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REDRESS DESIGN AWARD M a g a z i n e vol. 5 2018

COVER STORY 封面故事

Tomorrow’s world

明日世界

Discover a new generation of designers reinventing the way we make and market fashion

認識新一代設計師如何改變我們製作和推銷時裝的方式

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SCAN TO BOOK


Message from the FOUNDER

創辦人的話

The optimist in me wants to celebrate because sustainability in fashion is gathering exciting momentum. But the pessimist reminds me that never before has the need to ‘redress’ - to remedy, rectify and set right - fashion been greater. Bad news about fashion’s devastating environmental impacts rage on, crippling the planet and some of the Earth’s most vulnerable people along the way. So  I’m  listening  to  the  realist  instead.  This  voice  recognises  that fashion’s status quo must be radically broken, shaken up and rebuilt. There are ways for fashion to be a force for good, through sustainable design, ethical production or brave new business models that celebrate profit through principles. Rebuilding this new vision for fashion needs us all, as fashion industry insiders or consumers, to roll our sleeves up for some courageous hard work ahead. Why not? Redress has been at the frontline rattling fashion’s status quo and mainstreaming sustainable fashion for 11 years. I am incredibly proud of our unstoppable team. Through them, and our unwavering partners, we deliver a bounty of high-impact, globally-recognised programmes that demonstrate tangible ways to create change. Through the Redress Design Award we educate designers, educators and consumers around the world and our significant impact is possible because of the support from Create Hong Kong. Together, we have firmly put Hong Kong on the map as a sustainable fashion hub. Meanwhile, our other circular economy and used clothing take back programmes continue to catalyse the industry and inspire behaviour changes with consumers.

樂 觀 的思 緒 讓 我 感 到雀 躍無比,因為時 裝的可持 續 性 正 激 起 人們 心中的期待。但悲觀的愁緒卻提醒我,需繼 續 進行前所未有的「糾 正」─補救、整頓和撥亂反正,讓時裝界變得更強大。不幸的是,時 裝對環境造成了破壞性的影響,危害到地球和一些脆弱的人類。 因此我轉投現實主義的懷抱,它讓我意識到時裝界的現狀必須徹底打 破、動搖和重設。透過可持續設計、道德生產或建立以道德方式獲利 的新商業模式,時裝也可成為一種正能量。既然如此,重設時裝新視 野則有賴我們所有人,包括業界人士或消費者,勇敢為艱苦工作努力, 這又何樂而不為呢?

Redress 一直站在修繕時裝界的前線,並於過去11年,孜孜不倦地將可 持續時裝打入主流。我為這支銳不可擋的團隊感到無比自豪。通過團 隊和信念堅定的合作夥伴,我們提供了具有全球認可性的高影響力計 劃,展示了創造變革的切實方法。 透過「Redress  設計大賽」提供教育意識予來自全球的設計師、教育工 作者和消費者,並獲得創意香港的支持,令我們有機會創造重大的影 響。與此同時,我們擕手堅定地將香港定為可持續發展的時尚中心。 並且,我們其他有關循環經濟的措施和二手衣物回收計劃,將繼續促 使業界帶來積極變化,並激發消費者作出行為改變。 展望未來,冀樂觀主義、悲觀主義和現實主義能共存,因為 Redress 會比以前都要更加努力地實現夢想 ─ 時裝絕對是一種正能量。

Looking forwards, it’s recognising the optimist, pessimist and realist simultaneously as Redress strives harder than ever before to achieve our dream - where fashion really is a force for good.

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


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Designs by Redress Design Award 2017 finalist Joëlle van de Pavert

CREATE HONG KONG

創意香港

L aunched in 2011 by Redress, the Redress Design Award aims to champion sustainable design among emerging fashion designers with a focus on up-cycling textile waste back into fashion, and the promotion of a circular economy. As the major sponsor of the Redress Design Award, Create Hong Kong is delighted to see that the competition has been strongly supported by different sectors. Thanks to the efforts of Redress, the number of participants and the scale of the competition have expanded significantly in the past few years. Starting from last year, the competition is also open to emerging fashion designers and design students all over the world. Since its launch, the competition has identified and nurtured quite a number of young fashion talents who have shown that they care about our environment and the utilisation of resources. The awardees have gained valuable exposure, learning and development opportunities, thereby promoting a move towards sustainable design. Last but not least, I would like to extend my warmest congratulations to all the awardees of the competition. I am particularly grateful to Redress for organising the Redress Design Award to promote sustainable fashion design, and to enhance the awareness within the industry and the public around the impact of fashion design on our environment.

「Redress 設計大賽」於2011年由 Redress 創辦,旨在向新晉時裝設計 師提倡可持續設計,將紡織廢料帶回時裝界,推動循環經濟。

作為「Redress 設計大賽」的主要贊助機構,創意香港樂見各界對比賽

的廣泛支持,Redress 的努力亦得到回饋,參賽人數每年上升,比賽規

模在過去數年顯著擴大,由上屆開始更開放予全球的新晉設計師及設 計學生參與。比賽自舉辦以來,成功發掘和培育了不少關注環境和資 源運用的年青時裝設計人才,為得獎者增加了知名度和帶來寶貴的學 習及發展機會,推廣可持續時裝設計。

最後,我衷心祝賀所有得獎者,亦十分感謝 Redress 主辦「Redress 設 計大賽」,推動可持續時裝設計,增加業界和大眾關注時裝設計對環 境的影響。

Mr. Victor TSANG Chiu-hok 曾昭學

Head of Create Hong Kong, Hong Kong Special Administrative Region Government 香港特別行政區政府創意香港總監


NEW ON THE BLOCK 新一輪比賽

28 42 66 68 70 92

IN BETWEEN 介乎

Ideas of contrast run through this year’s Redress Design Award finialists’ photoshoot 「事物對比」這個意念貫穿本屆「Redress 設計大賽」的時尚拍攝

Meet the finalists 認識總決賽者

Introducing the newest recruits of the Redress Design Award 介紹本年度「Redress 設計大賽」的最新成員

ROAD TO THE FINAL 總決賽倒數

The lead up to the Grand Final is a journey of discovery and innovation for the finalists 設計師參與一場邁向總決賽時裝表演的發現和創新之旅

Meet the judges 評審委員

The Redress Design Award judges represent the crème de la crème of sustainable industry expertise 「Redress 設計大賽」評審委員是首屈一指、代表業界的可持續專家

Rewarding talents 表彰人才

This year’s prizes offer winners unparallelled 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

Once the beating heart of Hong Kong’s manufacturing scene, The Mills provided an iconic setting for the Redress Design Award photoshoot 本屆時尚拍攝在 The Mills 南豐紗廠進行,是一所能夠代表香港製衣業蓬勃時期的工廠

ALUMNI SUCCESSES 歷屆參賽者成就

12 ON THE COVER 封面造型

Bonnie Chen wears black blazer and Zuzana T wears textured merino wool blazer, both up-cycled from industry surplus. Designs by Angus Tsui. 陳碧舸身穿黑色西裝外套,Zuzana T 則身穿織紋美麗諾羊毛西裝外套, 兩件服裝皆由工業盈餘紡織品升級再造而成。由徐逸昇設計。

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COPYRIGHT 版權所有 © 2018 REDRESS LIMITED

Cover Story: Tomorrow’s World 封面故事:明日世界

Clare Press explores a new generation of designers reinventing the way we make and market fashion Clare Press 探討新一代設計師如何重塑我們製作和推銷時裝的方式

Designing for the future 設計出未來

Get the low-down on the Redress Design Award Alumni who are changing the face of fashion forever 一眾致力改變時裝面貌的「Redress 設計大賽」歷屆參賽者之最新動向

Watch this space 減廢新浪潮

Not content with the state of the fashion industry today, our Redress Design Award Alumni newcomers are already making waves... 不滿時裝界現況的一群「Redress 設計大賽」歷屆參賽者,正掀起一股減廢新浪潮……

New Collections 嶄新系列

Looking to make a considered fashion statement and support independent designers? Look no further… 尋找考慮周全的時裝選擇?希望實質支持獨立設計師?答案近在眼前……


CONTENTS 目錄

FEATURES 專題

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A Crisis in Clothing 衣物危機

Fashion has many faces, but in recent years, another face has emerged that is altogether more monstrous 時裝有不同的形象,近年來浮現出的更是一張駭人的臉孔

Proving Waste’s Worth 廢之所值

Bel Jacobs explores up-cycled brand, The R Collective’s mission to challenge every aspect of conventional fashion production Bel Jacobs 探究升級再造品牌 The R Collective 背後的使命 - 挑戰傳統時裝生產裡的各個範疇

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#FASHIONMUM

Long-standing international judge Orsola de Castro reflects on her experience mentoring the competition’s alumni 擔任國際評審委員多年的 Orsola de Castro 回憶歷年為參賽者提供指導的經驗

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Back on the Frontline 重返時尚最前線

Experience the passion of the Redress Design Award finalists to transform textile waste in Frontline Fashion 2, Redress’ latest documentary 透過觀看 Redress 最新紀錄片《Frontline Fashion 時尚先峰》第二季,體驗「Redress 設計大賽」 總決賽者對轉化紡織廢料的熱誠

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Desire Fuels SPIRALLING Fashion Problems 慾望延伸為加劇時裝問題的不可控

object a, HK01 asks, “Can Hong Kong’s cultural desert be transformed into a sustainable fashion oasis?” 「文化沙漠可轉為時裝綠洲嗎?」香港01 旗下《一物》提出對時裝界的疑問

EXPLORING THE ISSUES 探索問題

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TRANSFORMATION THROUGH EDUCATION 改變從教育開始

Every stage in the life of a piece of clothing makes its mark on the planet, explore how Redress is facilitating a shift in education 衣物的一生,在每個階段都在地球留下不同的痕跡,探索 Redress 如何在教育方面促進改變

Innovating for a Better Future 創出更好未來

Check out the latest initiatives and innovations enabling a more sustainable fashion industry 了解時下最新、可實現更持續時裝產業的的倡議和創新技術

Looking for a sustainable lifestyle? 尋找可持續生活方式

How easy is it to get on the path to sustainable living? Marieke Eyskoot explores in an excerpt from her new book, This is a Good Guide - for a sustainable lifestyle Marieke Eyskoot 以她全新著作《This is a Good Guide》中的這篇文章探索邁向可持續生活有多容易

Get informed 了解更多

Keep up with the main issues in the world of sustainable thinking as well as their solutions 緊貼可持續領域的主要議題及解決方案

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28 Editor 編輯 Hannah Lane 林禾雅

Contributors 撰稿 Bel Jacobs Clare Press Marieke Eyskoot object a HK01 香港01 一物 Orsola de Castro Researchers 研究人員 Amy Chan 陳姿 Kay Liu 廖詠芝 Mia Shu 舒泳蓁 Nancy Tong 湯玉婷 Designers 設計師 Kevin Ho 何敬謙 Wind Hui 許慧玲

TranslatorS 翻譯 Queenie Cheung 張楚君 Leo Lam 林健忠


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ACKNOWLEDGEMENTS 鳴謝 We would like to thank all of our sponsors and partners, who without their generous support, the Redress Design Award would not be possible. We are also lucky to have the support of more than 100 university partners across the world. All partners can be viewed at www.redressdesignaward.com/partners 我們希望藉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「Redress 設計大賽」順利舉行。 同時亦感謝全球逾 100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.redressdesignaward.com/partners

Major Sponsor 主要贊助

Logistics Partner 物流夥伴

Hotel Sponsor 酒店贊助

Prize Sponsors 獎項贊助

Alumni Prize Partner 歷屆參賽者獎項​贊助

Food & Beverage Sponsors 餐飲贊助

After-Party and Exhibition Partner 祝捷派對及展覽合作夥伴

After-Party Sponsor 祝捷派對贊助

Fashion Academy Partners 時尚學院場地合作夥伴

Bronze Sponsors 銅贊助

Education Donors 教育項目贊助機構

Hair Sponsor 髮型贊助

Make-up Sponsors 化妝贊助

Media Partners 媒體合作夥伴

Educator Workshop Partner 教育工作者工作坊 合作夥伴

Media Launch Venue Partner 傳媒發佈會場地夥伴

Accounting Sponsor 會計贊助

Supporting Organisations 支持機構

REDRESS DESIGN AWARD MAGAZINE 2018

With thanks to all members of team Redress, past and present, who are the driving force behind the Redress Design Award, including Amy Chan, Anneleise Smillie, Christina Dean, Danie Liu, Dora Lam, Hannah Lane, Jasper Li, Kay Liu, Kevin Ho, Lena Ziegler, Malique Goldin, Mia Shu, Nancy Tong, Nastasia Malatesta, Nissa Cornish, Queenie Cheung, Sonia Wan, and our volunteers Angel Hong, Charlotte Chan, Dora Xu, Fiona Chau, Holly Suan Gray, Jessica Ha, Lauren Boucher, Leonelda Tafaghodi, Licca Inn, Michelle Leung, Nathalie Panayi, Poning Fung, Rubaiyat Quader, Steffi To and Valena Pang. 特別鳴謝推動「Redress 設計比賽」的 Redress 成員及義工團隊。

RedressDesignAward RedressAsia

GetRedressed

RedressAsia

缮Redress

RedressAsia

Redress_Asia

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。

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A Crisis in Clothing

衣物危機

Written by 作者 Bel Jacobs

Fashion has many faces: from glitz and high octane glamour to intricate expressions of craft, creativity and tradition. But in recent years, another face has emerged that is altogether more monstrous. As the consumption of fashion grows exponentially, it is clear that the toll it is taking on our planet and its people is too great to be justified. Gone are the days where people would buy a couple of pieces for a season and nurture and repair them for new needs. Today, we buy 60 per cent more clothing today than we did just 15 years ago.1 And, of the 100 billion items of clothing delivered out of factories each year,2 a large percentage is ending up in landfill or incineration after just a few wears as consumers yet again opt for new. Very little about this is good. Tonnes of raw materials go into making clothing, eating into already diminishing natural resources to produce items too quickly disposed of. Production, most of which takes place in developing nations, releases cocktails of toxic chemicals and pesticides into waterways and soils, leading to disease and death. Fashion is now one of the world’s most environmentally polluting industries and accounts for an estimated 8 per cent of the world’s greenhouse gas emissions.3 Top this off with (often lowly paid) workers toiling to meet the rapacious demands of fashion labels and the energy-intensive processes of (over) cleaning the clothes we do own, and it is clear that action is needed. For the past 10 years, NGO Redress has worked tirelessly with makers, manufacturers, brands and consumers, to reduce the negative environmental impacts of the fashion industry. With the launch of the Redress Design Award in 2011, its philosophy of innovating textile waste is reaching a new generation of designers who are in turn forming a wave of change. Those involved in Redress’ work understand acutely what’s at stake while the rest of the global community is only slowly waking up to the real cost of clothes. Until it does, Redress’ work continues.

1 , 2 | McKinsey & Company (2016), Style that’s sustainable: A new fast-fashion formula 3 | Quantis (2018), Measure Fashion – Insights from the Environmental Impact of the Global and Apparel and Footwear Industries study

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COPYRIGHT LU GUANG / GREENPEACE

Dye Plant in ZHEJIANG, China  |  Greenpeace's Detox My Fashion campaign brought attention to pollution and health hazards of dyes and other chemicals used in textile manufacturing 位於中國浙江的一所印染廠 | 綠色和平以《潮流•污流:紡織名城污染紀實》喚起對使用染料及其他化學品生產紡織品所帶來之污染和健康災難的關注

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A man scavenges for clothing at an unofficial dump in Haiti 一名男子於海地一個非正式垃圾堆放場中尋找衣服 PHOTO CREDIT ALLISON SHELLEY / GETTY IMAGES SOUTH AMERICA / GETTY IMAGES / AFP

時裝既有華麗、充滿光彩的璀璨一面,亦有展現工藝、創意及傳統細緻 的一面。而近年,時裝極為駭人的一面亦逐漸顯露。以幾何倍數上升的 服裝消耗量,毋庸置疑正對地球,甚至人類造成巨大的破壞。 曾經,我們每季只買幾件衣服,然後悉心呵護,並按需要靈活修改。 現在,我們的購衣量比15 年前多了60%。1  製衣廠每年生產一千億件衣 物,2  當中大部份只穿過數次,便被貪新忘舊的顧客丟掉,運往堆填區 或焚化爐。 整個過程,實在問題多多,乏善足陳。須知製衣過程,消耗數以噸計的 原料,鯨吞越來越稀缺的天然資源,成品卻被極速棄置。而製衣工序大 多都在沒有完善監管的發展中國家進行,釋出有毒化學物質混合殘餘 農藥,被直接排放到河流及泥土中,帶來疾病與死亡。

時裝業現在已是世上污染地球最嚴重的工業之一,大約佔了全球溫室 氣體排放量的8%。3 此外,工廠為滿足時裝公司的掠奪式擴張,(通常以極低工資)勞役工 人及消耗極多能源以完成洗衣工序。顯然,我們必須採取行動。過去 十年,非政府組織  Redress  孜孜不倦與設計師、廠商、品牌及消費者合 作,以減少時裝業對環境的負面影響。 除着「Redress  設計大賽」於2011年首度舉辦,活用廢棄布料這個理念 開始在新一代設計師中萌芽,勢將形成新浪潮。所有  Redress  工作的 參與者都深切了解到現在已是危急存亡之秋,但國際社會卻只是初步 認知,人類對衣物付出的真正代價。Redress  將繼續努力,直至所有人 都覺醒。

1 , 2 | McKinsey & Company (2016), Style that’s sustainable: A new fast-fashion formula 3 | Quantis (2018), Measure Fashion – Insights from the Environmental Impact of the Global and Apparel and Footwear Industries study

China’s Jian River runs red after an illegal dye dump from a local chemical plant 中國澗河河水被來自化工廠非法傾倒的染料污染至紅色

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PHOTO CREDIT STR / AFP


OCTOBER 2018 IS ‘GET REDRESSED’ MONTH JOIN OUR CITY WIDE CAMPAIGN TO TACKLE TEXTILE WASTE, PROTECT THE ENVIRONMENT AND SUPPORT PEOPLE IN NEED. Fashion is one of the most polluting industries in the world. In Hong Kong alone the equivalent of 16,000 garments ends up in our overflowing landfills every hour. As a pioneering Hong Kong-based charity we are working tirelessly to drive positive change in fashion at both an industry and consumer level. To date, Redress has collected and re-distributed over 24 tonnes of unwanted clothing, and with your support, we plan to make this October our biggest clothing drive to date!

