Award. To request a copy of the Sustainable Fashion Educator Pack, visit www.ecochicdesignaward.com/educatorpack All of Redress’ free learning materials can be accessed at www.ecochicdesignaward.com/learn 


TRAINING THE TRAINERS 教育家教育 育對可持續時尚的教學面貌,並總結出在不久將來推動這一議題的 策略。 但現實是,有志者,卻不一定事竟成。老師們缺乏足夠資源和資訊, 而學校支持也不足,加上無論是以設計為主導的可持續發展方式,或 可持續議題本身,也有問題存在。 在現行課程中融入複雜、變化不斷的可持續發展內容,是件具挑戰性 的事,老師往往會感到孤立無援,唯有走向自學一途。 而更難解開的是人們對「可持續是創意的枷鎖」這個根深蒂固的迷 思。在某些系統中,設計師可能會被視作藝術家或具潛力的國際時尚 指標。但可持續發展和循環經濟的復雜實踐,譬如採購廢棄織品或 以碎布為材料等,均被視為好設計的障礙物,限制了創意的可能性。

作者 Bel Jacobs  協作 林禾雅 廖詠芝 舒泳蓁

2005年,艾倫·麥克阿瑟爵士 (Ellen McArthur) 打破了單人帆船環遊世 界的最快世界紀錄。旅途中她意識到資源對於人類生存的重要性。她 對可持續顧問麥肯錫 (McKinsey) 說:「我突然意識到這與我們的環球 經濟同出一徹。」 今天的艾倫·麥克阿瑟爵士是全球推動循環經濟的知名倡導者之一。 在循環經濟裡,廢料不會被棄置,而被轉化成為另一種可貴的資源。 關於循環經濟理論和實踐的討論愈來愈來多,恰巧也是 Redress  自 2007  年創辦來的營運理念。透過(剛踏入第八個年頭的) 「衣酷適再 生時尚設計」, Redress 影響了數以千計的新晉時裝設計師,提高了業 界對可持續這種選擇的意識。 但最近的研究結果顯示,我們仍有許多工作要做,尤其在教育機構方 面。去年,Redress 聯同赫瑞瓦特大學 (Heriot-Watt University) 的 Alana M James 博士和雪菲爾哈倫大學 (Sheffield Hallam University) 的 Alison Gwilt 博士,發佈了報告《Different Ways of Doing》,深入探討為何現時 的時裝課程,在整體上均未能應對當今全球最迫切的需要。 這個議題並不是沒有受到關注。Redress 在 2017 年對歐亞時裝設計師 和學生進行了一項調查,200 名受訪者中有 98% 的人認為可持裝時裝 教育是重要的,71% 的人亦認同可持續教育可讓設計師參與提供解決 環境問題的方案。 而業界越來越多新穎有趣的方案更是反映出人們對這個議題的關注。 就像是運動服裝巨頭 Nike,他們致力於減少能源、廢物、用水及排放, 並承諾在 2020 年成為一間零廢棄企業。而 H&M 也於最近承諾,將於 2030 年 100% 採用可持續物料生產衣物。 如 Redress 目前所見的,若這類倡議數量持續增長,那就表示時裝界 需更多勇於打造屬於設計和可持續發展的新世界的學生。 但根據《2015 時裝商業評論》的報告指出,有 44% 的學生滿意其課 程中有關可持續的教學內容。這與 Redress 的調查結果相呼應,僅13% 的受訪者曾在其所屬教育機構中,接受過任何類型的正規可持續教 育。 變革的所需條件是複雜、環環相扣和有系統的。《Different Ways of Doing》報告深入了解時尚教育者的種種經驗,以此刻劃出現今高等教


然而有研究顯示,設計階段是推動改革中最重要的一環。設計師的願 景更是可持續生產過程中最具影響力及決定性的關䭈環節。這意味 著可持續性並不是創作的障礙,而是具備豐富潛能、讓人充滿動力的 潛在條件。 改變正在發生。不少教育機構正攜手業界先鋒,共同領軍開辦擴展學 生技術及實際操作技能的課程。譬如自 2014 年起,奢侈品品牌開雲 集團和倫敦時尚學院,聯手舉辦多個獎項和課程,藉此擴大時裝界對 地球所能作出的貢獻。 開雲集團和倫敦時尚學院的合作關係,証明了當業界遇上無窮想像 時的各種可塑性,並需要更多這樣的合作例子,來證明在參與可持續 發展過程中,業界可如何從創新和想像力中得益。 同時,我們必須支持並鼓勵所有具備(和還未具備)可持續意識的教 育者,去推動更快速的變革。這也是 Redress 和時尚道德論壇 (Ethical Fashion Forum) 這樣的非牟利組織,以及新的商業合作所能參與進來 的領域。 Redress  致力於(重新)教育對可持續時裝感興趣的人有關這個領域 的迫切性和實踐方法。隨行業走向循環經濟之際,學生、老師和設計 師都需要為即將發生的一切做好準備:走向全新的循環商業模式,並 需以全新的欣賞視野看待時裝的新方式。 為應付這需求, Redress 於去年發佈了「可持續時裝教材套」,專針 對教師所設,讓他們融合在現成可持續時裝的教學內容中。當中包括 衣服生命週期、零廢棄、升級再造和重新構造等主題的教育素材。教 材套的第二版將包含更多全新的議題。這份教材套可於全球免費使 用,而到目前為止,各位使用者的反應也是非常正面。 儘管如此,有件事是非常清楚的,Redress  和其他理念相近的機構 所做的一切,都只是蜻蜓點水。相反,支持時裝界中現有設計及生 產手法的系統實在太過強力和根深柢固。這樣的系統往往產生大量 廢料。而在「衣酷適再生時尚設計」於 2018  年真正走向全世界之 際,Redress  將繼續致力影響更多的教育者和學生。這場變革戰爭亦 將持續…

特別嗚謝教育贊助夥伴晶苑集團、南豐紗廠、Lenzing 以及 EcoTLC 對 「衣酷適再生時尚設計」的持續發展提供寶貴的支持。 如欲獲得「可持續時裝教材套」,請瀏覽 www.ecochicdesignaward.com/educatorpack 所有Redress的免費學習資源則可瀏覽 www.ecochicdesignaward.com/learn

Study sustainable fashion design with


By: Timo Rissanen and Holly McQuillan

By: Jennifer Farley Gordon and Colleen Hill

By: Alison Gwilt

Zero Waste Fashion Design is a comprehensive, illustrated introduction by the foremost pioneers of research on this subject.