TAKING PART IS EASY

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Sign your company, club or school up to participate in our Get Redressed campaign month – we’ll do all the hard work so get in touch with nastasia@redress.com.hk to find out more!

AND / OR

2

Make a personal or corporate financial donation to directly support our goal to collect 7 tonnes of clothing and help 10+ local charities.

Find out more about our clothing collection programmes at www.redress.com.hk/clothingcollection

Please visit www.redress.com.hk/donate to find out about the many easy ways you can support this exciting campaign.

PARTICIPATE OR DONATE NOW

BE A PART OF OUR WORK TO CREATE A NEW CIRCULAR ECONOMY FOR FASHION Redress is a charity registered under Section 88 of The Inland Revenue Ordinance of Hong Kong


Tomorrow’s World

明 日 世 界 A new generation of designers are reinventing the way we make and market fashion, with sustainability front and centre. The Redress Alumni are leading the change, writes Clare Press. Clare Press 報導:新一代設計師正以可持續概念為著眼點,改變我 們製作及推銷時裝的方式,而來自「Redress 設計大賽」的歷屆參賽 者正是引領者。

Clare Press is the Sustainability Editor-at-large at Vogue Australia, and is International Judge of the Redress Design Award 2018 Clare Press 為《 Vogue》澳洲版可持續議題特約編輯及 2018年度「Redress 設計大賽」國際評審委員

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Ask Katie Jones why sustainability is important to her, and she says, “Why would it not be?” The London-based knitwear designer was a Redress Design Award semi-finalist in 2014/15, just a year into her business. “I think sustainability should be common sense,” she says. “Once you learn about it, if you’re not actively trying to help, then you are part of the problem. As a designer, it’s your job to try to make things better.” Jones has applied that thinking to her own evolution. She began by handknitting and crocheting her first collection out of old Aran sweaters, which she’d bought from charity shops and unravelled. She soon started using waste and surplus yarns, and wholesaling her exuberant pieces.


PHOTO CREDIT RACHEL MANNS

KATIE JONES ‘MAKE IT YOURSELF 2018’ COLLECTION

“I like colour a lot; there is far too much grey in the world.” She says that sustainability must go beyond materials and products. “As a young designer, you have to work out how your business model can be sustainable, and how you can grow in a way that works for you. Because I wanted to be in control of my production and for it to be very transparent, everything was hand-made in the UK, which meant that my prices were very expensive. I began to feel hypocritical: I was doing all this public speaking about sustainability, but my own solution was a £1,000 jumper, which is just ridiculous for the average consumer.” By far the biggest cost was the make; complex patterns take many hours to produce. “I thought, what if I took that element out of it?”

At the start of this year, Jones transitioned from a wholesale to a pattern-making model. “I now sell my designs as patterns for people to make themselves. It becomes much more affordable, but it also provides an opportunity for a deeper connection between the wearer and the garment. If you’ve made something yourself, then you know how much work goes into it. It makes you appreciate it more.” As the idea of the circular economy takes broader hold, brands and designers are increasingly looking at ways to design out wasteful production and consumption, rethink business models, and swap unsustainable materials for eco alternatives.

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We use our creativity and imagination to advocate for sustainability in our community and industry for a better future. 我們在社會及行業中利用創 意和想像力推廣可持續性, 以創建更好未來。

- ANGUS TSUI

PHOTO CREDIT ALEXANDRE CAPELLI

While Jones is designing system change, 2014/15’s first prize winner Kévin Germanier is focused on materials. He developed his distinctive rainbow-hued embellishments while working in Hong Kong and stumbling across a stash of discoloured beads that were destined for landfill. He bought the lot for $10 and took 93 kilos of them back to London with him. A former junior designer at Louis Vuitton, Germanier now counts Björk among his fans but while his success looks effortless, it wasn’t always so. When he first moved to London to study at Central Saint Martins, he had no money for fabrics and had to use his bedsheets for toiles. Constraints, he says, lead to better design, while sustainability is all about giving back: “It feels amazing to be able to create clothes and at the same time to protect the planet. As a young and passionate designer, it is very important for me to feel useful.” “It makes no sense to create something beautiful while polluting the environment,” says Angus Tsui, who won the People’s Award in the 2012 cycle. He has since developed a loyal following for his sophisticated, print-driven collections based on eco-friendly materials (think recycled polyester, organic fibres, antique fabrics)

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GERMANIEr collection presented to the ANDAM Prize judges, 2018

and sustainable design techniques (zero-waste patterns, up-cycling, reconstruction). “It’s an obligation for us designers, who have innovative minds and the medium to communicate with different parties, to advance the whole apparel industry into a greener business.”

Tsui’s latest collection, BEEvolution, was inspired by the plight of the bees. “Populations of wild bees have declined significantly in the past decade, which is a serious issue of all mankind and even the Earth,” says Tsui. “We are about so much more than just designing clothes, we use our creativity and imagination to advocate for sustainability in our community and industry for a better future.” He believes Redress has done significant work in this area, catalysing change in the region. The next generation will take sustainability as a given. “[By] supporting emerging sustainable designers through the years Redress has really changed the game,” says Tsui. “If designers, manufacturers, distributors and - most importantly - the consumers, all come together, I’m convinced that we can create something bigger, and have a far greater impact, a fashion revolution.”


COVER STORY 封面故事 當   Katie  Jones  被問及可持續性時裝為何對她如此重要時,她反問: 「為何不重要?」來自倫敦的她是一位針織衣物設計師,在開展事業後 一年,便入圍了2014/15年度「Redress  設計大賽」準決賽。她認為:「可 持續性應是基本知識,一旦知曉卻不主動出一分力,你就會成為問題之 一。作為設計師,令事物變得更好是職責所在。」

Katie  將這理念逐步應用到她的時裝系列中。她的首個個人系列開始 於把慈善機構中買來的二手亞蘭毛衣拆散取材。之後很快便想到加入 廢料及剩餘紗線,以手織方式製作成豔麗衣物批發出售。她說:「我喜 歡繽紛色彩,世界已太多灰暗了。」

她又指,除材料及產品本身外,可持續性須更進一步。「作為年輕設計 師,你必須找出一個可持續的商業模式,並找出一個對你而言有效擴 展的方法。以往由於我希望掌控產品的生產過程,要求必須公開透明, 所以所有產品都是在英國人手製造。這意味著生產成本非常昂貴,亦 令當時的我自覺矯情:我一直作有關可持續性的公開演講,但我提出 的方案卻價值是1,000英鎊(約 10,300 港元)的毛衣,這對一般消費 者而言實在離譜。」當時最大的開支在生產方面,加上製作複雜圖案十 分費時,「我靈機一觸,何不將這部份分拆出來呢?」 今年初,Katie  由批發商,轉為圖案設計師。她表示:「我現在將我的 設計以圖樣方式出售,讓人們自己製作。這使價格變得合宜得多,亦使 穿戴者與衣物間有更直接的聯繫。若衣服是自己做的,你就會明白當 中所花的功夫,然後更懂得欣賞它。」 隨著循環經濟概念更廣泛為外界認識,品牌及設計師正加緊想辦法, 淘汰浪費的產品和生產過程,反思商業模式及為不可持續物料尋找環 保的替代品。

當  Katie  著眼於改變模式之際,2014/15 年度的第一名得主  Kévin Germanier 則把焦點放在材料上。他開發出一種極其獨特,七彩繽紛的

飾物。這源於他在香港工作時,無意中發現了一堆珠子因褪色要送往堆 填區,於是他花10元買下了93公斤珠子,並帶回倫敦。Kévin  曾是  Louis Vuitton  的初級設計師,現在冰島創作歌手  Björk  亦是他的粉絲。看似 一帆風順,其實不然。他初搬到倫敦於中央聖馬丁藝術與設計學院就讀 時,因為沒有錢買布,要用床單代替麻布。他相信,設計上的限制能推動 更好的作品,而可持續性貴在回饋社會。他認為:「創造服飾的同時,又 能保護環境,感覺好極了。作為年輕有衝勁的設計師,用得著對我而言 十分重要。」

2012年度人氣大獎得主徐逸昇稱:「創造出美麗卻破壞環境的東西根 本毫無道理。」他得獎後致力將環保物料(如重造聚酯纖維、有機纖 維、舊布等)及可持續設計技術(如零廢棄圖案、升級再造、重新構造 等),運用到他高雅的印花系列中。他表明:「我們作為設計師,既有創 意,亦是聯繫各方的溝通橋樑,有責任將整個製衣業推往綠色經濟。」 徐逸昇的最新系列「BEEvolution」靈感來自蜜蜂面臨的困境。他表示: 「野生蜜蜂的數量在過去十年銳減,對人類以至整個地球而言都是大 問題。我們不只是設計衣物,而是在社會及行業中利用創意和想像力推 廣可持續性,以創建更好未來。」他相信 Redress 在這範疇內所做的工 作有成效,且正促使思想變革:下一代將視可持續為理所當然。 徐逸昇亦稱:「過去多年 Redress 一直支持新晉可持續設計師,已令商 業環境有所不同。若設計師、生產商、分銷商及最重要一環-顧客,同 心合力,我相信我們會大有作為,產生更大影響力,引發一場時裝革 新。」

Our cover models wear blazers from the upcoming ANGUS TSUI, EVOLVE collection 封面相片中的模特兒穿著 ANGUS TSUI 即將推出的 EVOLVE 系列

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DESIGNING FOR THE FUTURE 設計出未來 The number of fashion brands operating sustainably is on the rise, as understanding of the ethical, environmental and waste issues facing the industry deepens. The 157 alumni of the Redress Design Award are at the forefront of this pioneering movement. Representing 24 countries and over 32 emerging brands - with 36 alumni coming from Redress’ home turf in Hong Kong - the learning and inspiration acquired by these designers is being applied in imaginative, innovative ways across the globe, changing the face of fashion forever. 隨著業界對道德與浪費議題的 理 解加深,邁向可持續的時裝 品牌亦因而增加。「Redress  設 計大賽」共 157位歷屆參賽者是 這場運動的先鋒。他們來自24 個國家,創立了32個新興品牌, 當中更有36位歷屆參賽者是來 自   Redress  的基地─香港。這 些設計師將所學習到的東西和 獲得的啟發,以富有想像力和 創新的方式於全球傳開,冀永 遠改變時裝面貌。

PHOTO CREDIT KARA CHUNG

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PHOTO CREDIT CROP CROP Facon Cardigan KATE MORRIS FOR THE R COLLECTIVE ‘pop’ COLLECTION

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CROP Life has moved quickly for Kate Morris since winning the Redress Design Award 2017 First Prize with her fun, food and pop-art inspired cruelty-free knitwear. Her vegan label CROP, which uses plant fibres such as organic cotton, was recognised as ‘Best Wool-Free Brand’ in the 2017 PETA Fashion Awards. Zero-waste and minimal seam production techniques characterise the work, and a preference for mono-materials rather than blends means that after use recycling is more straightforward. Care labels integrated into the knitwear highlight the item’s story and low impact origins. Kate has since returned to Hong Kong to claim her prize - creating her capsule knitwear collection for Hong Kong up-cycled luxury brand, The R Collective. “My journey into fashion has been led by the desire to create functional items of beauty that can contribute to changing behaviour and attitudes towards fast fashion,” says Kate. “For me, sustainable fashion is about each part of the supply chain working together, starting with the designer, to make informed decisions that will have minimum impact on the planet and its people.”

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Kate Morris 去年憑以無動物測試物料作原料,俏皮普普風格的

針織品系列奪得2017年度「Redress  設計大賽」第一名後,個人 事業亦迅速發展。她的純素針織品牌  CROP  使用有機棉等植

物纖維,榮獲2017年度  PETA Fashion Awards  的「最佳無羊毛

品牌」。零廢棄,最少以最少接縫生產是該品牌的特色。Kate  偏

好使用單一物料,不使用混合纖維,有利於以後直接回收。品牌 還將護理標籤直接編纖於衣物上,從而突出服裝的故事和低害 特性。

Kate  於勝出比賽後重臨香港,為主打升級再造的品牌   The  R Collective  設計精品針織系列。她說:「我的時裝旅程由一個

使命牽引前行:就是創造美麗又實用的產品,從而改變大眾對 快速時尚的取態。對我而言,可持續時裝由設計師帶領,並團 結供應鏈的每個部分,作出正確決定,將對地球及人類的影響 減至最低。」


DESIGNING FOR THE FUTURE 設計出未來

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PHOTO CREDIT The Sustainable Sequin CompanY

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PHOTO CREDIT The Sustainable Sequin CompanY

3 The Sustainable Sequin CompanY SEQUIN DEVELOPMENT AS PART OF MA COLLECTION Claire Dartigues ‘Nouveau Paris’ CAPE/BAG

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PHOTO CREDIT CLAIRE DARTIGUES

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The Sustainable Sequin Company

Claire Dartigues

Few people realise that sequins are often made from virgin plastics, including PVC. To answer this problem, semi-finalist of the Redress Design Award 2017 Rachel Clowes launched The Sustainable Sequin Company, offering colourful alternatives made from recycled PET plastic. Alongside the standard range, Rachel focuses on small productions, working with designers to create custom shapes to prevent excess and waste. Biodegradable sequins are currently in development with plans to launch in 2019. Her hard work is paying off - her sequins have already adorned collections by Arizona Muse x Georgie MacIntyre and Gucci.

Finalist of the Redress Design Award 2017, Parsons School of Design graduate Claire Dartigues launched her eponymous brand the same year, using up-cycled materials and zero-waste patterns to construct unique womenswear for the brand’s three lines. Multi-functional and reversible pieces feature heavily in the collections. This year, a collaboration with Vent de Voyage, a Brittany based brand that up-cycles boat sails into bags, produced a dramatic cape/bag.

很少有人意識到珠片通常是由包括聚氯乙烯等原始塑料製成。為解決原材料問題,2017 年度「Redress  設計大賽」準決賽者   Rachel  Clowes  創辦了   The  Sustainable  Sequin

Company,提供繽紛多彩的替代品,由再生聚酯塑料製成。除了一般產品,Rachel  亦專注 於與設計師合作創造定制形狀避免浪費。可生物降解珠片目前在開發當中,將於2019 年 推出。其辛勤工作得到了回報,珠片在 Arizona Muse x Georgie MacIntyre 和 Gucci 的時

尚系列上應用。

畢業於美國紐約帕森斯設計學院的 Claire Dartigues 是 2017年

度「Redress  設計大賽」總決賽者。她於同年創辦了同名品牌,

採用升級再造物料和零廢棄紙樣模式生產三個女裝系列。具多

功能和可雙面穿戴兩個特點。Claire 在今年與法國布列塔尼品牌 Vent de Voyage 合作,將船帆升級再造成披肩兼手袋。

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PHOTO CREDIT GERMANIER

GERMANIER 7 EXCLUSIVE COLLECTION FOR MATCHESFASHION.COM 8 DEBUT collection

PHOTO CREDIT MATCHESFASHION.COM

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Germanier The career of 2014/15 Redress Design Award Winner Kévin Germanier goes from strength to strength, proving that sustainable fashion can be gloriously beautiful and extravagant. After collaborating with Shanghai Tang and The R Collective - and completing his BA at Central Saint Martins – earlier this year Kévin left his role as junior designer for Louis Vuitton to launch his own namesake brand, Germanier. Debuting at Paris Fashion Week in early 2018, the collection, which melds up-cycled materials including broken, imperfect beads applied in a silicon embroidery technique, was snapped up exclusively by matchesfashion.com to be online in late 2018. Germanier’s glittering, sculptural, glamorous work has been sported by Björk and Lady Gaga, both performers known for a passion for experimental style. Profiles by both Vogue and The Business of Fashion take Kévin’s passionate belief in power and possibilities of sustainable fashion into new arenas. Since launching his brand Kévin has been a finalist in both the H&M Design Award along with the prestigious ANDAM Prize. 2014/15年度「Redress 設計大賽」第一名得主 Kévin Germanier 的事業不斷發展,由此證明可持續時裝也可以是高尚華麗的。繼與上海灘和 The R Collective 合作、

完成英國中央聖馬丁藝術與設計學院的學士課程後,Kévin 於今年較早前辭去 Louis Vuitton 初級設計師一職,並創辦其同名品牌 Germanier。

這個 時尚系列 於 2018 年 初在巴黎 時 裝 週首 次 亮 相,運 用矽片刺 繡 技 術 將已破碎、不 完 美的珠 子 融 合,並 於 同年 在  matchesf ashion . com  獨家 網 上發 售。

Germanier 今次的作品,富雕刻式剪裁、耀眼、迷人,更獲得熱愛嘗試實驗風格的 Björk 和 Lady Gaga 親身示範。而《Vogue》和《BoF 時裝商業評論》將 Kévin 對可持續 時裝的熱情,以及他對可持續時裝的力量躺可能性,推廣開去。創辦品牌以來,他已入圍過「H&M 設計大獎」和「ANDAM Prize」的總決賽。

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DESIGNING FOR THE FUTURE 設計出未來

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PHOTO CREDIT ENUGO

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PHOTO CREDIT UNDER THY SKIN

PHOTO CREDIT CANDLE RAY

12 ENUGO 9 CANBERRA DRESS UNDER THY SKIN 10 ‘MYSTERIOUS HANDS’ collection CANDLE RAY 11,12 SS2018 collection

ENUGO

Under Thy Skin

Candle Ray

Enugo, brainchild of Redress Design Award 2017 semi-finalist Natalia Golec, specialises in up-cycled and zero-waste women’s shirts and suits with a twist on classics through multilayered, asymmetrical collections. Natalia also strives to keep production local in Polish Pomerania, allowing her to ensure the workers are fairly compensated.

2017 semi-finalist Neri De Meester balances working as a vegan chef with managing her own sustainable lingerie label ‘Under Thy Skin’. Her collections, made of up-cycled end-of-stock and recycled materials, are designed and handmade in Belgium in limited quantities. Plans to create a line of sustainable swimwear are in the pipeline.