Sustainable Fashion provides a unique and accessible overview of fashion ethics and sustainability issues of the past, present and future.

Paperback | 224 pages | ISBN: 9781472581983 | £34.99

Paperback | 264 pages | ISBN: 9780857851857 | £24.99

A Practical Guide to Sustainable Fashion introduces students and professionals to the key issues associated with the life cycle of fashion products and explores a range of tools and sustainable design approaches that can be applied in the fashion studio. Paperback | 176 pages | ISBN: 9782940496143 | £23.99

FA S H I O N P H OTO G R A P H Y A R C H I V E A unique look through the lens Travel back in time down the runway and experience the evolution of today’s most iconic designers in a single digital resource Offers exclusive and powerful access to a vast and fast-expanding library of rare and iconic images from the late 1970s and 2000. Curated by Dr. Valerie Steele (Director of the Museum at the Fashion Institute of Technology), the Fashion Photography Archive also includes a wealth of supplementary content including specially commissioned articles, biographies, and videos. • Includes rare images featuring internationally renowned designers and brands including Alexander McQueen, Christian Dior, Vivienne Westwood, Yohji Yamamoto, Jean Paul Gaultier, Versace, Calvin Klein, Chanel, and many more • International coverage from Paris, London, New York, Milan and beyond

FAS H I ON PHOTO GR A P HY A R C HI VE is available for subscription or purchase to institutional libraries

Recommend a free trial to your librarian. Librarians: Contact OnlineSalesUK@bloomsbury.com www.bloomsburyfashioncentral.com Image: Niall McInerney, Photographer. © Bloomsbury Publishing Plc



Being well informed is half the battle in winning sustainable victories. Whether you’re a novice or an aficionado, here are the current top resources to take you to a greater understanding of successes and challenges in the sustainable fashion industry. 「知己知彼,百戰百勝。」在可持續時裝的世界也是一樣。 無論你是新手或老鳥,這些近期最熱門的資源,都會帶你 進一步認識這個可持續時裝世界的成敗與挑戰。

Fashion Summit (Hong Kong) Fashion for Good Centre


Photo credit: FASHION FOR GOOD




Hong Kong’s largest summit on sustainability on 7-8 September 2017 has been organised by seven organisations, including Redress, and will bring together key players to exchange insights.

Fashion for Good is an Amsterdambased, global initiative which reimagines how fashion is designed, made, worn, and reused through innovation and practical action.

From 6-24 November 2017, the Ellen MacArthur Foundation will launch the Disruption Innovation Initiative (DIF), an online festival of ideas that asks: what if we could redesign everything? One of the themes will be the future of design.

香港最大型有關可持續發展的高峰 會於 2017 年 9 月 7 – 8 日舉行。活動 由 Redress 等七個團體聯合舉辦,滙 聚了多位關鍵人士,互相交流見解。



Fashion for Good 是一個基於阿姆斯 特丹的全 球計劃,通 過 創新 和實際 行動,重新思考時裝的設計、製作、 穿撘和再用等議題。

於2017年11月6日至24日期間,艾倫‧ 麥克阿瑟基金會將舉辦有關構想的 節日-「 顛 覆 創 新節」(D I F ),提 出 「如果我們可以重新設計世界萬物? 」的問題,而其中一個主題便是:設 計的未來。

Emerging Brands 新晉品牌

The Machinists

Love Your Clothes

Circular Design Guide



rainbowcollective.co.uk/ the-machinists



If you liked Frontline Fashion, try The Machinists which focuses on the lives of three female garment workers and the boss of a fledgling trade union in Dhaka to show the human cost of high street fashion.

In need of clothing care tips? From stain removal to basic repairs, these video tutorials will help you get the most from your family’s clothes.

Here’s a trillion-dollar idea Redress are 100 per cent behind. Earlier this year, the Ellen MacArthur Foundation and IDEO launched the Circular Design Guide, in which products are designed so that the embedded resources are recaptured and reused to create new products.

如 果 你 喜 歡《 時尚先 鋒   Fr o n t l i n e F a s h i o n 》,那 就 不 要 錯 過《 T h e Machinists》!這部影片圍繞著3個成 衣工廠女工和崛起的貿易商會的老 闆於孟加拉達卡的生活故事,反映出 大眾時尚背後的人力成本。

需要衣物護理的小貼士嗎?這些教 學短片介紹了上至去除污漬、下至基 本修補的心得,讓你可以將家裡的衣 物物盡其用。

這是一個 Redress 百分百支持、價值 連城的構想。今年較早前,艾倫‧麥 克阿瑟基金會和 IDEO 共同推出了《 循環設計指南》,讓用在產品的資源 得以重新被捕獲,再用來創作出全新 的產品。


GET INFORMED 了解更多 Dress [with] Sense

Pulse of the Fashion Industry

Fashion Transparency Index 2017


Copenhagen Fashion Summit

Fashion Revolution



FASHION INDEX A review of 100 of the biggest global fashion brands and retailers ranked according to how much they disclose about their social and environmental policies, practices and impact.

APRIL 2017




Redress’ new book draws on ten years of engaging with consumers and industry alike. Split into the chapters of Buy, Wear, Care and Dispose, Dress [with] Sense offers practical ways that the fashion consumer can become more conscious.

Published by The Global Fashion Agenda and launched at the Copenhagen Fashion Summit in May, this report lays out the current health of the industry, highlighting areas where the industry urgently needs to address its environmental and social footprints.

If we don’t know what companies are doing, we can’t help them improve. The Fashion Transparency Index 2017 ranks 100 of the biggest global fashion companies on what they disclose about their social and environmental practices.

報告由全球時尚議程發佈,並於5月 哥本哈根時裝峰會上發表,當中闡述 了業界目前的健康狀況,並強調業界 需作出迫切回應的環境與社會足跡 之領域。

如我們不了解企業在做什麼,就不能 幫助他們作出改善。《時裝生產透明 度指數 2017 》根據企業公開的社會和 環境措施,列出了全球 100 大的時裝 品牌排名。

The State of Fashion 2017

Project JUST

Insights from China’s Textile Manufacturers

McKinsey and the Business of Fashion

Informing fashion decisions

China Water Risk



Helping consumers make more informed choices when shopping for new, Project JUST takes a deep dive into brands’ environmental and social commitments, highlighting best in practice under their ‘Seal of Approval’.