Candle Ray Torreverde was Runner-up in the Redress Design Award 2017. The same year, he founded his sustainable brand, CANDLE RAY, with a debut at Manila Fashion Festival, showcasing his signature modern architectureinfluenced designs. Made-to-order pieces are made from up-cycled and reconstructed materials and incorporate zero-waste design methods.

Enugo  是 2017年度「Redress  設計大賽」準決賽 者 Natalia Golec 的心血結晶。品牌多層次、不對

2017 年度「 Redress  設計大賽」準決賽者 Neri De Meester,既是素食主廚,又管理著個人可持 續內衣品牌 Under Thy Skin。她的時尚系列採用

計大賽」優異獎得主。同年,他創辦了個人可持續

時設計,以手工限量製作。未來她計劃創造一個

影響的設計。品牌按單生產,由升級再造和重新構

稱的時尚系列,打造出升級再造兼零廢棄款式的 女性襯衫和經典西裝。Natalia  還堅持在波蘭波

美拉尼亞進行生產,確保工人得到公平的收入。

了剩餘的升級再造布料和再生物料製成,在比利 可持續泳裝系列。

Candle Ray Torreverde 是2017年度「Redress 設

時裝品牌 CANDLE RAY,並在 Manila Fashion

Festival 首次亮相,展示他標誌性受現代建築風格 造的物料製成,並結合零廢棄設計方法。

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PHOTO CREDIT MIKAN BY CLEMENTINE SANDNER

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PHOTO CREDIT SEER THE LABEL SEER THE LABEL ‘SPORTY SUMMER’ COLLECTION MIKAN BY CLEMENTINE SANDNER BEETLE BACKPACKS

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PHOTO CREDIT MIKAN BY CLEMENTINE SANDNER

Seer the Label

Mikan by Clementine SANDNER

Redress Design Award 2014/15 finalist Cher Chan launched her San Francisco-based clothing brand, Seer the Label, in early 2018. Sportinspired womenswear and unisex collections are all up-cycled, made from deadstock materials from Hong Kong, Japan and USA.

Clémentine Sander moved to Japan soon after participating in the Redress Design Award 2013. Her sustainable brand Mikan by Clementine specialises in the reconstruction of antique silk kimonos, combining them with high performance fabrics to create beautiful, functional accessories with real history. Earlier this year, a solo show at Forum Kyoto showcased her latest collection. Alongside developing her brand, Clémentine teaches Design at ESMOD Kyoto.

2014 年度「Redress 設計大賽」總決賽者 陳潁蓉,於2018 年初推出服裝品牌 Seer the Label。品牌以美國三藩市為基地。其 運動風格的女裝和中性時裝,全部採用來

Clémentine Sander 參加2013年度「Redress 設計大賽」後不久便移居日本。她的可持續品牌 Mikan by Clementine Sandner  專注於重新構造舊絲綢和服,將它們與高性能織品相結合,創造出既具歷史價值,又漂亮的實用配飾。今年 較早前,她在 Forum Kyoto 舉辦了個人時尚展,展示其最新的設計。除發展個人品牌外,Clémentine 還在日本京都 ESMOD 國際時裝藝術學院教授設計課程。

而成。

她回憶道:「Redress 在我的品牌創作過程中,扮演了重大角色,給我一個首次進入亞洲的機會,在畢業後加入專業時

自香港、日本和美國的存倉布料升級再造

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“Redress played a big role in my brand creation,” she remembers. “It offered me my first ever Asian experience and as a new graduate about to professionally step in the fashion world, the organisation has influenced me in staying strong to the idea of integrating sustainability as much as I can through my work, always.”

裝界提供平台。Redress 深深影響了我,令我對發展可持續時裝的想法更堅持。」


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PHOTO CREDIT CORA BELLOTTO

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PHOTO CREDIT THREEONES

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PHOTO CREDIT WEN PAN

CORA BELLOTTO 16 ‘THE INITIATION’ COLLECTION THREEONES 17 ‘danchun’ dress WEN PAN 18 AW2018 collection

Cora Bellotto

Threeones

Wen Pan

After winning in the 2015/16 cycle (a mentorship with Orsola de Castro), Cora Bellotto launched her namesake sustainable womenswear fashion label in 2017. The brand won the Redress Design Award 2017 Alumni Prize to be sold at Hong Kong independent lifestyle store kapok, along with a mentorship from owner, Arnault Castel giving Cora valuable and practical experience in creating and promoting a brand for a vibrant Asian market.

Traditional East Asian costume influences the work of 2017 semi-finalist Adriana Cagigas, whose artisanal brand Threeones produces garments in limited number to reduce material waste, emphasising ideas of handicraft and longevity. “Our main goal is to create sustainable products in order to make our society a better place to live,” she says.

Central Saint Martins graduate Wen Pan launched her eponymous womenswear brand in 2017 after participating in the Redress Design Award 2015/16. Layers and texture feature heavily in collections inspired by the ‘beauty of brokenness’, along with natural, organic fibres. The label is strictly leather and fur-free.

繼贏得2015年度「Redress 設計大賽」的 Orsola de Castro

2 0 1 7 年 度「 R e d r e s s  設 計 大 賽 」準 決 賽 者 Adriana  Cagigas  的設計受傳統東亞服裝影 響。其品牌 Threeones  限量生產,不僅可減少

貴為英國中央聖馬丁藝術與設計學院畢業

「我們的主要目標是要創造可持續產品,創造

brokenness」,當中大 量 使 用層次 與 紋

啟導計劃後,Cora Bellotto 於2017年推出了與同名可持續女 裝品牌,品牌亦贏得2017年度「Redress 設計大賽」歷屆參

賽者獎項,得到在香港獨立生活品牌 kapok 出售作品,並獲

浪費,同時強調手工藝和衣服的耐用性。她說:

市場,得到創造和推廣品牌方面的寶貴實踐經驗。

一個更好的居住環境。」

得由創辦人 Arnault Castel 啟導,令 Cora 在充滿活力的亞洲

生的潘問,在2015/ 16 年度「Redress 設計 大賽」後,在 2017年創辦了其同名品牌。

她的設計靈感源於「破碎之美 beauty of

理,並採用天然有機纖維。另外,品牌亦 嚴格遵守不用皮革與皮草的宗旨。

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PHOTO CREDIT RACHEL MANNS

20 KATIE JONES 19 Dua Lipa in Auria x Katie Jones 20 SUSIE BUBBLE’S JACKET IS CURRENTLY ON DISPLAY AT THE V&A MUSEUM 21 ‘Great Make Escape’ Event

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PHOTO CREDIT DUA LIPA

21

PHOTO CREDIT RACHEL MANNS

Katie Jones 2014/15 semi-finalist Katie Jones continues to be a committed, active presence in the UK sustainable fashion scene. Through teaching and holding workshops at a variety of events as well as her new own ‘Great Make Escape’ retreats, Katie is a passionate advocate for the beauty and sustainable potential of craft. Collaboration is key for this prolific creator; this year, she has co-created collections with Auria Swimwear and Australian label, Romance Was Born. Her involvement with the global ethical fashion movement, Fashion Revolution sees her as a regular fixture at its increasingly high profile events. Some of her work is currently on display at the V&A’s seminal exhibition Fashioned From Nature, which explores the relationship of the natural world to clothing and textiles. 2014/15 年度「Redress 設計大賽」準決賽者 Katie Jones,仍然積極參與英國時裝界的可持續發展。Katie 熱衷於透過各種教學活動、工作坊,以及她主辦 的 Great Make Escape,提升工藝的美感和可持續性的潛力。今年她主要的目標是發展更多合作項目,她分別與 Auria Swimwear 和澳大利亞品牌 Romance Was Born 進行聯合設計。另外,她亦有參與全球道德時尚運動「時尚革新」,在不同備受關注的活動中都得見她的身影。Katie 的部分作品目前正在英國倫 敦 V& A 博物館的 Fashioned From Nature 中展出,該展覽目的旨在探訪紡織時裝與大自然的關係。

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PHOTO CREDIT ZEROBARRACENTO

DESIGNING FOR THE FUTURE 設計出未來

16

22 ZEROBARRACENTO ss2018 COLLECTION ALGORITHME ‘Fashion with Purpose’ UNISEX T-SHIRT

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PHOTO CREDIT ALGORITHME

Zerobarracento

Algorithme

Presented at Budapest Fashion Week SS18, the new collection from Zerobarracento, brand of 2015/16 semi-finalist Camilla Carrara, features jumpsuits, shorts, minis and crop tops in a mix of Newlife™ jacquards (re-engineered polyester produced from post consumer plastic bottles) and cotton piquė. As per the brand’s DNA, the collection was produced as sustainably as possible. Key pieces are now available on VIC, an emerging platform for sustainable, made-in-Italy clothing rental. The brand continues to attract press and media attention for its pioneering methods and business model.

Algorithme, launched in 2015 by 2017 semi-finalist Marta Dolska, uses environmentally and socially responsible methods of production, including the reconstruction of secondhand garments. A new t-shirt collection, in collaboration with sustainable brand Neutral, features Danish illustrations embellished by skilled immigrant handcrafters.

2015/16 年度「Redress 設計大賽」準決賽者 Camilla Carrara 創辦的品牌 Zerobarracento,新 系列於2018 年布達佩斯春夏時裝週上展出。作品採用了 Newlife ™ 提花織物(由消費後塑料瓶

Algorithme 由2017年度「Redress 設計大賽」準決賽參賽者 Marta Dolska 於2015年創辦,採用對環境和社會負責任的方 法來製作服裝,又以重新構造設計技巧改造二手成衣。最新T 恤系列,與可持續品牌 Neutral 合作。以獨特丹麥插圖為背

製成的再造聚酯)和珠地棉,製成連身衣、短褲、露臍迷你上衣。品牌宗旨是盡可能以可持續方

式進行生產。主打設計現已在 VIC  發售,一個可租借意大利製造可持續服裝的新興平台。相信 Zerobarracento 會繼續以開創性手法和商業模式,得到媒體的關注。

景,並由專業移民手工業技工進行工藝裝飾。

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24

26 CLASSICS ANEW 24 SHOWROOM AT Ko Shan Theatre New Wing, HONG KONG PAT GUZIK 25 THE ‘HEAVEN IS A PLACE ON EARTH’ COLLECTION, AS SHOWCASED AT THE SUSTAINABLE AND FUR FREE FORUM, SHANGHAI TIFFANY PATTINSON 26 THE ‘DIGITALDELIA’ COLLECTION AS SHOWCASED AT THE SUSTAINABLE AND FUR FREE FORUM, SHANGHAI

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PHOTO CREDIT KASIA BIELSKA / PAT GUZIK

Classics Anew

FASHION WITHOUT FUR 零皮草時尚

Winner of the first ever cycle of the Redress Design Award, Janko Lam’s brand Classics Anew, has just opened a second shop space in Hong Kong at the historic Ko Shan Theatre, which joins her PMQ shared store, Three Artisans. The theatre, dedicated to Cantonese opera performances, provides the perfect setting for the brand which up-cycles leftover denim and prints with a twist of modern Chinese heritage.

While the world wakes up to the cruelties of fur production, with luxury labels Gucci and Versace dropping fur from all future collections, China is proving slow to catch up. The country is responsible for 75 to 80 per cent of the fur sold globally where it remains a symbol of wealth and success, despite ethical issues around animal welfare. Earlier this year, two Redress Design Award Alumni 2012 China finalist Tiffany Pattinson and 2015/16 winner Patrycja Guzik - took part in ACTAsia’s Sustainable and Fur Free Forum in Shanghai where they presented collections, and Tiffany shared a panel with Chinese Couturier Grace Chen, Designer Michael Wong and Jerri Ng, Editor of InStyle China, to discuss the challenges of changing the practice and imagery of fur in China and beyond.

林春菊作為首屆「Redress  設計大賽」的第一名得主,其

品牌新裝如初   Classics  Anew  繼香港元創方的   Three

Artisans  後,剛在歷史悠久的香港高山劇院開設了第二

間分店,這個致力於發揚粵劇的劇院,與品牌完美配合。 林春菊在這裡可以繼續以中國古典風為題,將盈餘牛仔 布升級再造。

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世界開始察覺到皮草生產的殘酷,例如  Gucci  和  Versace  將不再使用皮草,但中國在這方面的意識

仍比較落後。儘管動物福利這個議題有極大爭議,該國仍擔當75 - 80 %的全球皮草銷售,依然認為這

是財富和成功的象徵。今年較早前,2012 年「Redress  設計大賽」中國準決賽者  Tiffany  Pattinson 和 2015/ 16 年度「Redress  設計大賽」第一名得獎者  Patrycja  Guzik,參加了在上海舉辦的  ACTAsia 可 持續零皮草時尚盛典。她們在活動中展出自己的設計,而   Tiffany  更與中國高級女裝設計師   Grace Chen、設計師 Michael Wong 和《InStyle》中國版編輯 Jerri Ng 進行討論,探討希望改變中國及其他 地區對皮草行業的做法和形象需要面臨的挑戰。


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28 29

Angus tsui 27 ‘BEEVOLUTION’ COLLECTION 28 limited edition LaiSee crafted from up-cycled iconic red Cathay Pacific uniforms 29 Angus as stylist for the Redress Design Award 2018 finalists’ photoshoot

Angus Tsui Winner of the public vote for the Redress Design Award Hong Kong 2012 People’s Award, Angus Tsui launched his namesake sustainable brand in 2014 and has been collaborating far and wide this year. A successful partnership with Hong Kong airline Cathay Pacific to turn old uniforms into beautiful keepsake laisee packets for the Chinese New Year 2018 is set to continue into a second year. Angus was invited to curate an exhibition titled ‘The Art of Eco Couture’, held at EAST Hotel, Hong Kong in Spring 2018. In conjunction with Art Basel, the exhibition was a celebration of wearable art, while raising awareness of the current textile waste problem and the impacts of fast fashion. Redress also welcomed Angus as stylist for the Redress Design Award 2018 finalists’ photoshoot (see p.28). Created using techniques of zero-waste, up-cycling and reconstruction, the Angus Tsui brand experiments with excess fabric stock sourced from Hong Kong companies and social enterprises along with organic and recycled fabrics, and eco-friendly ink for digital printing. 徐逸昇透過公眾投票贏得2012年度「Redress 設計大賽」人氣大獎,並於2014年創辦了同名可持續品牌,今年合作項目亦變得愈來愈廣泛。2018年農曆新年,他與國

泰航空合作將舊制服,變成漂亮的紀念版利是,計劃將於明年繼續進行。為響應香港巴塞爾藝術展,The Art of Eco Couture 展覽早前展出一系列以環保物料創作的 時尚服飾,致力透過舉辦各類型活動以減少時裝界的浪費和推廣環境可持續性。另外,我們非常榮幸邀請到徐逸昇,成為本年度「Redress  設計大賽」時尚拍攝的造

型師(見第28頁)。

品牌採用零廢棄、升級再造和重新構造等技巧,並採用來自香港公司及社會企業的織品剩餘存貨,亦使用了有機物料與回收織品,和環保墨水。

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30

PHOTO CREDIT LINDA CHOW / EAR UP MUSIC

31

PHOTO CREDIT ELLEN LOO PHOTO CREDIT KELLY CHAN

33 GAO QINGZI LINDA CHOW IN GAO QINGZI LIA KASSIF ELLEN LOO IN LIA KASSIF ARTISAN COLLECTION AT THE RUNWAY ASIA SHOW ABSURD LABORATORY COLLECTION AT THE RUNWAY ASIA SHOW

PHOTO CREDIT KELLY CHAN

30 31 32 33

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MUSIC MEETS FASHION 音樂碰時尚

RUNWAY ASIA

In the promotion of her final single, the late Ellen Loo, Hong Kong indie singer-songwriter, wore a waste-reducing outfit of up-cycled military uniforms and old wedding gowns by Lia Kassif, who was chosen by Ellen as the Redress Design Award Special Prize Winner 2017. Last year, 2017 Hong Kong Best Winner Gao Qingzi dressed indie singer Linda Chow Wah-Yan in remnant fabrics for an appearance on Ear Up Music’s tour.

This June, Redress and The Hive Studios teamed up for the very first sustainable fashion Runway Asia event in Hong Kong, featuring Redress alumni brands including Absurd Laboratory, Alex Leau, Angus Tsui, Artisan, Classics Anew, The R Collective, Tiffany Pattinson and Seer the Label.