There is a unique opportunity to drive the shift to a clean circular fashion model with the convergence of goals between Chinese textile manufacturers and leading brands. China Water Risk surveyed over 80 manufacturers to find out what they need to push ahead.

Redress 最新出版的《Dress [with] Sense》,是按 他們十年來與消費者 和業界接觸交流的經驗,將內容分成 購買、穿著、護理和棄置 4 大章節, 為讀者提供實用方法,做一個有意識 的時裝消費者。

The State of Fashion


mckinsey.com/industries/retail/ our-insights/the-state-of-fashion If you are looking for an overview of the fashion industry today, this read sets down the way fashion has responded to external shocks such as Brexit to cultural changes, including sustainable innovation. 如欲了解時裝界概況,此報告將帶你 一探時裝界是如何應對外界衝擊,包 括英國脫歐所帶來的文化改變,以及 當中的可持續創新等。


fashionrevolution.org/about/ why-transparency-matters

為幫助消費者在購買新產品時做出 更明智的選擇,Project JUST 深入了 解相關品牌對環境和社會領域作出 的承諾,物色出最佳的品牌,並賦予 「Seal of Approval 信心標誌」。

只要中國紡織製造商和各大領航品 牌目標一致,就能為推動不造成任何 污染的循環時尚帶來獨特的機遇。 中國水危機透過訪問超過80家製造 商,發掘他們在這方面背後的需要和 動力。

Emerging Brands 新晉品牌

CO is an intelligent business network. Our technology helps you succeed in fashion - sustainably - in 3 simple steps:

Specify your needs Input your details and CO builds you an intelligent profile that tailors your experience.

Get matched CO matches you with suppliers, buyers, experts and resources, so you can achieve your goals.

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67 Sign up free now at commonobjective.co Abury


LEIF ERIKKSON Bel Jacobs talks to alumni, Catherine Hudson, about the challenges of setting up a fashion brand. 我們的歷屆參賽者 Catherine Hudson 與 Bel Jacobs 對談,探討開創時裝品牌的挑戰。 68

Confidence is so important. It’s so vital to be confident in your work and speak with authority. Giving yourself time to learn your medium from A-Z will definitely help with that. Because at the end of the day, you are your business.

Entering the EcoChic Design Award 2014/15 was finalist Catherine Hudson’s first step into sustainable fashion: “I was shown the effects of throwaway fashion and how damaging it was to the environment,” she recalls. “And I wanted to be part of the solution - to be fashion forward in my work ethic as well as in my design execution.” In 2016, she launched her sustainable men’s outerwear label Leif Erikkson. Specialising in offbeat, concept-driven design and inspired by the enduring craft of men’s tailoring and constructivism, Catherine’s striking coats and jackets are made from a mixture of discontinued and deadstock fabrics from local manufacturers and organic/GOTScertified fabrics, with close attention paid to the finer details and the finishing process.

69 Photo credit: LEIF ERIKKSON

Photo credit: LEIF ERIKKSON

“It’s easy to make hasty decisions when you’re building a business, especially in the first two years when things are so unpredictable, and this mentorship has been invaluable,” says Catherine.

of what’s trendy. This is something I’d recommend any emerging sustainable designer to think about: what does your brand have to offer? How does it benefit your customer?”

“I don’t have a diary full of contacts; I’m not based in London; I work from a tiny workshop in my back garden,” says Catherine. “In some ways, it would be easier to inject energy into finding a job and building my career that way. But I believe I have something exciting and innovative to share with the world.”

“My business has been slower to develop than most, precisely because I’m looking to build something that will last. That means starting small and perfecting each stage as I develop: trusting my own judgement, acknowledging and learning from my mistakes, taking risks when necessary.” Breaking down goals into achievable targets has also been key.

“Being a sustainable designer is so much fun,” she adds. “I meet people and artisan businesses who are passionate about what they believe and who carefully consider their craft to create things of a very high standard. This, I relate to and reiterate in my own business ethos.”

Approaching The Prince’s Trust, a youth charity, Catherine gained the approved business accolade for Leif Erikkson and, with it, a business mentor.

“I’m happy my business is different from others,” says Catherine, proudly. “My jackets are made with respect for the environment, for production, and for the wearer - instead

Setting up the business wasn’t easy. “It’s like trying to make that first loop in an elastic band ball,” laughs Catherine, who has a degree in Fashion from the Manchester Metropolitan School of Art. “It can seem lonely at first, at times impossible!”


Catherine’s top tip? “Consistency and perseverance is key - along with a dash of pure stubbornness when necessary!”

Emerging Brands 新晉品牌

自信是非常重要。對 個人設計和自我表達 的方式充滿信心是至 關重要的。給 予自己 時間,從 頭 摸索了解 適合自己的方 式,定 會對表達信心有所幫 助。因為說到底,你, 就是你的品牌。

參加 2014/15 年度「衣酷適再生時尚設計」, 是總決賽者 Catherine Hudson 走向可持續 時裝的第一步。她回憶道:「比賽讓我看到即 棄式時裝對環境帶來的影響和傷害。而我想 成為解決方案的一部分,不論是在實際設計 中,還是在我的職業操守中,都走在時裝最前 線。」

Catherine 於2016年推出了自家可持續男裝 品牌 Leif Erikkson,主打反傳統及概念主導 的設計。其靈感來自耐用度極高的男裝剪裁 技巧及結構主義,她所設計的大衣和夾克,均 採用了當地製造商已停產及滯銷存貨、全球 有機紡織認證 (GOTS) 的物料製作而成,而細 節及飾邊亦盡顯極致。 創業並不容易。擁有曼徹斯特都會大學藝術 學院時裝設計學位的 Catherine 笑著表示: 「這就像你要用像皮筋紮成一個球,起步艱 難。起初你會有一種寂寥感,甚至不相信能成 功!」

Catherine  說:「我認識的人不多,又不是長


工作室裡工作。在某方面,這讓我更有動力地 尋找工作和發展我的事業。但我相信我還有 更多叫人興奮和創新的想法,並可與世界分 享。」

材料——而非什麼流行不流行。我會建議所有 新晉可持續設計師好好想一想:你的品牌能 帶來什麼?它又能如何造福你的客人?」

在 與青 年 慈 善 團 體 王子 信 託 基 金 會   ( T h e P r i n c e ’s   Tr u s t )   接 觸 過 後,C a t h e r i n e 成功為 Leif Erikkson 嬴得了運營的機會,同 時還收獲一位商業導師。