已故香港獨立創作歌手盧凱彤曾於今年5月,穿上由 Lia Kassif 設計的減廢服裝出席宣傳

今年6月,Redress 和 The Hive Studios 在香港合辦 Runway Asia 首個可

活動。該服飾由軍裝和二手婚紗升級再造,她是盧凱彤親選的2017年度「Redress 設計大

持續時裝表演。當中「Redress 設計大賽」歷屆參賽者創立的品牌是活

華欣製作了在搶耳音樂廠牌計劃表演中穿著的可持續時裝。

新裝如初、The R Collective、Tiffany Pattinson 及 Seer the Label。

賽」特別獎得獎者。另外,2017年度最傑出香港得主高青紫,去年亦為香港獨立音樂人周

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動的焦點,包括 Absurd Laboratory、Alex Leau、Angus Tsui、Artisan、


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FINALISTS’ PHOTOSHOOT 總決賽時尚拍攝

IN BETWEEN 介乎

Ideas of contrast - between decay and reconstruction, the natural and the man-made, the old and the renewed - run through this year’s Redress Design Award photoshoot, which sees stylist (and competition alumni) Angus Tsui and photographer Sam Tso collaborate to celebrate the transformative power of innovation in the finalists’ complex, intricate work. The location is The Mills, a historic cotton mill transformed into a creative hub and key revitalisation project in Hong Kong, the perfect backdrop to collections inspired by tradition and nature. In their work, created through techniques of zero-waste, up-cycling and reconstruction, these designers provide a luxurious challenge to what people see as waste, and set the scene for the future of fashion. 「事物對比」這個意念貫穿本屆「Redress  設計大賽」的時尚拍攝,並以相片呈現了介乎於老化與重建、自然與人 造、舊去與翻新之間的反差。攝影師  Sam  Tso  與擔任本次時尚拍攝造型師的歷屆參賽者徐逸昇,共同將複雜設計中 的創新變革力量傳播出去。拍攝於  The  Mills  南豐紗廠進行,乃是香港重點活化項目,由歷史悠久的紗廠改建為現有 的創意中心,正正適合於展現總決賽者們受傳統和大自然啟發的時尚系列。他們運用了零廢棄、升級再造和重新構 造的設計技巧,將大家所認為的廢料轉換成華麗的服飾,亦以此挑戰大眾,為時裝的未來奠下了不一樣的描繪。

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Reconstructed top and skirt set and coat, made from the silk linings and obi belts of vintage kimonos. Design by Sarah Jane Fergusson. 以舊和服的絲綢襯裡及 腰 帶 重 新 構 造 成 上衣、裙 子及外套。由 Sarah Jane Fergusson 設計。

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Up-cycled raincoat made from damaged umbrellas, paired with oversized dress shirt up-cycled from bedsheets, and tailored wide-leg trousers up-cycled from vintage wool. Design by Jesse Lee. 全部物料以升級再造技巧製成,由爛 雨傘製成的雨衣、以床單再造的超大 碼襯衫和復古羊毛織品造成的闊腳 褲。由李顯鋒設計。


Fringe trousers made from reconstructed secondhand shirts, with up-cycled knitted jumper made from cut-and-sew waste. Design by Lea Mose Svendsen. 流蘇長褲由二手 襯衫重新構 造,搭 配 採 用布料 碎屑製 成 的針織套頭衫。由 Lea Mose Svendsen 設計。

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Reconstructed hand-stitched tassel dress and matching jacket made from cut-and-sew waste, organza strips and surplus silk threads sourced from local markets in India. Design by Seerat Virdi. 布料碎屑、絲質薄紗及剩餘絲線來自 印度當地市場,再以重新構造及手工 技巧,縫製出流蘇連衣裙和夾克,配 成一套。由 Seerat Virdi 設計。

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Top created from bark lace (handmade by designer) and up-cycled textiles sourced from bridal wear production; paired with paneled skirt reconstructed from secondhand kimonos and obi. Design by Hung Wei-Yu. 升級再造的上衣以設計師手作的 樹 纖 維蕾 絲 配 搭婚 紗廢 料,再 配 以由二手和服 及 腰帶重新構造的 裙子。由洪威宇設計。


Once the beating heart of Hong Kong’s manufacturing scene, The Mills provided an iconic setting for the Redress Design Award photo shoot. Unwanted and obsolete, the historic cotton mill has been transformed and repurposed with imagination – much like the wasted textiles that form the basis of these 11 visionary collections. 「Redress 設計大賽」時尚拍攝在 The Mills 南豐紗廠進行,是一所能 夠代表香港製衣業蓬勃時期的工廠。雖然歷史悠久的紗線廠不再被需 要,但經過充滿想像力的改造,已被賦予新生命-正如各總決賽者以 紡織廢料設計出這 11套具遠見的時尚系列。

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Jumpsuit, long coat and bomber jacket all up-cycled from hand-dyed muslin samples, offcuts and silk strips from vintage kimono linings, layered with wool knit vest upcycled from sustainable yarn. Design by Melissa Villevieille. 連身褲、長外套以及飛行夾克,全部採用手工 染色的布樣、碎布、復古和服襯裡及絲綢條帶 進行升級再造,再搭配以環保紗線升級再造的 針織羊毛背心。由 Melissa Villevieille 設計。

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Textured cape dress up-cycled from a mixture of shredded textile waste, both pre and post consumer, and woven in the traditional technique of Ikat. Design by Ganit Goldstein. 以 消費 前 後的 紡織 廢 料 所 升級 再造的披肩連衣裙,設計師用傳 統  Ikat  絣 織 技術 編織而成。由 Ganit Goldstein 設計。

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Up-cycled lace top layered with zero-waste seamless knitted wool dress and sleeve, made from end-of-rolls and secondhand textiles. Design by Lynsey Gibson. 升級再造的蕾絲上衣,配搭由卷軸 尾 端 布料和二手 紡織 品,以零廢 棄無縫針織而成的羊毛連衣裙和 袖子。由 Lynsey Gibson 設計。


Up-cycled wool skirt and asymmetric wool jacket made from end-of-rolls and factory surplus waste, embellished with embroidery and hand-painting. Design by Lucia Alcaina. 由卷軸尾端布料及剩餘布料升級再造而成 的羊毛裙和不對稱羊毛外套,上邊有刺繡 和手工繪畫點綴。由 Lucia Alcaina 設計。


Oversized dress made from up-cycled secondhand curtains and reconstructed denim jeans and embellished with metal snaps. Design by CJ Martin. 由升級再造二手窗簾及重新構造的牛仔褲 作原料,製成的超大號連衣裙,配以金屬鈕 扣作點綴。由 CJ Martin 設計。

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Zero-waste jacket and trousers up-cycled from cut-and-sew waste; handpainted with eco inks, and embellished with salvaged hardware. Design by Tess Whitfort. 以布料碎屑製成的零廢棄夾克 和褲 子,再以生態顏料手繪,配以五金品 裝飾。由 Tess Whitfort 設計。

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For her Redress Design Award submission, Lucia Alcaina was inspired by the internet: by the parallel realities it creates, both in digital art and in how we relate to each other through avatars. Their potential for deception is captured in sculptural, armour-like silhouettes created from industry waste including silicone, PU and rubber which are up-cycled and hand embellished using a rich variety of techniques including painting, embroidery, felting, needle-punching and beautiful folded shapes reminiscent of origami. The work of Yohji Yamamoto is a strong conceptual presence. “I love creating fashion,” says the LCI Barcelona graduate. “I remember drawing dresses when I was young so I guess it’s vocational. And it’s much nicer knowing that what I produce leaves positive footprints [on the earth], instead of contributing to the mountain of waste and the exploitation of natural resources and humans that the current industry supports. I am determined to create positive change through my work.” Waste and exploitation aside, if there is one thing that she could change about the industry, it would be its speed. “I believe in the

LUCIA ALCAINA SPAIN 西班牙

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importance of the creative process while designing, like a starting point to experiment with inspirations before turning these concepts into projects,” says Lucia. “This process is so necessary for designers. Today, fashion is so fast that designers do not have time to properly develop the creative process for every collection. There is only enough time to produce… without any concern for social, environmental or economic responsibilities.” One of her most significant successes - so far - is turning down job offers that would have placed her deep within the heart of fast fashion. “I decided to look for my own way, to find out first what I really wanted to do instead,” she says. Her parents remain a key influence. “They prepared amazing trips around the world, allowing me to encounter many different cultural and fashion references. It means that I have now found a path for myself that allows me to express my feelings and my experiences and that makes me very happy!”


Meet the finalists 認識總決賽者

Lucia  A lcaina  的「Redress  設計大賽」參賽系列的靈感源於互聯網,因其虛擬世界所發展的 平行時空影響著我們對數碼藝術及網絡替身之間的互動。她以盔甲般的剪裁,配以工業廢料 如矽膠、聚氨酯和橡膠呈現了虛擬網絡中互不信任的感覺。設計用上升級再造和手工點綴等豐 富多樣的技巧,包括繪畫、刺繡、制氈法、針軋法和折疊漂亮的形狀,不禁讓人聯想起摺紙,而 作品亦可見山本耀司作品的影子。

畢業於西班牙巴塞羅那  LCI  的她回憶:「我喜歡創造時裝。我仍然記得小時候繪畫衣服的情 景,相信這就是我的命運。另外,當知道我製作的東西能為地球留下正面生態足跡時,感覺更 好,而非支持業界繼續製造如山多的浪費和濫用地球、人力資源。我決心通過設計來創造積極 轉化。」 除了浪費和剝削,如  Lucia  可改變時裝業的一件事,那將是它的 節奏。「在設計中,我相信創作過程非常重要,就像用靈感作為 起點,然後把這些概念實踐成真實的計劃。」 「這個過程對設計師來說非常重要。如今,時裝業步伐之快,以 致設計師沒有時間好好考慮每個時裝系列的開發過程。時間只 足夠生產,完全顧不上社會、環境或經濟的責任。」 迄今為止,她其中一個最傲人的成就是:拒絕會將她置 於快速時尚核心的工作機會。「我決定先尋找自己的 方式,找出我真正想做的事情。」

其父母仍然是影響她的關鍵。「他們過去讓我有多 個出國的機會,讓我能感受許多不同文化和發掘各 樣的時裝參考。我相信現在已為自己找到了一個方 向,讓我能充分表達個人感受和經歷,這讓我十分開 心!」

I am determined to create positive change through my work. 我決心通過設計來創造 積極轉化。 43


SARAH JANE FERGUSSON JAPAN 日本

SPECIAL Prize Winner 特別獎項得主

Based in Tokyo, British-born Sarah Jane Fergusson is fascinated by the Japanese concept of Mottainai. “It roughly translates as ‘too good to waste’,” she says. “I also love the craftsmanship behind a ‘Boro Kimono’; historically, a kimono worn by farmers who, out of economic necessity, mended their garments with spare fabric scraps.” For her Redress Design Award submission, Sarah Jane sourced vintage silk kimonos from flea markets in Kyoto, experimenting with new techniques and silhouettes to bring these historical garments into the modern age. It wasn’t always easy. “It’s a lengthy, careful process: opening each kimono, cleaning it and reassembling it,” she says. “At the same time, every kimono panel measures about 35cm in width so it was challenging to create silhouettes restricted by their design.” Nonetheless, her collection captures the spirit, both of an ancient past and an exciting future. Accessories crafted from fabric scraps and obi cords complement the work. She is passionate about her role as a designer/maker. “We have a responsibility to consider the products we put out into the world,” she says. 44

Two instances have shaped her views on fast fashion. “The first was going to India for production and seeing the poor working conditions,” she remembers. The second was the movie The True Cost: “More specifically, the quote that fashion is the second most polluting industry in the world after oil,” says Sarah Jane, who holds a degree in Bespoke Tailoring from the London College of Fashion. “Waste is a design flaw and I’m passionate about finding creative solutions to this problem.” Her dream would be for the world to operate on a circular economy - not simply in fashion, but in every industry. “I’d love to integrate and support diverse communities into the fashion supply chain, focusing on countries where landfill and textile waste are pressing problems.” “I’m excited about a competition that promotes emerging designers and is giving sustainable design a new image,” she says, of the Redress Design Award. “I’m hoping to exchange new ideas with other designers. The idea of being part of a more responsible community within the fashion industry is both exciting and inspiring.”


Meet the finalists 認識總決賽者

The idea of being part of a more responsible community within the fashion industry is both exciting and inspiring. 能在時裝界成為其中一個 更負責任的群體,此想法令 人既興奮又雀躍。

英國出生的 Sarah Jane Fergusson 現居於東京,並對日本「 勿体無い」的概念著迷。她解釋道:「大致可翻譯為『無法盡 用物件而造成浪費』。我也很喜歡『襤褸着物』背後的手工 藝。從歷史上看,這是種農民穿著的和服。基於經濟因素,他 們是運用盈餘織品碎屑來修補服裝。」 其「Redress 設計大賽」參賽系列中的舊絲綢和服,是從日本 京都的跳蚤市場中採購所得。她嘗試用新技術和剪裁,將這 些具歷史意義的服裝帶到現代,但並不容易。她表示:「這是 個既漫長且嚴謹的過程,包括打開每件和服、清潔和重新組 裝它們。」

Sarah  Jane  形容道:「與此同時,每個和服面板的寬度約 為 35厘米,因受其設計所限令剪裁成了一項挑戰。」儘管如 此,其參賽系列準確地捕捉了歷史和令人期待的未來這兩種 精髓。由織品碎屑和寬腰帶組製而成的配飾,為作品添上色 彩。 她對自己作為設計師兼製造者的角色充滿熱誠,並表示:「我 們有責任去考量產品對世界的影響。」 她形容有兩個事例促成她對快速時尚的看法,擁有英國倫敦 時裝學院高級定制學士學位的  Sarah  Jane  回憶道:「第一個 是到印度觀察當地惡劣的工作和生產環境。而第二個是紀錄 片《The  True  Cost  時尚代價》,引用當中一句『時裝界是僅 次於石油業污染最嚴重的行業』。浪費是種設計缺陷,我熱 衷於為此問題尋找具創意的解決方案。」 她的夢想是讓世界在循環經濟中運作,不僅僅是時裝,而是 每個行業。「我希望將各個群體集結起來,並支持時裝供應 鏈,著眼於關注因堆填區和紡織廢料議題而受壓的國家。」 她說:「我對這個能推動新晉設計師,且為可持續設計提供 新形象的比賽充滿期待。我希望與其他設計師交流新意念。 想到能在時裝界成為其中一個更負責任的群體,此想法令人 既興奮又雀躍。」

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LYNSEY GIBSON UK 英國

Lynsey Gibson’s frustration at the fashion system is open and direct. “I developed an antagonistic relationship with the industry and its modes of production,” says the Central Saint Martins graduate. “In today’s climate, I truly believe there should only be the option of being a sustainable designer.” For her submission to the Redress Design Award, Lynsey drew ideas from art and travel. “I lived in China for a year and I found cultural similarities and differences continually inspiring,” she says. “But I was also inspired by the wonderful women around me, and a generation of new Chinese artists.” Her aim is to change perceptions of sustainable fashion. “I went to Japan and was in awe of how well they preserve secondhand clothing,” she says. “I want to elevate the idea of sustainable design by combining traditional handcraft techniques with knitwear innovation to turn waste into something desirable.” The key lies in seamless knitwear. “I’m so excited by seamless technology!” she says. “It’s basically like printing out a fully formed, 46

zero-waste garment. The more dialogue the designer has with the technician, the more ambitious the design can be. And it would be highly feasible to produce on a large scale.” Lynsey turned leftover sample yarns, including nylon and sparkly metallics, into a sinuous, hand embellished collection. “The ultimate aim is that the handwork could be achieved by artisans paid a living wage…” Lynsey returns to Central Saint Martins to study an MA in Material Futures. “My role as a designer is to continually question how to make something more beautiful, more useful, more sustainable, more holistic. If I can answer these questions in one garment, the need for more consumption will be redundant.” Partnership is vital part to this new future. “I look forward to sharing knowledge with like-minded designers. I would like to help break down institutional borders and focus on cross-collaboration between academics, designers and NGO’s to create sustainable design from an anthropological perspective with positive political activism.”


Meet the finalists 認識總決賽者

In today’s current climate, I believe there should only be the option of being a sustainable designer. 在現今的環境下,我真心相信當一 名可持續設計師是唯一的選擇。

Lynsey Gibson 坦率地表達對目前時裝界的失望,畢業於英國中 央聖馬丁藝術與設計學院的她說:「我與這個行業及其生產模式 抱有對立觀點。在現今的環境下,我真心相信當一名可持續設計 師是唯一的選擇。」 Lynsey  的「Redress  設計大賽」參賽系列取材於藝術和旅遊經 歷。她描述:「我在中國生活了一年,發現文化上的異同均不斷為 我帶來啟發,同時周邊優秀的女性及新世代中國藝術家為我帶來 不少靈感。」 她的目標是要改變人們對可持續時裝的看法。她回想起:「到訪過 日本,讓我對他們保存二手衣物的專注表示欽佩。我期望透過創 新地以針織結合傳統手工藝,將廢料轉化為被需要的物品,從而 提升可持續設計理念。」 重點在於無縫針織品,她續說:「我對無縫技術感到非常興奮!這 基本上就像打印出一件完全成型、零廢棄的成衣。設計師與技術 人員的溝通愈多,就能擁有愈強大的設計,而且大規模生產是絕 對可行的。」

Lynsey  將盈餘紗線樣品,包括尼龍和耀眼的金屬線,轉化為極具 曲線美的手工華裝系列。「最終目的是冀望透過支付足夠生活的 工資予工匠,讓他們進行手工製作……」 重返中央聖馬丁藝術與設計學院修讀未來材料設計碩士學位的她 交代:「我作為設計師,是要不斷提問如何製作更美觀、更實用、 更可持續、更全面的東西。如我能在一件成衣上找到以上答案,那 麼就 不需更多的消費。」 夥伴關係是組成新世界不可或缺的一部分,她總結:「我期待與志 同道合的設計師分享知識。我想走出傳統框架,專注於學術界、設 計師和非政府機構間的相互合作以創造可持續設計,並從中加入 人類學和激進主義的考量。」

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Travelling abroad in Asia was a formative experience for Ganit Goldstein, student of Fashion Design at Jerusalem’s Bezalel Academy of Arts and Design. “I wandered through markets and secondhand clothing shops,” she remembers. “And I saw an abundance of clothing, all of which could have been turned into something else with new designs and techniques.” For her Redress Design Award submission, Ganit shredded secondhand fabrics and industrial textile leftovers, before weaving them together again using techniques of traditional Ikat, in which warp or weft threads are tie-dyed. The result? Striking, textured dresses in jewel-like tones. There is a practical element to the work: “Any textile can be shredded and mixed into new fibres,” says Ganit. “With machines, it can be reproduced in a large scale. In this way, we can make beautiful clothes that combine the essence of craft with technology to create more sustainable fashion.” “I’ve always loved sewing, drawing and working with different materials,” she continues. “For me, fashion is a great way of expressing myself through a mix of art and design. And from fashion, we can learn a lot about our society: for example, that we all have the same body but that different cultures accept and perceive it in incomparably different ways.”

Inspiration derives from “designers who work in multi-disciplines, like Neri Oxman who combines art and architecture with design, biology, computing and materials engineering. Or Iris van Herpen who combines design with architecture, 3D printing and special materials,” says Ganit. “I love the way she challenges conventional ways of seeing fashion by using different materials.” Spurred by the vision of turning textile waste back into objects of desire, Ganit’s goal is to create a brand underpinned by research and innovation into new textiles and accessories; combining 3D printing and textile development with sustainable processes and ways of thinking. “There are enough clothes in the world,” she says, simply. “By combining craft and technology, we can create beautiful, sustainable new clothes. It is our responsibility, as fashion designers, to make the world a better place through our work.”

GANIT GOLDSTEIN ISRAEL 以色列

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Meet the finalists 認識總決賽者

By combining craft and technology, we can create beautiful, sustainable new clothes. 透過結合技術與工 藝,我們可創造出美麗、 具可持續性的新衣裳。

在亞洲旅遊為  Ganit  Goldstein  帶來深遠的影響。來自以色列耶路撒 冷的比撒列藝術設計學院時裝設計專業學生的她回憶道:「閒逛多個 市場和二手服裝店時,看到大量衣服均可透過新設計和技術變成其他 東西。」

Ganit  的「Redress  設計大賽」參賽系列,剪碎了二手織品和業界盈餘 紡織品,然後再使用傳統  Ikat  絣織技術將碎布編織在一起,其中經紗 或緯紗是經過紮染的。最後的連衣裙展現出猶如寶石的顏色,並且充 滿質感。 此設計有一實際因素,Ganit  解釋道:「任何紡織品都可以剪碎再混合 於新纖維。透過機器大規模複製生產程序,我們可將工藝的精髓與技 術相結合,製作出漂亮的衣裳,創造出更具可持續性的時裝。」 她表示:「我一向喜歡縫紉、繪畫和使用不同物料加入製作。對我來 說,時裝是透過藝術與設計的結合來表達自己的好方法。我們可從時 裝中學到許多關於社會的知識,譬如,我們都擁有同樣的身體,但不同 的文化卻令我們以完全不一的方式接受和感知。」 「靈感來自精通多個學科的設計師,如  Neri  Oxman  結合了設計、生 物學、計算和材料工程於藝術與建築之中,或   Iris  van  Herpen  將建 築、3D打印和特殊材料融合於設計當中。我喜歡她採用不同物料去挑 戰傳統時尚觀的方式。」Ganit  補充。

Ganit  冀盼將紡織廢料重新轉化成被需要的物品,因此制定了透過研 究創新的可持續流程和思維,且通過融合3D 打印及紡織品的方式,銳

意為新成品和配件創造一個品牌。

她亦直言:「世上已有足夠的衣服。透過結合技術與工藝,我們可創造 出美麗、具可持續性的新衣裳。藉著我們的工作,讓世界變得更美好, 是時裝設計師的責任。」

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HUNG WEI-YU 洪威宇 TAIWAN 台灣

Craft, culture, future fashion and sustainability merge inextricably in the work of Taiwanese designer Hung Wei-Yu to develop lush, deeply considered designs based on the deconstruction of the Chinese qipao or cheongsam.

craftsmen to make traditional pieces,” he says. The collaboration combined ancient techniques using tree bark with the philosophies of modern design and appear again in Wei-Yu’s submission to the Redress Design Award.

For inspiration, the Fu Jen Catholic University graduate, and current Masters student at ArtEZ Fashion Design turned to the 2011 epic ‘The Flowers of War’. Directed by Zhang Yimou, themes of war and humanity, of innocence and sacrifice, are told through the story of different groups of Chinese women hiding in a church from Japanese soldiers during the Second Sino-Japanese War.

Wood scraps, sourced from a furniture manufacturer, were used to create a lace that, once treated, has the texture and drape of silk. The method involved repeatedly hammering and washing the tree bark, before tanning the material to soften it.

To echo the themes of the film, Wei-Yu applied techniques of up-cycling and reconstruction to secondhand kimonos, bridalwear samples and broken lace. Tunics and flowing skirts, cinched at the waist, are layered to create evocative, tumbling silhouettes. “I wanted to show how the cheongsam was reborn under the influence of Western culture,” says Wei-Yu. Textile innovation based in craft is key to WeiYu’s work. “Recently, I had the chance to work with indigenous groups in Taiwan, partnering with 50

“Tree bark lace is a traditional skill of the indigenous population; it also has the potential to be developed as an environmentally friendly material for the future,” says Wei-Yu, enthusiastically. Every piece has its place: “leftover materials can be designed and sold as small ornaments.” The work has helped Wei-Yu make deep connections between craftsmanship and sustainability. “I believe that we can only explore the future and its possibilities if we understand our past,” he reflects. “Sustainable fashion is not only a way to care for a planet, it also entails forming emotional bonds with our clothing.”


Meet the finalists 認識總決賽者

Sustainable fashion is not only a way to care for a planet, it also entails forming emotional bonds with our clothing. 可持續時裝不僅能維護地球, 更能讓我們與衣物建立情感。

台灣設計師洪威宇的設計同時間呈現了工藝、文化、可持續性和未來 時尚。他以中國旗袍和長衫作為出發點,設計出既豐富又精細的作品。

用樹皮的傳統技術與現代設計哲學相結合,應用了在「Redress  設計 大賽」參賽系列中。

畢業於台灣輔仁大學及現就讀於荷蘭 ArtEZ University of the Arts 碩 士課程的他,設計靈感源於2011年由張藝謀執導的《金陵十三釵》。電 影探討了有關戰爭與人性、無辜與犧牲,講述在第二次中日戰爭期間, 中國婦女為避開日本士兵而躲於教堂內的故事。

他運用家具製造商的廢棄木頭來製造布料,只要經處理就能擁有絲綢 的質地和垂感。製作過程需要反覆錘擊和洗滌樹纖維,然後再製煉及 軟化材料。

為回應電影主題,威宇將二手和服、婚紗樣品及已損壞蕾絲升級再造 和重新構造。寬鬆的長袍和飄逸的裙子被束緊在腰間,層層堆疊,營 造出獨特的風格。他抒發:「我想展示長衫能如何在西方文化的影響 下重生。」 以工藝為基礎的紡織創新是威宇作品的關鍵。他透露:「最近,我有機 會與台灣原住民團體合作,與工匠共同製作傳統手藝。」他把這種利

威宇熱情地表達:「以樹纖維製作的蕾絲是原住民的傳統技術,絕對 有潛力成為未來的環保物料。」每一件物料都會用上,他接著說:「盈 餘物料可用作小飾品設計,然後再出售。」 參賽讓威宇加深了他和工藝、可持續之間的深厚關係。他反思道:「我 相信,只有了解過去,我們才能探索未來及其可能性。可持續時裝不僅 能維護地球,更能讓我們與衣物建立情感。」

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For Hong Kong resident and Kingston University graduate Jesse Lee, inspiration for his Redress Design Award submission came from a very personal place - his parents. “My mom has an odd habit,” he smiles. “She loves to wear my dad’s jackets. That’s the way she shows her love.”

Sustainability has always been part of Jesse’s life. “My family encouraged us to appreciate every object we used and to keep them for the future. Designing fashion for sustainability, I can find new possibilities for collected objects creating unexpected journeys for both the object and the wearer!”

The designer was so inspired by his parents’ relationship that it became the emotional - and aesthetic - core of his collection. In ‘Show Me Your Love’, styles from the 1980s and 1990s, when his parents met, are reconstructed into easy, versatile silhouettes. Oversized jackets feature heavily…

The biggest challenge to the acceptance of recycled fashion, he says, is the way people perceive waste fabrics. “When I go vintage shopping with friends who do not study art or design, they tend to step back when it comes to wearing used clothing.” Changing people’s attitudes, he says, is key: “Educating people on fashion’s many possibilities is an integral part of sustainable fashion…”

Old curtains, sofa fabrics, bed sheets, socks, even broken umbrellas from his family home provided the textiles for the collection, which he up-cycles. “By deconstructing and transforming objects with sentimental values and memories, I created garments that allow you to take a sense of home with you anywhere.” Materials were limited but “the process of carefully using precious materials challenged me to explore different techniques and that was very enjoyable!”

JESSE LEE 李顯鋒 HONG KONG 香港

Meanwhile, taking part in the Redress Design Award has been rich and invaluable. “I’ve met so many people from different backgrounds with the common goal of protecting the environment,” says Jesse, enthusiastically. “It’s made me think about how to improve my designs and to use different methods. I look forward to meeting more, so that we can shape a new fashion future together!”

SECOND PRIZE & HONG KONG BEST Winner 第二名及 最傑出香港獎項 得主

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PHOTO CREDIT HK01


Meet the finalists 認識總決賽者

Educating people on fashion’s many possibilities is an integral part of sustainable fashion... 教育大眾對時裝的多種可變性是可持續時裝中 不可或缺的部分……

現居香港的總決賽者李顯鋒是英國金斯頓大學的畢業 生,其「Redress  設計大賽」參賽系列的靈感源於非常個 人的地方—他的父母。他笑說:「我媽媽有個奇怪的習慣, 喜歡穿上我爸爸的外套,這就是她表達愛意的方式。」

們去欣賞所有用過的物品,並保留它們待將來之 用。透過以可持續方式來設計時裝,我從所收集得 來的物品中發現了新的可能性,為它們和穿衣者 創造了一個意想不到的旅程!」

設計師受父母關係啟發極深,亦成為其參賽系列的情感和 審美核心。「Show Me Your Love」系列的風格取材於80 至90年代,正值是他父母初相識的時期。物料被重新構 造為簡約、多功能的衣服,超大號的剪裁亦非常突出⋯⋯

他表示要讓人接受再生時尚最大挑戰是改變人們 對廢棄紡織品的看法:「當我和沒有修讀過藝術 和設計的朋友去逛古著市場時,他們往往對穿著舊 衣一事上有所卻步。」改變人們的態度是關鍵,他繼 續:「教育大眾對時裝的多種可變性是可持續時裝中 不可或缺的部分⋯⋯」

他家裡的舊窗簾、沙發織品、床單、襪子,甚至破傘都成 為這個升級再造系列用上的紡織品原料。顯鋒表示:「透 過解構和改造這些具紀念價值和充滿記憶的物品,我創 造的成衣會讓你隨時隨地都能感受到『家』。」 「物料有限,但小心運用珍貴物料的過程,能挑戰我探索 不同的技術,這讓我感到非常愉快!」 可持續性一直是李顯鋒生活的一部分。「我家人鼓勵我

同時,參加「Redress  設計大賽」也是非常豐富和寶 貴的經驗。李顯鋒雀躍地說:「我遇到許多不同成長 背景的人,大家都是以『保護環境』為目標的同道中 人。這促使我考慮應如何改進我的設計和嘗試使用不 同的方法。我期待更多的會面,以便我們共同塑造一 個新的時裝未來!」

PHOTO CREDIT HK01

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CJ MARTIN

THE PHILIPPINES 菲律賓

For his Redress Design Award submission, CJ Martin turned to the award-winning 2012 documentary Chasing Ice. In breath-taking, time-lapse footage, acclaimed environmental photographer James Balog captured the collapse of ancient Arctic ice mountains into the sea, inexorably transformed by the effects of climate change. In the collection, bold minimalist tunics and form-fitting skirts and trousers are up-cycled from secondhand denim and home furnishings, in the icy blues and blacks of the Arctic tundra, drawn in dramatic diagonal stripes. The homage to his inspiration doesn’t end there: CJ reflects the receding and calving of the ice blocks in a series of shifting silhouettes. “Certain pieces in the collection have detachable parts located on the sleeves, waistline and hems, allowing the wearer to change and re-style the clothes,” explains CJ, who owns his own fashion label in Manila. Faux fur, created by distressing tubes of polyester, creates texture and movement.

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Denim and the polyester home furnishings were both sourced from a local thrift shop: “The combination of machine-assisted work and handicraft stays true to the collection’s concept.” “Sustainable fashion is about innovating with what is in excess while protecting depleted resources; it’s about creating a positive balance,” CJ continues. “It’s a very challenging yet fulfilling form of fashion because it requires research, collaborative work and transparency. I want to be a sustainable designer because I want to create something beneficial to the environment or to anyone involved with that product or service. It’s my way of helping slow down climate change because I believe that it’s not yet too late to take action!” “I applied for this competition because I want to further enrich my knowledge on sustainability by learning from industry experts or from the designers coming from other parts of the world,” he continues. “With that learning and experience, I would come back to the Philippines as a more reliable advocate of the cause and, hopefully, be able to inspire others to join the movement.”


Meet the finalists 認識總決賽者 對 於「 Redress  設計 大 賽 」的參 賽系列,C J  M ar tin  表 示 靈 感 源

於 20 12 年 獲 獎 的 紀 錄片《 Ch asin g  I ce 》。備 受 讚 譽 的風 景 攝 影

師  James  Balog  以縮時影片方式捕捉到古老北極冰山無法抵抗氣候 變化而崩塌入海的場景,畫面令人嘆為觀止。

在作品之中,他大膽簡約的寬鬆外衣和剪裁精良的裙子及褲均由二手 牛仔布與家居飾品升級再造。設計以北極苔原的冰藍和黑色,以戲劇

性的斜紋繪製。他的靈感發揮並未止步於此:CJ  以具流動感的剪裁

呈現了冰層的後移與脫落。

在馬尼拉擁有個人時裝品牌的  CJ  解釋:「本次參賽系列中的某些設 計是可拆卸的,包括袖子、腰身和下擺部分,讓穿衣者可自行改變和重 設服裝風格。」而設計當中的人造毛皮是將聚酯管變成條狀, 營造出質感和動感。

Sustainable fashion is about innovating with what is in excess.

可持續時裝是利用過 剩物品進行創新。

牛仔布和由聚酯纖維所製成的家居飾品均來自當地的舊貨店。

他表示:「為反映設計概念,作品結合了機器技術和手工技巧。」

他繼續說:「可持續時裝是利用過剩物品進行創新,同時要保護 日益稀少的資源。這是一個創造與平衡的設計過程,亦是非常 具有挑戰性且充實的時尚模式,因而要經過研究和擁有高透明

度的協助。我想成為一名可持續發展設計師,因為我希望所創

造的產品或服務,對環境、所牽涉的人和事均有正面影響。這 就是我選擇幫助減緩氣候變化的方法,現在採取行動仍為時 未晚!」

「我希望透過參加本次比賽,向業界專家或來自全球的設計 師學習,進一步豐富自己對可持續發展的認識。憑藉此行的 學習與經驗,我將成為菲律賓一個更可靠的可持續時裝倡導 者,並盼望能因此啟發他人加入行動。」

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LEA MOSE SVENDSEN DENMARK 丹麥

I see so many opportunities to make a big difference with only a small effort. 我看到了許多機會,只需一小步便能產生 很大的轉變。

Punk and counter cultural beliefs underpin the punchy, energetic work of Danish textile designer Lea Mose Svendsen, encouraging ideas of gender neutrality and activism. “Sustainability is much like punk and counter culture,” she muses. “It’s about taking a stand, expressing your political point of view and daring to make a difference.” Lean gender-neutral silhouettes provide the canvas for luxurious, clashing textures, created by mixing and up-cycling damaged textiles, sampling yardage and reconstructed secondhand clothing.

Clothes will be produced on demand: “As most of the styles in my collection are labour intensive and demand a high percentage of handcrafting, the styles will only be produced when ordered,” says Lea. “In this way,

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Meet the finalists 認識總決賽者 overproduction is eliminated. My aim is for the customer to buy the product out of love, not impulsiveness, so that the garment doesn’t end up in the back of their closet.” Customers will be encouraged to connect to their clothes more deeply through a system of detailed labelling. “Apart from care guidelines, the label will create a visible history for the garment, telling the story of a sustainable supply chain and the potential of scraps, creating transparency,” says Lea. “This supports the attachment between the garment and its wearer.” “I’ve seen the impact that fashion has on both the environment and the social system,” continues the Design School Kolding graduate,

who is currently studying for her Master’s. “It cannot be ignored. There are so many opportunities that would only take a small effort on our part to do - but would make a big difference. I hope to contribute to positive change through my work.” Who would she like to see wearing her fashion? “Anyone who sees the love in my work,” she says. “He, she, them, they, bi, queer, gay, straight, anyone in between. As long as they feel comfortable in my designs.” Little surprise that the person she’d most like to sit down to dinner with is model Adwoa Aboah, model and founder of Gurls Talk. “She’s a kickass lady with charisma and a wonderful cause.”

深受龐克與反主流文化影響的丹麥紡織品設計師 Lea Mose Svendsen, 以其有強而有力且充滿活力的設計,鼓勵著性別中立和激進主義的觀 念。她沉思道:「可持續性就像龐克和反主流文化一樣,是種表達你的 政治觀和敢於創造不同的立場取態。」透過混合和升級再造已損壞的紡 織品、樣品廢料和經重新構造的二手衣物,Lea  在其中性服裝的設計上 畫上了奢華而震撼的質感。

示外,標籤還完全展現了可持續供應鏈的故事與廢料的潛力,是該衣 物製作的可讀歷史,讓穿衣者和衣服能有著更深的聯繫。」

設計將按需求而生產。Lea  繼續解釋:「本次參賽系列中的大部分款式 都需要用到大量勞動力和手工製作,所以只會按單生產,從而可消除 生產過剩的問題。我的目標是讓顧客出於愛而不是衝動來購買產品, 這樣服裝就不會被遺忘在衣櫥的角落。」

她想看到誰穿上其設計?她回答:「任何能體會我作品中『愛』的人 士,不分其性別或性取向,只要他們覺得我的設計是舒服的。」

詳細的標籤系統鼓勵著顧客更深入地了解衣物。她表示:「除護理指

正就讀丹麥科靈設計學院碩士課程的她繼續說:「我已看過時裝對環 境和社會的影響,這是不容忽視的。我看到了許多機會,只需一小步便 能產生很大的轉變,亦展望透過作品能推動正面變化。」

毫不詫異地,她最想跟模特兼 Gurls Talk 創辦人 Adwoa Aboah 聚首一 堂,並形容:「她是位充滿個人魅力和擁有高尚價值觀的女士。」

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Concepts of regenesis or rebirth lie behind the rich, meticulous collection by Edinburgh College of Art Fashion Design graduate Melissa Villevieille. “The idea is to create a textile with more value by up-cycling waste into a beautiful fabric; in essence, to create a final object that is greater than its individual parts,” she says.

“My creative curiosity is fuelled by innovators - in all design fields,” she muses. “I’m especially drawn to examples where design brings a new lens to everyday objects. At the same time, I admire the art of traditional craftsmanship. I try to bring both these elements to my work.”

Working with fashion industry waste, Melissa shreds offcuts before carefully reconstructing them into new textiles. Recycled PET pellets are turned into beading and embroidered into her pieces, adding elaborate depth; and recycled PET yarn is turned into elegant ribbed knits.

“My main influence is to give new life to the flagrant textile and plastic waste in the world. There is so much raw material simply thrown out. I know there are ways to give them a second life and greater purpose. I’m constantly thinking of new solutions. It drives me to always do better - and ask for better - in the industry.”

“I was reluctant to enter the fashion industry because of its unsustainable practices,” admits Melissa. “But my interest was rekindled when I discovered knitwear. Being able to manage a product from fibre to finish with little or no waste inspired me.” An internship with British catwalk designer Julien Macdonald as a knitwear designer cemented her interest. “I loved seeing the reaction of clients as soon as they stepped into the knitted garment, how the knit takes on a new dimension and shapes to the body, rather than constraining it to a predetermined shape.”