她補充:「可持續設計師的工作相當有趣。我 認識了許多熱情且忠於自己信念的人和工匠 品牌。他們對個人手藝的要求嚴謹,以冀打造 出極高品質的工藝品。我對此非常有共鳴,也 將在我的品牌哲學中反覆體現這個理念。」

Catherine  表示:「剛開始創業,特別在頭兩 年,你很容易因事情無法預計而做出草率的 決定,此時這個導師計劃便更顯珍貴。」

Catherine  的好建議?她說:「堅持並保持品 牌的一致性就是關鍵,必要時也可以固執一 下!」

「我希望成就一些可持續發展的東西,因此 我們的發展比其他大部分公司都要慢。也就 是說,我們從小規模開始,逐步完善每一 個 階段。我相信自己的判斷,接受並從錯誤中學 習,甚至在必要時冒險。」將目標化繁為簡, 拆成能夠達成的小任務,是創業的另一要點。 「 我 很 高 興 我 的 公 司 與 別 人 不 同 ,」 Catherine  自豪地說:「對環境、製作過程, 以及對穿著者的尊重,便是我設計夾克的原

Bel Jacobs is a seasoned fashion editor with a passion for sustainability 資深時尚編輯 Bel Jacobs 熱衷於可持續議題

  beljacobs.com  beljacobs_com



The original documentary Frontline Fashion was seen by millions but this year’s TV special edition is set to broadcast the competition and its aims even further afield. Bel Jacobs reports.

時尚達人 Bel Jacobs 報道 - 有數百萬人收看紀錄片第 1 季《時尚先鋒 Frontline Fashion》。 而今年的「衣酷適再生時尚設計」比賽將以電視特備紀錄片形式轉播,冀影響更多人。

Frontline Fashion is available for download on iTunes


《時尚先鋒 Frontline Fashion》現已登陸 iTunes 可供下載

ON THE FRONTLINE OF FASHION 走於時尚之先 Launched in September 2016, Redress’ groundbreaking documentary Frontline Fashion followed the EcoChic Design Award 2015/16’s finalists during the final stages of the competition and as they presented their minimal waste collections to international judges for a chance to design for leading luxury brand Shanghai Tang - knowing that only the most creative and the most stunning would win the prize. In an extraordinary journey of inspiration, the young designers went behind-the-scenes at discarded clothing warehouses and sustainable manufacturer, TAL Apparel, to find ways to change the future of fashion - one of the world’s most polluting industries - for the better. Frontline Fashion I was broadcast to 120 million households across the world on Fashion One Television and beyond, demonstrating just how deeply issues resonated with consumers. Frontline Fashion I is now part of an anthology of hard-hitting films including Before the Flood, True Cost, Food Inc, Plastic Oceans and An Inconvenient Truth that continue to transform attitudes and behaviours.

audience and have them fall in love with it is a great feat.” In this exciting and accessible documentary, Redress and awardwinning production partner, Mustard, will transform the aims and ethos of the competition into a format to be viewed by millions on Lifetime Asia, using the designers’ collections, created from reimagined textile waste, to prove that creativity and sustainability are not mutually exclusive. “The best way to educate is to entertain,” says one of the Executive Producers, Sonya Madden. “People engage on screens. So inspiring change has to take place on screens.” “We joined forces with Redress to create this high-impact documentary,” says Lindsay Robertson of Mustard. “As documentary film makers, we see so much bad news out there about the fashion industry’s negative impact, but we also see change and we want to tell that story.

This year, Frontline Fashion II looks set to reach even wider audiences by turning the weeks leading up to the final into a special edition for TV. “We’ve been determined to translate the passion we see every year in Hong Kong at the EcoChic Design Award from our incredible finalists into entertaining TV,” says Redress’ Founder Christina Dean. “To bring the world’s largest sustainable design competition to a global

“Film is a very powerful medium to inspire,” she continues. “We’ve crafted Frontline Fashion to inject change into how fashion consumers around the world think, and feel, about their clothes.”

Redress 這部嶄新紀錄片《時尚先鋒 Frontline Fashion》於 2016 年 9 月 發佈。全程追蹤了 2015/16 年度「衣酷適再生時尚設計」總決者在總決 賽期間的歷程,包括如何向國際評審介紹其減廢時尚系列,以嬴得為 頂尖高級時尚品牌上海灘設計的機會。他們深知,唯有最具創意、最 震撼人心的設計方能取勝。

這個令人期待的紀錄片將有 Redress 和獲 獎無數的節目製作夥伴 Mustard 聯合製作,讓 Lifetime Asia 電視台的千萬觀眾感受到比賽的宗 旨和精神。當中包括設計師如何為棄置紡織品重新注入想像,以製成 時尚系列,從而證明創意和可設續性並非魚與熊掌的關係。

在尋獲靈感的非凡之旅中,這群年輕設計師深入棄置衣物場與可持續 生產商「聯業製衣」,冀尋求改變時裝未來的方法,希望令這個全球污 染最嚴重之一的行業,變得更為美好。 此紀錄片不僅於 Fashion One 電視台向全球1.2億個家庭播放,還深層 次地展示出這些議題與消費者之間的關係。《時尚先鋒》第 1 季已與 讓人有沉重反思的電影齊名,譬如《洪水來臨前》、《The True Cost》、 《毒食難肥》和《絕望真相》等,它們將繼續扭轉人類的態度和行為。 今年,《時尚先鋒》第 2 季將以電視特備紀錄片形式拍攝總決賽過程, 以呈現在更多觀眾的眼前。Redress 創辦人丁潔絲說:「我們決心將每 年來香港參加『衣酷適再生時尚設計』總決賽的設計師之那團火,以綜 藝形式呈現。將全球最大型的可持續時裝設計比賽,帶給全球觀眾, 並讓他們愛上是一個成就。」

As you watch the grand final, keep your eyes out for the cameras – because the EcoChic Design Award is about to go global.

執行製片之一 Sonya Madden 說:「最好的教育必需好玩。人們對於影 視製作的投入度是很好的。所以要讓變革發生,就需要以影視為媒 介。」 Mustard 的 Lindsay 分享道:「我們與 Redress 聯手,打造出這部極具影 響力的紀錄片。作為紀錄片製作人,我們見到了太多有關時裝帶來的 負面影響,但其實我們也見到了轉變和成長,並很想向世界說出這些 故事。」 她補充:「電影是一個十分強大的媒介,能為人們帶來很多啟發。我們 通過《時尚先鋒 Frontline Fashion》,刺激全球時裝消費者去反思、重新 感受有關衣物的一切,希望以此激起他們的改變。」 在欣賞總決賽的同時,記得注意四周是否有鏡頭對著你!因為「衣酷 適再生時尚設計」即將推向全球。


G ing circular 走 

Written by Christina Dean

My mother always told me “What goes around comes around”. I’ve carried this philosophy through life; even into how I think about how we make and dispose of clothes and how I imagine the circular economy.

The circular economy can sometimes seem confusing. But it’s simple. Think of how Mother Nature does it, she’s the circular economy master. When a tree falls over and decomposes, every part of that tree is put to good use feeding the forest floor and enriching all biodiversity, soil, slugs, fungi and fauna included. We can simply apply this fallen tree concept to fashion to get a vision of how we can design, produce and use our clothes better within a circular economy for fashion. Just imagine that all ‘waste’ materials created throughout fashion’s complex supply chain were reclaimed and re-used. Cue some examples: secondhand clothes become a source of fibres for ‘new’ clothes; chemicals are extracted from waste-water to be re-used; cut-and-sew waste created during routine manufacturing gets up-cycled back into ‘new’ fabrics and not downcycled to rags and other low value items. This concept of using resources over again puts the circular economy at polar opposites with the linear system - of make, use, dispose – which is catastrophically the cornerstone of our global economy, and indeed most of our mindsets. So if Mother Nature and my Mother are right (they usually are!), then we need seismic change to the fashion system. We need to ditch linear and embrace circular.

Christina Dean is the Founder of Redress and Co-founder BYT 丁潔絲是 Redress 創辦人 兼 BYT 的聯合創辦人   drchristinadean


Today, we face vast consumption and production rates, and correspondingly the rapid depletion of natural resources. Just imagine this; every year, the fashion industry consumes nearly 79 billion cubic meters of water1, which in laymen’s terms is equivalent to around


Photo credit: GENSEN CHAN

BYT converts textile waste into luxury products

Photo credit: HKRITA

HKRITA are investing in research and innovation

Secondhand clothes are a source of fibres for ‘new’ clothes

32 million Olympic-size swimming pools. We’re then wallowing in clothing and textile waste – which is thought to be almost 100 per cent recyclable - with an estimated 92 billion tons of textile waste created annually from the industry2. These ‘waste’ textiles already used precious water, and required many other natural resources (and, often toxic, chemicals) to produce and so not putting them to good use within the circular economy makes no sense at all. Even my seven year old daughter, who naturally receives the same advice from her Grandmother, can see that this doesn’ t make sense. This is why we urgently need to take inspiration from Mother Nature’s fallen tree. We need to divert this so called ‘waste’ away from landfills and back into action, whether this means putting it back in the fashion system or looking for other cross-industry ways to keep it in use. The good news is that we’re already seeing more circular systems in fashion, particularly here in Hong Kong. Through Redress’ projects, the EcoChic Design Award’s competitors, who are poster-pin-ups for the circular system, up-cycle anything that crosses their creative paths; from tatami mats, old kimonos, end-of -line yarns, old military uniforms, bridal wear scraps to old jute sacks. There is nothing ‘sacklike’ about the outcomes. Our pool of talented Alumni designers are forging circular systems with manufacturers and textile suppliers effectively positioning themselves under the tree before it falls - to capture their waste in a sustainable business system. Then there is BYT, the daring new up-cycled brand that was born from Redress (see pages 56 -57). BYT rescues luxury brands’ and manufacturers’ waste and

converts this into beautifiul products, which have caught the attention of Barneys and Lane Crawford alike. Also making great strides into circular are the Hong Kong Research Institute of Textiles and Apparel and China Water Risk, who are pushing the agenda radically forward within the industry with their research and innovation projects. This push for circular isn’ t just happening at the indusry level; consumers are jumping on the bandwagen too. Globally, more consumers are bringing their unwanted clothes back for recycling. Hong Kongers are changing too with demand driving Redress’ clothing drives to grow year on year. If you weren’ t already convinced, consider the potential financial value of shifting the system. Recent research suggests there’s a potential to create € 160 billion (nearly HK$1.4 trillion) every year for the world economy through more efficient use of scarce resources in the fashion industry by making progress on a range of issues up and down the value chain3 . This new circular system must become the norm and not a niche. Along the world’s supply chain, from mills to garment factories and in retail stores to warehouses, we need to let textile ‘waste’ out of the closet and ahem this includes our own unworn clothes that are often jammed in our homes - to put them to good use within the circular economy. Mother Nature and my Mother are right, “ What goes around comes around” and now’s the time to live this out in fashion.

1, 2, 3 | Global Fashion Agenda and The Boston Consulting Group, Inc. (2017), Pulse of the Fashion Industry





盈餘紗線   作者 丁潔絲

我的媽媽總告訴我:「善有善報」。 一直以來,我都將之視為我的人生哲學。它甚至影響到 我對製作和棄置衣服的看法,以及對循環經濟的設想。 循環經濟有時會讓人感到困惑。但其實很簡單。試想想大自然是怎樣 的,她是循環經濟的大師。例如當樹木倒塌和分解,它的每一部分都 能物盡其用,餵養了森林的發展,豐富了土壤、蛞蝓、菌類和各種動物 的生物多樣性發展。 簡單來說,我們可將這個「倒塌的樹木」的概念應用在時裝裡,讓我們 看到「在循環經濟裡,應當更好地設計、生產及善待衣物」這個願景 。 試想像所有「廢料」能在複雜的時裝界供應鏈中,全被回收和重用。舉 幾個例子:二手衣物成為「新」衣物的織品來源、


將所謂的「廢料」帶離堆填區,將它們重新置於時裝系統之中,或與跨 行業分享。 好消息是,我們已看到時裝界有了更多的循環系統,特別是在香港。

Redress 項目「衣酷適再生時尚設計」的一眾參賽者,他們絕對是循環

從污水提煉出來的化學物可被再次使用、而日常生產過程中所產生的 布料碎屑,也可升級再造成「新」織品,而不是降級再造為抹布或低價 值的物品。這種重新使用資源的概念與線性系統產生對立狀態。線性 系統中的生產、使用和棄置模式,無疑是對我們全球經濟,甚至是我 們思維模式,也是災難性的開端。