If there was one thing she would change about fashion, it is the way consumers see clothes. “Quality, not price, should be the leading indicator,” says Melissa, firmly. “I want consumers to make an emotional connection with each piece and, in turn, feel empowered to curate and restore their clothing - and demand more transparency from the industry.”

MELISSA VILLEVIEILLE 58

FRANCE 法國


Meet the finalists 認識總決賽者

英國愛丁堡藝術時裝設計學院畢業生  Melissa  Villevieille  表示其豐富

且細緻的參賽系列出自再生或重生的概念,並解說:「作品理念是透過 將沒價值的廢料升級再造成漂亮織品,為其增值。」

Melissa  先剪碎工業碎布,才會小心翼翼地把它們重新構造成新的紡

織品。另外,加上由再生  PET  膠製成的紗線和顆粒製作為相應的配飾

和珠子再刺繡到服裝上,將再生  PET  紗線化成針織品。

Melissa  承認:「我不願意加入沒可持續性的時裝界,直至認識到針織 設計時,我的興趣又被重燃了。從纖維原料到產品製作完成,僅製造 少量,甚至沒有任何浪費的做法,實在啟發了我。」

跟隨英國時裝設計師 Julien Macdonald 作為針織設計實習生,鞏固了

她的興趣。「我喜歡看到顧客對針織服裝的反應,以及針織品如何呈 現出新角度與形狀,而不是受其既定的形狀約束。」

她若有所思道:「我那具創造性的好奇心受所有設計領域的創新者所 推動。我特別喜歡一些能為日常物品帶來新面貌的設計。與此同時,我 也很欣賞傳統手工藝,並試著將這兩個元素融入到自己的作品中。」

It drives me to always do better - and ask for better - in the industry. 這促使自己在業界中做 得更出眾,並要求業界 追求更好。

「我最想賦予紡織品和塑膠廢物一個新生命,實在有太多原材料被 隨意拋棄,總有一 個方法能給它們一 個新生命、賦予它們更大的用

途。我一直思考著新的解決 方案,促使自己在業界中做 得更出眾, 並要求業界追求更好。」

如她有能 力改 變 現今 時 裝 界的一 件 事,那 將 是 消費 者對衣物 的態 度。Melissa  堅定地說:「質量應是首要指標,而非價格。我渴望消費者

能與每件設計建立情感聯繫,從而感受到自己有著展示與修補衣物的 責任 ,並向時裝業界要求更高的透明度。」

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Modular design characterises the work of Seerat Virdi, graduate in fashion design from the Pearl Academy, New Delhi and founder of her own label Miesu. “People always experiment,” she laughs. “Since my designs can be disassembled and interchanged within the collection, two people can express themselves in very different ways.” Sleeves can be removed and used with other pieces to create new silhouettes; embellished cuffs can be turned into necklaces, flower details into brooches. Applying techniques of zero-waste and up-cycling to silk organza and repurposed trims and threads, Seerat used handcrafted detailing and fabric manipulation techniques in create depth and texture in her competition collection. Applying for the Redress Design Award has given Seerat a steep, invaluable learning curve. “I’m new to sustainable fashion - but what I’ve picked up has been eye-opening: that a lot of waste can be eliminated with intelligent pattern cutting; that almost anything can be repurposed; and that it’s better to work backwards with the resources that surround you.” Sustainable fashion still labours under key misconceptions. “Because sustainable fashion is recycled, it’s considered ‘dirty’. In reality, it’s far from that and, in my opinion, can

be considered an art form. Making something out of ‘nothing’ is pretty amazing!” The market is changing. “Today, designers have created products that people happily purchase only to later find out its eco-friendly. That’s how you know you’ve done something right!” Designers and consumers are part of a symbiotic movement towards transformation. “A major reason for brands not shifting their practice is because consumers aren’t fully enough aware of the crises to demand change. As designers, we have the power to influence them,” she says. “It’s our responsibility to encourage sustainability and re-usability of our clothes.” “Fashion is one of the largest sources of environmental pollution. Being sustainable isn’t an option any more; it’s a prerequisite. A problem this big can only be solved if we collaborate, share innovative ideas and spread awareness. The Redress Design Award couldn’t have happened at a better time. It’s given me a platform and encouraged me to work harder.”

SEERAT VIRDI 60

INDIA 印度


Meet the finalists 認識總決賽者

A problem this big can only be solved if we collaborate, share innovative ideas and spread awareness. 只有我們合作、分享創新理 念和提高人們的意識, 此問題才能解決。

作為印度新德里   Pearl  Academy  時裝設計畢業生,同時也是個人品 牌  Miesu  創辦人的  Seerat  Virdi,以模版化設計作為其設計特色。她

笑說:「人們總喜愛做實驗。由於我的參賽系列可供拆卸和互換,因此 兩個人可用非常不同的方式來表達自己。」

袖子可拆下並與其他部分一起使用,以創造出新的剪裁,譬如帶有綴 飾的袖口可變成頸鍊,花朵細節則可變成胸針。Seerat  將零廢棄和升

級再造設計技巧應用於絲質薄紗,以及重製了飾邊與絲線。並於其參 賽系列中,融入了手工細節和織品處理技巧,創造出深度和質感。

參與「Redress 設計大賽」為 Seerat 帶來既艱辛又寶貴的學習路程, 她形容:「我雖是可持續時裝的新手,但我所選擇的倒讓我大開眼界,

譬如精明的紙樣剪裁可消減大量浪費。而幾乎任何東西都可改變用 途,並最好運用身邊可觸及的資源進行設計。」

可持續時裝仍受到大眾誤解極深:「因可持續時裝是回收得來,所以 被認為是『髒』的。而實際上,遠非如此。我認為它可被視為一種藝術 形式,運用『不以為然』的東西創造出一件新物品,真是太神奇了!」

市場正產生變化,她解說:「今時今日,設計師創造了人們樂於購買的

產品,但消費者可能於後來才發現它是來自可持續設計。這時候你就 知道自己堅持所做的是對的!」

設計師和消費者是轉型共生運動的一部分。她表示:「品牌沒有改變做 法的主因是消費者沒有完全意識到要改變的危機。作為設計師,我們有 能力影響大眾,亦有責任推動衣服的可持續性和可重複使用性。」

「時裝界是最大的環境污染源之一。可持續發展不再是一種選擇,而 是先決條件。只有我們合作、分享創新理念和提高人們的意識,此問題 才能解決。『Redress 設計大賽』在最好的時間出現,賦予我一個再好 不過的平台,並鼓勵我更加努力。」

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First Prize Winner

第一名獎項得主

TESS WHITFORT

AUSTRALIA 澳洲

Punk and the ways subcultures express themselves through clothing are the starting points for Tess Whitfort’s Redress Design Award submission. “It’s reflective of my own style and attitudes,” admits the Box Hill Institute fashion graduate. “Harsh colours, grungy texture and androgynous leanings are the cornerstones of how I dress.” Edgy, androgynous silhouettes in black and neon are meticulously executed; Tess applied techniques of up-cycling and zero-waste to industry end-of-rolls, customising designs with eco-friendly inks. Reclaimed hardware including zippers, buttons, D rings and rivets add to the narrative. There are clear links to her design icon, Alexander McQueen. “The collection reflects the idea that a woman doesn’t need to be feminine or conventional and that something weird or damaged (like a deconstructed, patched garment) is just as valuable as something new, pristine and traditionally beautiful.” Last year, Tess won the Melbourne Fashion Week Emerging Student Designer Award. “I was selected as the top fashion student in Melbourne, Australia based on innovation, workmanship, creativity and positive ambition,” she says, 62

proudly. But the innovation doesn’t end at visuals: Tess is a passionate believer in fashion as a force for good. “Sustainable practices are an absolute necessity,” she says. “It’s our responsibility to limit the negative environmental impacts of the fashion industry. One of my long-term goals is to create new solutions, whether through using AI to create zero-waste patterns, new ways of grading zero-waste patterns, or a new ecofriendly textile or process. “Part of the appeal of sustainable design is that it’s about problem solving and innovation,” she says. These are skills she applied to issues of upscaling: “The textiles, for example, will always be readily available in bulk and the designs combine conventional methods of manufacture with more artisanal crafts, meaning they can be simplified for production.” “The Redress Design Award is a fantastic opportunity,” she says, enthusiastically. “Sustainability and ethics within fashion is my primary passion. It’s encouraging to see so much support and I love the prospect of learning more about my craft and seeing my work on an overseas runway!”


Meet the finalists 認識總決賽者

Sustainability and ethics within fashion is my primary passion. 我對時裝的可 持續性和道德 有抱負。

透 過 服 裝 來 表 達 龐 克 文化 和 次 文化 特 色, 是  Tess  Whitfort  的「Redress  設計大賽」參賽 系列的構思。畢業於澳洲博士山學院時裝設計 課程的 Tess  承認:「這反映了我的個人風格

與態度。刺眼的色彩、邋遢的質感和傾向雙性 打扮,均是我日常的穿著特色」。

黑色與熒光色的前衛雙性服裝剪裁是經精心 安排。Tess  將升級再造和零廢棄設計技巧應用 於卷軸尾端布料,並使用環保顏料來定制本次 設計。拉鍊、鈕扣、D型環和鉚釘等回收硬件更 增添了設計的故事性。

其設計偶像 Alexander McQueen 對她有直接 的影響。「本次設計反映了女性不需受女性化 或傳統想法所限。一些看似奇怪或已損壞的東 西(如經解構或修補過的衣服),其實跟新的、 純潔的、傳統般美麗的東西一樣有價值。」

Tess  於去年贏得墨爾本時裝週新晉設計學生 獎。她自豪地說:「我在澳洲墨爾本被選為集 創新、工藝、創造力和積極抱負於一身的頂級

時裝學生。」但其創意不以視覺效果為限,因 Tess  熱切地相信時裝能產生正能量。 她抱有信念地說:「可持續實踐是絕對必要的, 我們有責任降低時裝界對環境的負面影響。我 其中一個長期目標是要構思新的解決方案,無 論是透過使用人工智能來創造零廢棄紙樣、零 廢棄紙樣新的放碼方法,又或是新的可持續紡 織品或過程均可。」 她描述:「可持續設計的吸引力在於解決問題 和創新。」當考慮到如何提高生產量時,她展 述:「紡織品可隨時大量供應,而生產程序亦 可被簡化,如結合了常規生產方法製作。」 她滿腔熱誠地說:「『Redress  設計大賽』是個 絕佳平台。我特別對時裝的可持續性和道德 有抱負,能從中獲得如此多的支持實在令人鼓 舞。我喜歡發掘及探索更多自己的專業領域, 以及十分期待看到我的作品在海外時裝表演 上大展光芒!」

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ROAD TO THE FINAL

總決賽倒數

Educating designers

1000

教育新晉設計師

designers 設計師

100+

INSTITUITIONS 教育合作夥伴

Judging applications

評審作品

55

COUNTRIES 國家

Realising designs

實現設計意念

10

WEEKS 星期

The Redress team and select competition ambassadors far and wide reached close to 1,000 students in a series of 32 lectures and workshops about the importance of sustainable fashion design, and the career changing opportunities to be gained from joining the competition. 5,000+ others were reached via our free online LEARN platform.

The 2018 cycle opened in January 2018 as a truly global competition for the first time in its 8 year history with the support of 100+ academic institutions and 16 supporting organisations worldwide. We also engaged with 37 educators via 4 teacher training sessions in Hong Kong, Mainland China and the UK.

This year in the eighth cycle of the competition Redress received a record-breaking number of applications from 55 countries, from designers determined to cut waste out of fashion. From these, 30 semi-finalists and then 11 finalists were selected with a bonus spot allocated, as talent was so high.

The finalists had just over 10 weeks to develop their 5 piece collections using their various different waste streams together with one or more of the different techniques of zero-waste, up-cycling and reconstruction. Additional marks were awarded for the finalist’s depth of knowledge and demonstration of sustainable design strategies.

Redress  團隊和比賽大使在一共 32 個 講 座 和工作 坊中,與 超 過 1,000名學生研究可持續時裝設

2018 年度比賽於 1月啟動,並是

今年比賽踏入第八屆,Redress 收 到破紀錄的申請數目,參賽者來 自55個國家,全都是銳意減少時 尚浪費的設計師。從中篩出30名 準決賽者,而且更有鑑於本屆的 申請水準,特意增設第 11 個總決 賽者名额。

總決 賽 者 僅 花了逾十星 期 的時 間,就運用不同的廢物流和一種 或多種設計技巧,包括零廢棄、 升級再造和重新構造,來創造他 們一共五件的時尚系列。總決賽 者的知識 深 度和可持 續設計 策 略的演示亦有助獲得額外分數。

計的重要性,以及宣傳宣傳透過 參加比賽可獲得改變職業生涯的 機會。另外,我們的免費網上學 習平台亦有逾5,000名瀏覽者。

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A Global shift

全球轉變

八年比賽史上,首次真正開放予 全球參與。當中得到全球逾百間 學術機構 和 16 個合作 機構的支 持。我們還在香港、中國和英國 舉辦了四個教育工作者培訓工作 坊,與37名教育工作者交流。


ROAD TO THE FINAL 總決賽倒數 Throughout the competition cycle, Redress creates an exciting, rich learning journey for emerging designers, inspiring and enabling them to positively contribute to a circular economy for fashion.

Fashion Shoot

時尚拍攝

62k

kilometers 公里

FINALISTS in Hong Kong

抵達香港

10 dayS 天

Redress  透過整個比賽過程為新晉設計師們創造豐富的學習旅程,啟 發他們促進時裝界的循環經濟。

Grand Final

總決賽時裝表演

1k+

audienceS 觀眾

Continuing impact

延續影響

100k+

CONSUMERS 消費者

From a combined distance of 62,000km, the finalists’ collections were transported to Hong Kong courtesy of logistics partner UPS, where they were styled by competition alumni Angus Tsui, with long -lasting ambassador Bonnie Chen modelling select pieces against the backdrop of the newly revitalised factory building to creative hub - The Mills.

Finalists spent an inspiring 10 days in Hong Kong filled with workshops and challenges, exploring multiple areas of the supply chain including fabric standards and design to manufacturing; as well as model fittings, rehearsals and the all-important pre-judging. A m o n gs t t h e ja m-p a cke d itinerary, our designers sought haven in the luxury of the new Hotel VIC.

The Redress Design Award Final was the biggest in history, taking place at HKTDC’s fashion week CENTRESTAGE on 6th September with a 1,000 strong, international fashion audience, and livestreamed worldwide to thousands more.

The Frontline Fashion team once again captured the experiences of our finalists through the competition via engaging video content. This, along with a travelling exhibition (including in Hong Kong’s newly opened Mercedes me Store) will bring the finalists’ work and important information around the need for better fashion models to vast consumer audience around the world.

總決 賽的作品在物 流合作夥 伴 UPS 的協助下,橫跨了62,000 公里,終抵達香港。時尚拍攝就 由「Redress  設計大賽」歷屆參 賽者徐 逸 昇和比賽大使陳 碧 舸 各自擔任造型設計和模特,假紗 線 廠 活化成 為創意基 地的南豐 紗廠取景。

總決賽者抵港後,即展開為期十 日的工作坊和設計挑戰中,以探 索織品標準、設計、生產等供應 鏈上的多個領域。另外,模特選 透、綵排和重要的評委預審亦隨 之進行。在計劃滿滿的行程中, 我 們 的設計師 將入住 全 新 豪 華 的海匯酒店。

「 R e d r e s s   設 計 大 賽 」是 歷 史 上 規 模 最 大 的 一 次,於 9 月6日在香港貿發局主辦的 CENTRESTAGE 時裝週舉行, 向千名現場和數千名網上欣賞直 播的國際時尚觀眾展示。

《Frontline Fashion 時尚先鋒》 團 隊 再 次 以引人 入 勝 的影片內 容,追 蹤了總 決 賽 者 的 比 賽 體 驗。至於巡迴展覽方面,包括在 香港新開的 Mercedes me 所舉 辦的展覽,將向全球廣大消費者 展示 總決 賽者的作品和推 廣可 持續時尚模式的重要訊息。

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MARIEKE EYSKOOT | Author, Consultant &  Co-founder of MINT  |  作家、MINT顧問兼聯合創辦人

ANEETH ARORA | Designer, Péro | 品牌 Péro 設計師

MEET THE JUDGES 評審委員

The Redress Design Award judges represent the crème de la crème of sustainable industry expertise. Drawing from the worlds of retail, design, manufacturing and communications, the judges will look for qualities of creativity, originality, sustainability and market viability in the participants work. 「R edress   設計大賽」評審委員都是可持續行 業的頂尖專家。由零售、設計、製作到傳媒,他 們冀在總決賽者們的作品中看到創意、原創性、 CLARE PRESS  |  Podcaster & Sustainability Editorat-Large, Vogue Australia  |  播客主持及《Vogue》澳洲 版可持續議題特約編輯

VANESSA CHEUNG 張添琳 | Managing Director, Nan Fung Development Ltd & Founder, The Mills 南豐發展有限公司董事總經理兼南豐紗廠創辦人

HOLLY MCQUILLAN  |  Fashion Designer & Author 時裝設計師兼作家

Judging has proven to me that the next generation of designers are rethinking the way they conceive and execute their designs, adding integrity and ethics. 作為「Redress 設計大賽」評審委員,向我証明

了新一代設計師正在重構他們的設計方法,並將 其實踐於設計中,以添加誠信度和道德性。

可持續性、市場認受性等特質。

- TARA ST JAMES

TARA ST JAMES  |  Founder, Study NY & Production Coordinator AND Research Fellow of BF+DA Study NY 創辦人、BF+DA 製作統籌兼研究員


I am overwhelmed by the young designers’ attention to detail and craft, but more so by their unwavering commitment to sustainable practices in their design process.

這群年輕設計師對細節和工藝非常注重。他們 在過程重致力實踐可持續設計,令我非常感動。

- BANDANA TEWARI

BANDANA TEWARI | CONTRIBUTOR, THE BUSINESS OF FASHION & FOUNDER OF CRAFT DIPLOMACY 《BoF 時裝商業評論》撰稿人兼 Craft Diplomacy 創辦人

JOHANNA HO | FASHION DESIGNER | 時裝設計師

The applications captivated me - the designers are proving to judges that their sustainable design techniques offer commercially viable and attractive options for the real world of retail. 準決賽者的參賽系列使我著迷了。他們正向評審

委員證明其可持續設計技巧,能為真實的零售 世界提供商業可行性,且是個具吸引力的選擇。

DENISE HO | Fashion Director, The R Collective The R Collective 時裝總監

- DENISE HO

ORSOLA DE CASTRO  |  Fashion Designer, Co-founder of Estethica & Co-founder of Fashion Revolution 時裝設計師、Estethica 及時尚革新聯合創辦人

QUEENNIE YANG  |  EDITOR  (aSIA), VOGUE INTERNATIONAL 《Vogue》國際版編輯(亞洲)

This is my second year judging and I’m pleased to see the growing number of creative talents from around the world who realise that they have the power to make a positive difference through textile waste innovations. 這是我第二次出任「Redress設計大賽」評審,非

常高興看到愈來愈多全球創意人才意識到,他

們是有能力透過其設計和對紡織廢料的創新來 對環境產生正面影響。

- ROGER LEE

ROGER LEE  |  CEO, TAL GROUP  |  聯業集團行政總裁

- Indicates International Judging Panel, all other judges joined our Regional Panels 圓形標記表示國際評審團,其他評審屬於地區評審團


PEOPLE’S CHOICE 第二名獎項

FIRST PRIZE 第一名獎項

The First Prize Winner will join the team of fashion gamechangers at The R Collective, the dynamic up-cycled fashion brand, to create an up-cycled collection. The winner will return to Hong Kong to finesse designs, source fabric waste and assist with production planning - as well as presenting the collection to the region’s top buyers and driving the marketing campaign. This prize provides invaluable experience and a global spotlight to any emerging designer. 第一名獎項得主將加入時尚遊 戲 的改變者 The R Collective 的團 隊,並於此充滿活力的升級再造時 裝品牌中,創造一個升級再造時尚 系列。得獎者將返回香港,完善細 膩的設計、採 購 織品廢料以協 助 生產,並向地區頂尖買家展示你的 服裝系列和推動市場推廣活動。 本獎項能為任何新興設計師提供 寶貴經驗和成為全球焦點。

PRIZES

The Second Prize Winner will receive a tailored mentorship with distinguished sustainable fashion designer and competition judge, Orsola de Castro. Orsola has nurtured many pioneering names in sustainable fashion, from early designs through to established brands. This mentorship opportunity, delivered over a six-month period will prepare the winner, their visions and collections for the competitive world of fashion buyers and media - and for global success. 第二名獎項得主將獲得一 個量身 打造的啟導計劃,並由傑出的可持 續時裝設計師兼比賽評審 Orsola de Castro 負責。Orsola 曾培育無 數可持 續時 裝界的精英,從早 期 設計到品牌成立均給予很多良方。 這次為期六個月的啟導計劃將為 得獎者自己、其願景及其時尚系列 打入競爭如此強大的時尚市場 做 好準備,並吸引時尚買家和媒體關 注,以獲得成功。

本屆獎項

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人氣大獎

SECOND PRIZE

HONG KONG BEST PRIZE 最傑出香港奬項

The Hong Kong Best is a recognition awarded to the highest scoring applicant from Hong Kong, recognising the achievements of emerging talent in Redress’ home city. For his prize, winner Jesse Lee will receive a range of benefits from innovative co-creative platform azalvo including studio space and technical equipment, and use of machines for 3D printing, and a mentorship. 最傑出香港奬項是對得分最高的香 港參賽者的表彰,肯定 Redress 家 鄉城市中新晉設計師的才能。本屆 得奬者李顯鋒將得到創新聯合創意 平台 azalvo 的一連串支援,包括使 用其工作室空間和技術設備、3D打 印機器使用權和啟導計劃。

Thousands of votes cast over a four-week period saw San Francisco-based Korean designer Mimi Jeong chosen as Redress Design Award 2018 People’s Choice Winner. Mimi delighted a global audience with an up-cycled collection inspired by Catalan architect Antoni Gaudí, recalling the artist’s signature use of vibrant colour and mosaic designs. Mimi wins a JUKI overlock sewing machine and a copy of Bloomsbury’s ‘The Handbook of Design for Sustainability’. 繼 為 期 四 週 的 公 眾 投 票 後,現 居 三 藩 市 的 韓 籍 設 計 師  M i m i Jeong  脫穎而出,成為 2018 年度 「 Redress  設計大賽」人氣大 獎 得主。M i m i  以 加 泰 羅 尼 亞 建 築 師  Antoni   Gaudí  為靈感設計的 升級再造 系列,為全 球 觀 眾帶 來 驚 喜,讓 人 想 起 這 位 藝 術 家 對 鮮 豔 色 彩 的 運 用和聞名的馬 賽 克設計。Mimi  還贏得一台 JUKI 包 縫 機 和 一本 由   B l o o m s b u r y Publishing 出版的《Handbook of Design for Sustainability》。


ALUMNI PRIZE WITH KAPOK KAPOK 歷屆參賽者獎項

ALL 2018 FINALISTS 2018年度總決賽者 The journey for competition participants stretches well beyond the Grand Final. After the event, all designs will have exposure to international audiences in a touring exhibition. Finalists also receive a 12-month membership to the exceptional resources of the Common Objective (CO) platform; a six-month subscription to Bloomsbury’s online portal, the Berg Fashion Library; a selection of titles from Bloomsbury publishers; and a two-hour mentorship with a sustainable fashion expert who matches their own particular area of expertise. 總決賽者們的旅程遠遠超過總決 賽時裝表演。比賽過後,所有設計 將進行國際巡迴展覽,讓全球公眾 一同見證。總決賽者們同時能獲 得為期 12 個月的   CO  會籍,以瀏 覽平台的獨特資源,還有為期六個 月的由  Bloomsbury  提供的  Berg Fashion  Library  網上訂閱會籍,以 及由  Bloomsbury  Publishing  出版 的精選書籍,並獲與他們自己專業 領域相匹配的可持續時尚專家所 提供的兩小時指導。

Redress recognises the importance of continued support for the Design Award Alumni and, with each cycle, continues to advise and guide previous semi-final and final competitors, with prizes through partnerships with likeminded organisations. This cycle, Claire Dartigues will receive a customised business development mentorship by Arnault Castel, owner of lively independent Hong Kong retailer kapok, as well as a chance to stock her collection in store. Redress  意識到持續支持「Redress

設計大賽」歷屆參賽者的重要性, 並在每屆比賽中繼續為過往的準 決賽者和總決賽者提供建議與指 導。另外,亦透過與志同道合的機 構 合作 提 供 獎 項。本屆的歷 屆參 賽者獎項得主 Claire Dartigues, 將獲得由活躍的獨立香港零售商 kapok 創辦人 Arnault Castel 為她 量身打造的業務發展啟導計劃,並 有機會在其店舖內出售她的時尚 系列。

PRIZES WITH JUKI 與 JUKI 獎項

ALUMNI PRIZE WITH COMMON OBJECTIVE COMMON OBJECTIVE 歷屆 參賽者獎項

Common Objective (CO) is an intelligent business network for the fashion industry with one aim: to do fashion better. Its technology matches members with the contacts and resources they need to survive and thrive. The winner of this prize will receive a 12-month Showcase Membership to the CO platform, bringing with it the benefits of a Premium business profile, enabling them to showcase their work and make industry connections. Common Objective (CO) 是一

個面向時裝界的智能商業網 絡, 其目標之一是:做更好的時尚。其 技術正好適合會員尋找他們發展 所需的聯繫和資 源。得 奬 者將獲 得由   CO  平台提供為期 12 個月的 Showcase  會籍,並從中建立優質 的業務簡介,不僅可展示個人作品 集,還能與業界建立網絡。

JUKI Corporation is a Japanese manufacturer of industrial sewing machines and more recently domestic machines, and have kindly donated a series of machines for competitors to support their careers into fashion including our People’s Choice, First Prize and Second Prize winners. In addition, competition alumni Angus Tsui was awarded a JUKI overlock machine during the Redress Design Award 2018 Alumni Networking Event in Hong Kong. JUKI Corporation 是日本工業縫

紉機 製 造商,最 近亦成 為家 用機 器製造商,並為本屆參賽者慷慨捐 贈了一系列機器,以支持他們的職 業發展。受惠者包括人氣大獎、第 一名及第二名獎項得主。另外,徐 逸昇亦在 2018 年度「Redress  設 計大賽」香港歷 屆參 賽者聯誼活 動期間,獲得了 JUKI 包縫機。

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Proving waste’s worth 廢之所值 Written by 作者 Bel Jacobs

L ast year, a fashion brand was unveiled that aimed to challenge every aspect of conventional fashion production: from perceptions of waste textiles to the methods of cutting and making; from conceptual notions of design to the definition of resources. Located in Hong Kong, in the very heart of the world’s fashion production powerhouses, The R Collective, brainchild of Redress Founder, Christina Dean, is shaking fashion’s foundations to its core. “The inspiration behind The R Collective was to prove that fashion could be re-imagined as a force for good, and that sustainable fashion deserves its place on our rails,” says The R Collective Co-Founder Christina Dean, proudly. “Most importantly, we wanted to put all Redress’ educational and advocacy work into practice. We wanted to build the vision for what we believe in.” Fashion is a profligate industry. Every year, billions of metres of new textiles are produced - and every year millions of metres are discarded almost untouched during production through sampling and the cut and sew process. The fashion industry’s total annual textile waste stands at a whopping estimated 92 million tons.1 That’s a lot of raw materials, chemicals, energy and paid man-hours ending up in incineration or landfill. For the past 8 years, the Redress Design Award has been educating, supporting and celebrating young sustainable designers in the art of conscious up-cycling - using industry and consumer waste to create beautiful clothes. The R Collective is the next step in that journey, working with some of these designers to show the rest of the industry that sustainable clothes can work, aesthetically, technically and commercially. 1 | Global Fashion Agenda and The Boston Consulting Group, Inc. (2017), Pulse of the Fashion Industry

Up-cycled jacquard sleeveless trench from The R Collective Trailblazer collection launched exclusively at Barneys New York The R Collective「Trailblazer」系列中 在 Barneys New York 獨家販售的升級再造提花無袖風衣

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‘POP’ Collection DESIGNED BY KAte MORRIS ‘POP’ 系列由 KAte MORRIS 設計

VICTOR CHU & Kévin Germanier WERE THE DESIGNERS BEHIND tHE R Collective’s inaugural collection 朱承康及 Kévin Germanier 為 tHE R Collective 設計首個系列

Created by emerging designers Kévin Germanier and Victor Chu, 2014/15 first and second prize winners respectively, the inaugural collection turned rescued lightweight wool, crepe and denim from luxury brands into classic blazers, trench coats and biker jackets with uniquely playful twists, including a capsule of masterfully crafted pieces using rescued luxurious brocades. The collection was snapped up by both Lane Crawford, Hong Kong and Barneys New York.

It’s been an adventure: “The reconstructed collection with Lia was the biggest labour of love. It was so challenging but just brilliant in its scope…” she says. “It’s a problem we all need to solve - how to redesign old clothes to keep them in service. We’re delighted with ours. We’ve proved there’s a market for deconstruction but we’re constantly learning. These are uncharted waters. That’s why few people are doing it - and exactly why we decided to do it.”

A second range showcased the playful, pop art-inspired knitwear of emerging British designer Kate Morris, winner of the Redress Design Award 2017. Reversible coatigans, sweaters and turtlenecks were created by up-cycling top quality yarn waste in collaboration with luxury knitwear brand 22 Factor.

The challenge is working with waste materials, which arrive with The R Collective in a breathtaking variety of shapes, textures and sizes. “We take waste from luxury brands, from mills, from retailers. It’s waste they cannot get rid of and that’s on its way to landfill and incineration because it’s the wrong colour or the wrong thickness for the season. There are many companies out there doing their best to decrease waste, but there’s always a gap. That’s where we want to be.”

The most recent partnership is with Redress Design Award 2017 Second Prize, Special Prize and People’s Choice Winner Lia Kassif. “For this collection, we took post-consumer military waste (exmilitary uniforms from Israel, the US and China), and turned them into powerful, iconic pieces,” says Christina. The collection is now available exclusively in Lane Crawford, Hong Kong and Shanghai. “Through the partnership with Redress, our sister charity, we have this incredible window into the world of best talent,” she says. Later this year, the brand will launch its first in-house collection: “The vision is to create a capsule of high quality, wearable, durable clothes that will become foundation pieces onto which our most exciting product drops can be styled against.”

What is Christina’s hope for the label? “That The R Collective can be this daring, successful visionary brand,” she says, warmly. “And that people will fall in love with it and want to be part of pushing an ethical, environmental and social future for fashion. I’d love to enjoy it, as a collective and as a powerful vehicle to share our wildest hopes and dreams for something better.” “Recently, I heard a quote that said, if you can’t find it, sometimes you have to build it for yourself,” she continues. “That’s what we’ve discovered. That’s what we’re doing.”

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The R Collective Military collection is now available exclusively at Lane Crawford 品牌 The R Collective 的軍事系列現已在連卡佛獨家發售

The brand’s latest collection applies the reconstruction design technique to military uniforms 新系列當中以軍用剩餘布料重新構造而成

時裝品牌 The R Collective 於去年登場,旨在挑戰傳統時裝生產的各 個方面:從對紡織廢料的觀念到剪裁與製作方法、由設計的概念性想 法到定義「資源」。品牌是 Redress 創辦人丁潔絲 Christina Dean的心 血結晶,以位於世界時裝生產的中心地帶 - 香港為基地,正在動搖著 時裝的核心價值。

The R Collective 聯合創辦人 Christina 自豪地說:「The R Collective

背後靈感是要證明時裝可被重新塑造為一種正能量,而可持續時裝 更應在我們的衣櫥上佔一席重要之位。最重要的是,我們希望將所有 Redress 的教育和具倡議性的工作付諸行動,並建立我們所相信的願 景。」 時裝是個揮霍的行業。每年不僅生產出數億萬米的新紡織品,還有每 年數百萬米幾乎全新或狀態良好的紡織品在生產過程中,因取樣、剪 裁和縫製步驟而幾乎全被棄置。時裝界每年的紡織廢料總量估計高達 9,200萬公噸。1 這表示大量原材料、化學品和能源最終被焚毀或埋葬 在堆填區,當中更有不可數之工時及人力資源亦會被浪費掉。 在過去八年,「Redress 設計大賽」一直在教育、支持和讚揚新晉可持 續設計師,使他們有意識地主動運用業界和消費者所造成的廢料來創 造美麗的衣裳。The R Collective 是此旅程的下一步:與這些設計師合 作,並向業界展示可持續服裝在美學、技術和商業上的可行性。 首個時尚系列是由新晉設計師 Kévin Germanier 和朱承康設計,他們 分別是 2014/ 15 年度第一名和第二名獎項得主。此系列將奢侈品牌的 輕質羊毛、縐紗和牛仔布轉化成玩味十足的經典西裝外套、風衣和騎 士外套。用盈餘的華衣錦緞妙緻製作成的精品系列是一大亮點,更隨 即由香港連卡佛和美國 Barneys New York 分別奪得地區獨家代理。 第二個時尚系列則展示了英國新晉設計師兼 2017年度「Redress 設計 大賽」第一名得主 Kate Morris 的俏皮普普風格針織品。當中的雙面開

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襟衫、毛衣和高領絨衣,全採用奢侈針織服裝品牌 22 Factor 的優質

盈餘紗線升級再造而成。

她繼續說:「透過與姐妹慈善機構 Redress 合作,讓我們擁有這個令人 難以置信的全球人才引薦平台。」今年稍後時間,該品牌將推出其首個 內部系列。「我們冀創造一個高品質、具可穿性及耐用度的精品時尚系 列,這些設計將可與日後的產品相互配搭。」 這是一次具冒險性的設計之旅,她說:「我和 Lia 專心致志開發重新構 造系列,過程具有挑戰性,範圍亦廣泛。當中有一個需要解決的問題: 如何重新設計舊衣以延長其使用期。非常高興我們能做到。我們已證 明了解構衣服是有市場的,但我們仍在不斷學習當中,因很多仍是未 知之數。這就是為何很少有人會這樣做的原因,亦正是為何我們決定 這樣做的推動力。」 運用廢料的挑戰是與 The R Collective 一起製作出各種各樣的形狀、 質感和尺寸。「我們從奢侈品牌、工廠和零售商處採購廢料,因他們無 法處理這些因色差或厚度問題而被送往堆填區或焚燒的廢料。有許多 企業已盡力減少浪費,但與零廢棄還是有距離。這就是我們想要幫助 改善的地方。」 當被問到對品牌有什麼願景,她熱熾地說:「The R Collective 可成為 大膽、具有宏大遠見的品牌。人們會愛上它,並希望成為推動時裝道 德、環境和社會未來的一部分。我享受作為推動集體性和團聚強大力 量的工具的一員,從而分享我們最大的盼望和夢想, 達到更好。」 她總結:「最近我聽到一句說話『如果你需要的東西不存在,或者需要 主動創造。』這是我領略到,亦正正就是我們現在所做的事情。」

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


Proving waste’s worth 廢之所值

Army surplus from the US, Israel and China waste has been transformed into an edgy, timeless collection 軍用剩餘布料來自美國、以色列和中國,並化為前衛、歷久常新的軍裝系列

The Military collection is designed by Lia Kassif, Redress Design Award 2017 Second Prize Winner 軍裝系列由2017年度「Redress 設計大賽」第二名得主 LIA KaSSIF 設計

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The designers of tomorrow are on a journey to redesign fashion not just aesthetically, but by shaking its values to the core. 未來的設計師正在重新定位時尚,不僅僅從審美觀出發, 而是把價值觀帶到設計核心。

#FASHIONMUM The first time I became a ‘Fashion Mum’ I was at Estethica - the British Fashion Council Sustainable Fashion area at London Fashion Week - which I co-founded in 2006, and curated until 2014. It was 2007 and one of our new recruits was a young brand called Goodone, designed by Nin Castle and Clare Farrell, who were, at the time, the only other brand crazy enough to up-cycle as insistently and stubbornly as I was doing through my brand, From Somewhere (which I had started back in 1997). This meant thinking of creative ways to upscale up-cycling, making it affordable, relevant and cool. At the end of the fashion week we were firm friends, she hugged me and told me I was her Fashion Mum; that moment sits pretty high on the list of favourite things that have happened to me. Especially because it continued, and over the years, I have become a Fashion Mum to several other young, brilliant designers, and I now have a decent sized family of Fashion Kids that I have the privilege to advise, support and stay close to as they start, consolidate, solidify, or, in the case of some, just begin to dream of their journey. The Redress Design Award has proved rich pickings, amongst them Angus Tsui and Kévin Germanier - both of whom make me jump for joy with their successes, their attitude, commitment and sheer talent. I owe to all the students and the young designers I mentor and meet my defiance to go on, because I can see in their eyes and in their collections that they want to be part of a change, and they want to use their creativity as a force to tackle environmental and social challenges. The reason why the change that is happening is so exciting is because it is a shift towards celebrating diversity, individuality and originality. It’s a change that explores the wildest frontiers of fashion, places so 76

- ORSOLA DE CASTRO

far out from the convention that they might as well be on another planet. Because the designers of tomorrow are on a journey to redesign fashion not just aesthetically, but by shaking its values to the core, challenging it completely and daring to demand a different way to design, produce and consume. In order to balance the fashion system, we need to develop its biodiversity. We need a generation of smaller designers that can coexist with the fashion giants, high street or high end. We need to open our wardrobes to lesser-known labels and emerging talents whose promises we trust, whose claims we can verify, and who make us look good because they also make us feel good. This is why my advice is never to “reach for the moon” but more like “make a solid start and think small”. It’s not because I don’t believe that the opportunities are there, or that one shouldn’t dream big it’s because I believe that big is not necessarily the only way to be, in this world at this point in time, when considering implications such as exploitation and environmental footprint. I believe that staying small can help redefine production and aesthetic values (a shorter, visible, sustainable supply chain, an object well designed and well made for longevity), and cradles a culture that cares for its people as well as its things. A culture where designers and design thinkers are plentyful, their multiple services are unique, individual and original, and consumers care for the things they buy. A culture where choice is not defined by mass production quantity but by individual taste, because having a lot to choose from comes with a huge cost to people and natural resources. Small solutions can lead to big changes. We just need to make sure that we encourage, nurture and support these potentially systemshifting emerging talents.