系統的代表人物,將榻榻米、舊和服、盈餘紗線、舊軍服、婚紗碎屑和 老舊麻布袋等升級再造,發展他們的創意之路,設計出趣味性十足的 作品。我們這些極具才華的歷屆參賽設計師與生產商和紡織物料供應 商建立起循環式關係,把自己置身於「倒塌的樹木」概念之下,以確保 他們的「廢料」能重新被捕獲於可持續商業系統中。另外,由 Redress 創立的 BYT (詳見於 56 -57 頁)是一個大膽創新的升級再造品牌。 BYT 拯救了無數奢侈品牌和製造商的廢料,將之轉化成別出心裁的設 計,甚至引起了 Barneys 和連卡佛這類高級百貨公司的關注。還有令 循環時裝大歩邁進的也有香港紡織及成衣研發中心和中國水風險,亦 致力於通過其研究和創新項目,在業界內推動議程的快速發展。

如果大自然和我媽媽都是對的(她們通常都是…),那我們的時裝系統 便需進行一場翻天覆地的變革。我們需要捨棄線性系統,擁抱循環。

推動循環經濟的工作不僅在業界層面進行,消費者也紛紛跳入這浪 潮。在全球大環境中,愈來愈多消費者將他們的棄置衣物回收。隨著

今天,我們面臨龐大的消費和生產量,自然資源亦相對迅速枯竭。想 像一下,每年時裝界消耗水近 79  億立方米 1,在外間的說法是相當於

約 3200  萬個奧運會標準游泳池的蓄水量。當我們在這無數的衣物 及紡織廢料中浮沉,其實業界每年產生約 920  億噸的紡織廢料 2,卻 幾乎可全部回收再用。這些「廢棄」紡織品在製作過程中,不僅投放了 珍貴的水資源,還包括其他自然資源(並經常使用有毒的化學物)。如 果這樣,我們也不在循環經濟中好好善待一切,那我們簡直荒了天下 的大謬。就連我那個得到外婆同樣教育的 7 歲女兒,也看得出箇中不 合理之處。 這就是我們急需向大自然那些「倒塌的樹木」學習的原因。我們需要 1, 2, 3 | Global Fashion Agenda and The Boston Consulting Group, Inc. (2017), Pulse of the Fashion Industry


Redress 的衣物回收活動愈為人熟悉,香港人也正在慢慢改變。

如果這仍未說服你,那請想想改變時裝模式後的潛在經濟價值。最近 研究顯示,只要我們調整價值鏈的各個元素,更有效地運用時裝產業 中的稀有資源,便有可能為世界經濟創造 1600 億歐元(近 1.4 萬億港 元)的效益3。 這個全新的循環系統必需成為社會的常態,而非小眾的事。在世界的 供應鏈中,從磨坊、製衣廠、零售店舖到倉庫,以及屯積在家的衣物, 我們均需好好消「廢」,善待它們,讓它紡織品在循環經濟裡得以再次 被運用。大自然和我媽媽所言甚是:「善有善報。」現在便是我們在時 裝界中種善因,得善果的時候了。




FOR EVERYTHING YOU REALLY LOVE Earlier this year, Redress published Dress [with] Sense, written by Founder Christina Dean, Hannah Lane and Sofia Tärneberg, and published by Thames & Hudson. Dress [with] Sense offers ways the fashion consumer can become more conscious, including caring for clothes properly to keep them in action for longer. Clothing care has become an important part of the discussion around sustainable fashion. In the UK, a piece of clothing is worn only 2.2 years before it is thrown away; extending its life by just 9 months would reduce carbon, waste and water footprints by around 20-30% each. German-based manufacturer of the highest quality domestic appliances Miele has been a long time supporter of Redress. With over a century of precisionengineered laundry care, it’s in a fine position to do so: Miele laundry products are designed to clean clothes gently, helping them last longer. The products highly water and energy-efficient - are made to last, with washers being tested for the equivalent of 20 years use. In 2011, The Forever Better with Miele Fashion Show and accompanying 3% Mountain put secondhand clothing waste centre-stage. Four years later, Redress and Miele, presented the YWASTE? exhibit, 360kg of discarded clothes crafted into an imposing sculpture. This year, Miele joins Redress once again for the EcoChic Design Award 2017, inviting finalists to create a striking outfit fit for the red carpet using only materials found in Hong Kong’s secondhand clothing bins. The aim of the challenge is to invite finalists to explore the missed potential of discarded clothes and to ask themselves how they, as designers, can reduce waste and influence a garment’s sustainability, usability and recyclability. The finalists will also consider strategies on care, maintenance and redesign, as they demonstrate how creativity can keep clothes in the fashion loop for longer. And for the third time, in November, Miele is partnering with Redress for their annual Clothing Drive, collecting unwanted clothes from the Hong Kong public to benefit local environmental and welfare charities. With over 307 tonnes of textile waste discarded in Hong Kong landfills every day, there’s never been a better time for us to think about how we care for our clothes.

今年較早前,Redress  推出新書《Dress  [with]  Sense 》。

該書由 Redress  創辦人丁潔絲、林禾雅及 Sofia Tärneberg 撰寫,並由 Thames & Hudson 出版,旨在向時裝消費者介紹

建立個人可持續意識的方法,其中包括讓衣物更長壽的護理 技巧。

衣物護理是可持續時裝議題上的重要部分。以英國為例,一 件衣服在被棄置前只會有 2. 2 年的壽命,但其實我們只需為

其續命 9 個月,便足以減少其碳、廢料和水足跡約20 –30%。

德國頂級家電生產商Miele一直十分支持  Redress  的工作。擁

有逾一個世紀衣物護理經驗的  Miele,絕對是「在其位而善其


物可以歷久常新。另外,其產品備有節能省水的特性及卓越 的耐用度,譬如洗衣機就正正經過20年使用測試。

2011  年,「 The Forever Better with Miele 」時裝表演

和  3%   Mountain  裝置藝術展將二手衣物置於聚光燈下。

4  年後,  Redress  與  Miele  聯合主辦「時尚・重塑」展, 以 360 公斤的棄置衣物製成巨型雕塑展品。

而今年,Miele 與 Redress 於 2017 年度「衣酷適再生時尚設 計」則再次聯手,邀請總決賽者利用從香港二手衣物回收箱 中找到的物料,設計出一套搶眼亮麗的紅毯服裝。

這個挑戰的目的在於讓總決賽者一探棄置衣物被遺忘的可能 性,並反思自己作為設計師可以如何減少紡織廢料,以及自己

對衣物可持續性、實用度和回收度的影響力。總決賽者在發 揮創意以延長衣物壽命的同時,也需考慮到衣物護理、修補 和再設計的相關策略。

今年 11 月, Miele 將第3次攜手 Redress,舉辦年度衣物回收

活動。從香港市民手中收集棄置衣物,並冀惠及當地的環境 及社福慈善機構。

香港每天都有逾 307 噸的紡織廢料被送往堆填區,再也沒有 比現在更好的時間來思考我們應如何愛護衣物了。



Behind the Scenes 鏡 頭 背 後


Sean Kunjambu, the Hong Kong based art director, curator and stylist extraordinaire on many a celebrity's speed dial, recruited the skills of world renowned fashion photographer, artist and filmmaker, Wing Shya to creatively unite the vision and passion of our ten EcoChic Design Award 2017 finalists to change the fashion industry in one energetic photoshoot. 以香港為基地的非凡藝術總監、策展人兼造型師 Sean Kunjambu 人脈廣 博,聯同世界知名時裝攝影師、藝術家兼電影人夏永康,共同運用創意製 作一輯充滿活力的時尚照片,將我們十位「衣酷適再生時尚設計」總決賽 者對改變時裝界的願景和熱誠表露無遺。


Sean Kunjambu

Stylist 造型設計師

The variety of textures created from multiple sources of clothing waste were beautiful, I was impressed by the uniqueness of this new group of talents when tasked with the transformation of what’s considered trash. 由不同棄置衣物創造的各種紋理是美 麗的。這群新人才在考慮到如何轉化眾 人認為的『垃圾』時,他們每個人的獨 特性令我留下深刻印象。




Photographer 攝影師

I was really inspired by the innovative use of textile waste into fashion. I wanted to use every day, disposable objects as accesories to strengthen the message and to bring out the different personalities of each design.

將紡織廢料用於時裝這個創新的概念真的 啟發了我。希望運用棄置的日常物品作 襯托,可以加強每個設計的訊息並 帶出它們的個性。

KMS Guest Artist & International Session Hairstylist KMS客席髮型師及國際髮型創造師

Simplicity across each look was key to create unity through the finalists’ diverse design directions, with a nod to the inspiration behind each of their collections. KMS’s easy to handle, high performance products were perfect for the job. 每個造型的簡潔度、該時尚系列的靈感, 均是令總決賽者的多樣化設計方向變得一 致的關鍵。KMS 易於處理和高性能的產 品,絕對是這次工作的完美選擇。

Photographer Wing Shya Studio Shyalala Workshop Ltd. Stylist Sean Kunjambu Hair Marco Chan KMS Guest Artist & International Session Hairstylist Make-up Elaw Wong, thelook-studio.com Models Xu Yao Yao, Zhang Yi Yan

To see the finalists’ shoot in action, visit our YouTube channel: 瀏覽我們的 YouTube 頻道, 觀看這次時尚拍攝的幕後花絮: www.youtube.com/RedressAsia





Over the eight year history of the competition, Redress has been fortunate in winning the support of conscious celebrities and personalities from all over the world who continue to support the competition’s aims and intentions. This year, the EcoChic Design Award 2017 official ambassadors are Bonnie Chen, Kate Tsui, Amber Valletta and Sofia Wakabayashi. Read on to find out more about what drives them. 在舉辦比賽的八年以來, Redress 非常幸運一直得到全球各地多位具可持續意識的知名人士支持,他們持 續推動比賽的宗旨和目的。本年度「衣酷適再生時尚設計」大使邀請到陳碧舸、徐子珊、 Amber Valletta 及 Sofia Wakabayashi 擔任比賽大使 , 到底有什麼原因驅使她們積極參與?

Bonnie Chen


Former Chinese national champion rhythmic gymnast, model Bonnie Chen now commands the world’s runways and magazines with her unique, modern vision of China. 前中國韻律體操冠軍、現為模特的陳碧舸,成功以獨特和 現代化的中國視野在國際天橋和媒體綻放。


"I’m extremely excited about the new wave of sustainable fashion designers coming up, particularly in Asia, which Redress is nurturing through the competition. These emerging designers are changing their design palettes by adopting more sustainable design practices and by up-cycling textile waste. For me, it’s a breath of fresh air to witness the new creativity and innovation in sustainable design coming from the younger generation. This is why I support the competition, because I want to do what I can to promote and enhance emerging sustainable fashion designers’ careers through raising the profile of their work." 「我非常期待看到新一輪由 Redress培育的可持續設計師,特別是亞洲設計師。這些 新晉設計師正在改變其設計色板,包括採用更可持續的設計實踐,以及升級再造紡 織廢料。見證著年輕一代創意與創新兼備的可持續設計,猶如給我一種清新怡人的 氣息。這就是我支持『衣酷適再生時尚設計』的原因。我想盡我所能,透過提升新晉 可持續時裝設計師作品的知名度,以推廣及加強他們的事業發展。」


“I’m excited about getting involved in promoting sustainability in the fashion industry. We each have a role to play, whatever we do in life, to inspire the people around us to act positively. I take this responsibility seriously - just ask my friends and family! - and so do my fans. It’s going to be a fun adventure working with Redress and this new wave of talented designers. I hope that together we can be fearless to continue working wonders on our shared home, our one universe.” 「我很高興參與有關促進時裝界的可持續發展工作。每個人都有一個角色,而我們 在生活上的所作所為,都應為身邊的朋友或家人帶來啟發,讓他們有著正面的行為 影響。本人是認真的對待這個責任,我的朋友和家人也知道!我的粉絲也對此相當 認真。與 Redress 和新一代富才華的設計師合作將是一個有趣的冒險工作。我希望 團結一致的我們,能無懼地繼續在共同的家園、宇宙上創造奇蹟。」

Amber Valletta Global supermodel Amber Valletta is an actress, entrepreneur and eco-fashion activist as well as Founder of Master & Muse, a premiere lifestyle brand for responsibly made, cutting-edge fashion. 世界超模 Amber Valletta 是名女演員、企業家、可持續時 裝倡議者,她亦是 Master&Muse - 負責任生產和尖端時 裝的生活百貨 - 的創辦人。

Kate Tsui


Actress, singer and jewellery-designer, Kate Tsui is passionate about combining her career with giving back. She’s a keen believer in the power of education, and she’ll soon be back at university to study a Masters in Psychology. 作為演員、歌手,亦同時是珠寶設計師的徐子珊,熱衷於 透過事業回饋社會。她深信教育的力量,因此將會回到校 園修讀心理學碩士課程。

“I believe it’s time for the sustainable fashion movement to expand and move toward ‘responsibly made’ fashion. After being in fashion for over 25 years, I’ve seen the business grow to be a one of the largest global industries in the world. No one can keep up with the pace and the huge growth has put enormous pressure all along the supply chain. From natural resources to garment workers to the designers to the consumers - everyone and everything is under stress. The EcoChic Design Award provides a path for meaningful change to occur along all stages of the design process - real life solutions that can make a difference and shift the industry.” 「我相信可持續時裝運動,是時候擴展及邁向至 『負責任生產』的時裝。在時裝界 打滾逾25年,眼見時裝業逐漸成為全球最大型的行業之一。急速轉變及巨大增長均 為供應鏈帶來龐大壓力,從天然資源、成衣製造工人到設計師及消費者 , 每個人、 每一切都承受壓力。『 衣酷適再生時尚設計』則提供一個有意義、 可扭轉現時設計 過程的渠道。這是個實質解決方案,相信能為行業帶來改變。」

“I couldn’t be more excited about my ambassador role for the EcoChic Design Award! I modelled for the grand final last year, where I was first introduced to Redress’ work. Since then, I have learned more about the impact the fashion industry is having on our world’s environment, economy, and devastatingly on fellow human lives. As a living and breathing poster girl for fashion, I feel the need to help spread awareness of these issues and use my voice for something bigger than myself, and the brands I work for. I’ve always believed that true change begins at an individual level. With me and with you - we are the voice of the generations to come.” 「我非常高興能成為『衣酷適再生時尚設計』大使!去年首次為Redress工作,擔任 總決賽時裝表演的模特。自此,我認識更多有關時裝界對全球環境、經濟及人類生 活所帶來的破壞性影響。作為一個時裝海報模特,我認為有必要將這些議題傳播開 去,讓更多人認識,以及利用我的聲音去改變一些比自己、比工作更重要的事。本人 堅信要帶來改變必須從個人做起。我和你均為著下一代而發聲。」

Sofia Wakabayashi

After gaining a degree in political science from UCLA, Sofia Wakabayashi launched her career as an international model as a contestant on the first Asia’s Next Top Model. 在 加 州 大 學 洛 杉 磯 分 校 獲 得 政 治 學 學 位 後,S o f i a Wakabayashi 便參加了首季《亞洲超級名模生死鬥》,由此 展開其國際模特的生涯。


Leotie Lovely Holly Rose

trash is for tossers Lauren Singer

www.leotielovely.com instagram.com/LeotieLovely

Photo credit: LEOTIE LOVELY

www.trashisfortossers.com instagram.com/TrashIsForTossers

I believe that in order to be the change we wish to see, each individual needs to learn the circular story behind every object they purchase or use, and I’ve dedicated myself to recounting that narrative. I try to weave together an aesthetic and digestible tale about the people, places, and products which provide sustainable solutions for our lives and planet. 我 相 信,為 看到自己 所冀 望的 變化,每個人都需要認識他們 購買或使 用的物品的背後故 事,而我自己亦在 努力地記 敘 此事。我試圖編織一 個美 麗、 易明,有關為我們生活和地 球 提 供可持 續 解決 方案的人、地 方與產品的故事。

Get inspired 啟發靈感

Photo credit: trash is for tossers

Very often, I hear that people feel uncomfortable trying to buy things package-free because they are afraid the people will look at them like they are weird. Well, guess what, Zero Waste is NOT the norm and it is likely that people might not know what you are doing. Take this as an opportunity to educate someone and explain what you are doing in a positive way. I believe in living my values, so I am never afraid of looking different from others, I embrace it! 我經常聽到許多人覺得在購買免費包裝時,總讓他們感到不對勁。原因是害怕 別人會用奇異目光看待自己。那麼,你猜零廢棄是什麼來的?零棄廢不是一種規 範,而且很有可能的是,別人根本不知道你在做什麼。希望藉此機會去教育這些 人,並用正面的方式向他們解釋自己正在做的事情。我相信自己的價值觀,所以 我從不害怕與別人有異,我接受自己獨特的一套!

A s interest in the need for - and the processes of - sustainable fashion grows, the number of energetic influencers has increased. Here are a few of our favourite voices promoting positive change. 隨著對可持續時裝的需求和程序增加,愈來愈多充滿活力的具影響力 人士相繼加入。這些就是我們最喜歡的、推動正面變化的聲音。

“ Photo credit: Mundane Matters

Mundane Matters  Danling Xiao

www.mundanematters.co instagram.com/Mundane_Matters

“ 84

It feels weird to think that we are so alienly distant from not only how our food is grown, but also where the waste we generate goes.

覺得奇 怪的是,我們不僅不清 楚我們的食 物是 如何 種 植,亦不了解我們造成的廢料會到哪兒去。

Marie Kondo


Photo credit: MARIE KONDO

Find a home for each of the belongings you choose to keep. You'll know where everything is and experience more joy knowing that what is in your house are all things you love.

為你每一件想保留的件物品尋找一個適當的家。你會知道所有東西的位 置,你亦因為知道家裡所擁有的全是你所喜愛的東西而快樂。

It’s just not enough for me anymore that [what I wear is] a beautiful item or a beautiful piece. I want to know that it’s not leaving a negative mark… Fashion is something that touches us every single day. We get dressed every single day. I want to look good and feel good and do good, and that, to me, is luxury. 我決 定只會穿可持續時裝 走紅地毯。時 裝界是全球第2大污染淡水的行業。它具 有如斯巨大的環響和人為影響,但這樣的 說法對我而言是不足夠的。它還是一件漂 亮的物品或美麗的作品。負面痕跡不是我 所想要知道的事...時裝是一樣每天都會 觸動到我們的東西。衣服 是我們每天要 穿的物品。我想穿得好、有良好感覺、有 好的影響,但這對我來說,卻是奢侈的。

- Emma Watson to CNN Style’s Derek Blasberg Emma Watson 在 CNN Style 接受 Derek Blasberg 訪問

Photo credit: CALVIN KLEIN

Emma Watson

instagram.com/EmmaWatson instagram.com/The_Press_Tour



Profile for Redress Asia

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