#FASHIONMUM 首次被稱為「潮流教母」可追溯於2006 年聯合創辦  Estethica  之時。這 是英國時裝協會於倫敦時裝週舉辦的可持續時裝展區的推廣計劃,我參 與策展至2014年。 那時是 2007 年,我們新招募的其中一個新興品牌是由   Nin  Castle  和 Clare  Farrell  設計的  Goodone。他們是當時唯一像我一樣瘋狂地堅持和 執著於要發展升級再造的品牌,正如我自1997年開始的個人品牌   From Somewhere。這意味著,大家都想運用具創意的方式來擴大升級再造的 規模,使其能夠價格實惠、有關聯性和展現型格。 時裝週過後,我們已肯定彼此是好朋友。她擁抱著我並表示我是她的「潮 流教母」。那一刻的感受至今仍然是我經歷過最喜歡的事情之一。 特別因類似事件多年來持續重現,所以我現已成為多位年輕傑出設計師的 「潮流教母」,擁有一個為數不少的「時尚孩子」家庭。令我有幸在他們成 立、整頓和鞏固品牌,或開始追尋其夢想時,提供建議、支持,並與其保持 密切聯繫。 「Redress  設計大賽」已證明它是有才華的年輕設計師的搖籃,其中尤以 徐逸昇和  Kévin  Germanier  的表現最令我振奮。看到他們二人的成功、 態度、決心和絕對的才能,讓人欣喜萬分。 為了曾接受過我指導的學生與年輕設計師,我選擇繼續迎接面前的挑戰。 因為我能從他們的目光及時尚系列中看到,他們決心要成為推動變革的 一分子,並且運用其創造力去解決環境與社會所給予的挑戰。

ORSOLA (CENTRE) WITH MENTEES ANGUS TSUI (SECOND FROM LEFT) AND KÉVIN GERMANIER (FAR RIGHT) ORSOLA(中)與啟導計劃學員徐逸昇(左二)及 Kévin Germanier(右一)

目前發生的變革之所以讓人期待,是因它朝著多樣性、個性化和原創性的 方向轉變。這是探索時裝界最大膽的變化,遠遠打破常規局面,看起來就 像不會在地球發生的事。因為這些將成為設計師的人正在重新定位時尚, 不僅僅從審美觀出發,而是把價值觀帶到設計核心,並敢於要求及挑戰以 非傳統的方法設計、生產和消費。 我們需發展時尚多元性,才能達至生態平衡。我們需要空間讓新晉設計師 與時尚巨頭、高街或高端品牌共存;我們應該打開衣櫥並迎接一些新晉 品牌;我們更可信任品牌能給予的承諾和經得起的驗證,才能讓我們看 起來和感受上都一致地滿足。 新晉設計師的成功之道不一定都是「摘星」之路,而我更建議著眼於鞏固 基礎和小目標。這並非因為我不相信機會就在附近,或人們不應擁有宏大 的夢想,而是我更相信「抱負高」並不是唯一的方向,特別是要考慮剝削 和生態足跡等影響時。 我堅信保持小量生產有助重新定義生產與美學價值,譬如是一個更有效、 更透明、更為可持續的供應鏈或一個經精心設計且生命週期更長的產品。 另外,此舉亦有助發展出一種關心人、事及大自然的文化,讓社會充斥設 計師及關注設計的人士,且消費者更著重他們所購買的獨特、個性化及具 原創性的多元服務。

Cora Bellotto was awarded a mentorship with Orsola in the 2015/16 competition cycle CORA BELLOTTO 在2015/16年度比賽中贏得參與啟導計劃的機會

大規模生產的數量並不適用於定義這種文化,反之更看重個人品味,因為 選擇太多通常伴隨著巨大人力與自然資源的成本。 向前一小步可以帶來重大變化。我們只需確保繼續鼓勵、培育和支持這些 有潛力改變時裝界的新晉人才。

Orsola de Castro is a fashion designer, Co-founder of Estethica & Fashion Revolution and is International Judge for the Redress Design Award 2018 Orsola de Castro 是一名時裝設計師、Estethica 和時尚革新的聯合創辦 人,也是 2018年度「Redress 設計大賽」國際評審委員

Lia Kassif was awarded a mentorship with Orsola in the Redress Design Award 2017 LIA KASSIF 在2017年度比賽中贏得參與啟導計劃的機會

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BACK ON THE FRONTLINE 重返時尚最前線

Redress’ second documentary, Frontline Fashion 2, demonstrates emerging designers’ passion to transform textile waste. Redress 的第二部紀錄片《Frontline Fashion 時尚先鋒》第二季呈現了新晉設計師對轉化紡織廢料的決心


BACK ON THE FRONTLINE 重返時尚最前線 Entering the Redress Design Award is an exciting and formative experience for any emerging designer. But reaching the finals - and coming to Hong Kong for their whirlwind exploration of the local and lively sustainability scene - is another thing altogether, which Redress captures on film in our Frontline Fashion documentary series. Frontline Fashion shows the world what it is really like for our finalists as they battle not just to win the competition but also to prove that fashion can come with heart and soul. With Frontline Fashion Season 3 now underway, we reflect on Season 2, illustrating the 2017 finalists’ powerful and personal journeys during the competition’s final stages, where the Grand Final runway show became their home-straight to victory. This one-hour documentary, which debuted on AETN’s Lifetime Asia TV channel, also gave our global audiences a lens into the finalists’ design challenges, while giving the finalists an opportunity to show off their design cachet, together with their creativite capacity to transform the industry. The finalists were first challenged to turn dumped clothes, which Hong Kongers had tossed into bins, into red carpet-worthy outfits for their muses, Actress and former Miss Hong Kong Kate Tsui and entrepreneur Kayla Wong. Proving riveting TV, as the designers rifled through the clothing cast-offs a shocking amount of high-fashion, high-price and high-quality pieces tumbled out of stuffed bags, serving as reminders of consumers’ high waste rates . “There were garments in the dumped bags that were never even worn,” said Dutch designer, Joëlle van de Pavert. “It’s surprising to see what people throw away.” Next up, the finalists were transported to a whole new world at sustainable manufacturer, TAL Apparel’s Guangdong factory. It was an eye-opening experience, with many finalists having never even set foot inside a factory. Behind this one factory’s closed doors, where around 23,000 garments are made daily, the finalists learnt how efficient pattern-cutting can drastically reduce textile waste, particularly at such mammoth scale. “I’d never thought how such small things can change things on a large scale,” added Israeli, Lia Kassif when speaking of the vast fabric savings that can be achieved by optimising patterns. Away from the adrenaline-fuelled design challenges in each cycle, Frontline Fashion gives context to each cycle’s talented finalists’ backgrounds. We visit the homes of the designers, whether in New York, London or Hong Kong, to get a truer sense of what inspires them. We also take our audiences backstage on the finalists’ nailbiting judging process, where they meet head-to-head with industry bigwigs, including Fashion Revolution Co-Founder, Orsola de Castro, Designer Johanna Ho and Lane Crawford’s Chief Brand Officer, Joanna Gunn. Frontline Fashion makes sustainability accessible for consumers by creating a tangible bridge into what’s happening within the industry. “No one wants to be preached to about their closets. Instead, Frontline Fashion helps to intrigue mainstream audiences and inspire a love of fashion. If people can fall in love with the creativity of fashion, then ultimately they will also dress more sustainably,” said Redress Founder, Christina Dean.

對新晉設計師來說,擠身「Redress 設計大賽」是個令人興奮和能夠累 積深刻經驗的旅程。來港參與有關可持續發展的探索更是個難忘經 歷。Redress 將整個過程呈現於紀錄片《Frontline Fashion 時尚先鋒》 當中。 《Frontline Fashion 時尚先鋒》向全球展示了最真實的畫面—我們的 總決賽者不僅要勝出比賽,還要證明時裝可是一件有心血、有靈魂的 事。 隨著《Frontline Fashion 時尚先鋒》第三季正在進行拍攝,讓我們回顧 一下第二季。當中展示了2017年度總決賽者們在比賽最後階段的強大 個人發揮。總決賽時裝表演亦成為他們步向勝利的直接通道。這部一 小時的紀錄片在 AETN 的 Lifetime Asia 電視頻道上首次亮相,讓全 球觀眾目睹總決賽者進行設計挑戰,展示特色設計,及改造時裝界所 需的創意。 總決賽者首先需要使用棄置於香港回收箱內的衣物,分別為女演員兼 香港小姐徐子珊和企業家王曼喜設計出紅地毯服裝。影片中可見,設 計師竟從載滿二手衣物的袋子中找到一些高級時裝、昂貴和高品質的 單品,令我們反思消費者高浪費的問題。 荷蘭設計師 Joëlle van de Pavert 說:「袋子裏有些衣物是從未穿過,看 到人們丢棄的東西真叫人震驚。」 接下來,總決賽者到訪了聯業製衣位於廣東的一間工廠,是一家可持 續的製衣廠,每天服裝生產量約23,000 件。這讓從未涉足過工廠的 總決賽者大開眼界,特別是當他們了解到在如此大規模生產下,有效 的紙樣剪裁能大幅減少紡織廢料。 當談到優化紙樣模式可節省織品浪費時,以色列設計師 Lia Kassif 補 充:「我從未想過這麼小的改變可帶來大規模的轉化。」 除了每屆比賽中令人腎上 腺 指 數 激 升的 設計挑 戰 外,《 Frontline Fashion 時尚先鋒》採訪了總決賽者們的個人背景。無論在美國紐約、 英國倫敦或是香港,我們都會跟設計師一起走訪其居住地,務求了解 他們的靈感泉源。我們還將觀眾帶入緊張刺激的評審過程,目睹總決 賽者們與業界巨頭進行直接對話,包括時尚革新聯合創辦人 Orsola de Castro、設計師何志恩和連卡佛的首席品牌官 Joanna Gunn 等。 《 Frontline   Fashion  時尚先鋒》正建 造能呈現業界狀況的橋樑, 讓 消費者更容 易獲 得 與可持 續 性有關 的資訊。Redress  創辦人丁 潔 絲 表 示:「沒 有人 願 意 聽 關 於 該 如 何 改 變 衣 櫥 的 說 教。相 反, 《Frontline Fashion 時尚先鋒》有助於吸引主流觀眾,及激發他們對 時裝的熱愛。如果人們能夠愛上時裝的創造力,那麼最終他們也會加 以尋找可持續的方式去穿著。」

SCREENING ENQUIRIES 放映查詢 LENA@REDRESS.COM.HK DISTRIBUTION ENQUIRIES 發行查詢 JAMES@lightninginternational.net

Frontline Fashion 2, which was co-created by Redress and Mustard joins Frontline Fashion 1 on iTunes this Autumn, available in English, Chinese, French and Spanish. Frontline Fashion 1 is also available in Hindi and Arabic. 由 Redress 和 Mustard 共同製作的《Frontline Fashion 時尚先鋒》第二季 將於今年秋季,繼第一季之後,接力登上 iTunes,並提供繁簡體中文、 英文、法文和西班牙文版本。而第一季更設有印地語和阿拉伯語版本。

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Desire fuels SPIRALLING fashion problems

慾望延伸為加劇時裝問題的不可控

Can Hong Kong’s cultural desert be transformed into a sustainable fashion oasis?

文化沙漠可轉為時裝綠洲嗎? Written by 作者 Tobey Cheung, HK01

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An abandoned garment factory in Phnom Penh is reclaimed by artists in a haunting exhibition that depicts the impact of the fashion industry on the environment. 藝術家借用一所位處柬埔寨金邊的廢棄紡織廠舉辦 一場震撼的展覽,呈現時裝業為環境所帶來的影響。

PHOTO CREDIT Von Wong & Laura Francois, CLOTHING THE LOOP

object a, HK01 is a media partner of the Redress Design Award 2018 香港01《一物》為2018年度 Redress 設計大賽的媒體合作夥伴

Fashion – in essence – is the popular way of dressing among a particular group of people. By definition, it embodies cultural values as well as periodicity. I once heard that as a society becomes more and more culturally diverse, fashion trend cycles get shorter and shorter. It’s therefore ironic when we think about it – Hong Kong, infamous for its reputation as a cultural desert because of its lack of arts and cultural scene, has an astonishingly short fashion cycle. According to the city’s latest waste statistics, Hong Kong discards approximately 125,195 tonnes of textiles per year1 – that’s an equivalent of 16,908 garments going into our landfills every hour. What’s more shocking is that the average consumer now buys 60 per cent more clothing items per year and keeps them for about half as long as they did 15 years ago. 2 It turns out that Hong Kong’s attachment to clothing is comparable to its dwindling attention span in the Digital Age. It is well known that the textile industry is one of the world’s most polluting industries. Production processes throughout its supply chain release large amounts of chemicals and greenhouse gases into our environment. What’s more, the rise of consumerism, and specifically fast fashion has led us into a crisis. Redress has spent more than a decade working to reduce textile waste in the fashion industry in a myriad of ways – inspiring designers to create fashion out of textile waste, promoting sustainable manufacturing, establishing clothing recycling programmes, as well as encouraging a secondhand clothing culture. All of Redress’ work promotes improvements along the fashion supply chain, while increasing environmental awareness among various stakeholders. It is unfortunate that for some, desire still takes precedence over environmental concerns. Hong Kong is famed as a shoppers’ parade thanks to many global fashion brands vying to set up stores in the city, and with media constantly promoting consumption, it is natural for the general public to succumb to the temptation of buying. However, things must change. Hong Kong people need to have some self-control. For the sake of all our futures, we need to resist mainstream materialism and realise that shopping is not the only way to deal with daily stresses. When we take out our wallets at the cashdesk, evaluating whether it’s actually a need is a basic step to take. And instead of finding ways to store more and more things, why not first reconsider personal aesthetics and taste? We should consider the story behind each garment, including its production process. We show sympathy towards animal welfare; but clothing too has life – the production of each garment involves countless individuals. A spur of the moment purchase should not forget the workers who cash in their sweat to make our clothes. When we discard an item, are we not also ignoring the needs of those who are living in poverty? There is hope - in Hong Kong and attitudes and outlooks are shifting. The multiple events taking place, the media and influencers, who are starting new conversations around ethical and environmental challenges and solutions available to us all are contributing to this awareness. object a first started working with Redress in 2017 for the ‘Get Redressed x Miele Clothing Drive’ - setting up collection points at the HK01 office and 01 space, as well as recruiting volunteers for the clothes sorting. As official digital media partner of the Redress Design Award 2018, we are thrilled to be part of this movement for change – and are bringing our readers with us. Global pollution is reaching critical levels, and along with consumers, this should serve as a wake-up call to the fashion industry – much of which operates out of Hong Kong. Could this be the start of a new cultural shift for fashion? My hope is on yes. 1 | Hong Kong SAR, Hong Kong Environmental Protection Department (2018) Monitoring of Solid Waste in Hong Kong - Waste Statistics for 2016 2 | McKinsey & Company (2016), Style that’s sustainable: A new fast-fashion formula

時裝一詞可直接解作:地區性流行的衣著風格,再 多的解釋,也只是從不同範疇作出註解。時裝向來 包含文化與周期性,聽說隨著社會文化的提高,流 行周期會變得愈來愈短。偏偏被譽為文化沙漠的香 港,衣服的周期性卻是異常地短。根據該城市最新的 廢棄數據統計,香港人每年丟棄約 125,195公噸紡織 品,1  這相當於每小時有16,908套成衣被丟棄到垃圾 堆。更令人震驚的是,現在的消費者每年購買的服裝 數量較十五年以前增長了60%,與此同時使用周期 卻短了一半。2  香港對服裝的依賴程度,與其在數碼

時代日益減少的專注度是相當的。

眾 所皆 知,紡織 業 是世界上 污染 最 嚴 重的 行業 之 一,不斷釋出大量化學物質與溫室氣體,加上   Fast Fashion  與消費文化的洗禮,令問題日趨嚴重。環保非 牟利團體  Redress,通過十多年的努力,以多種方式, 減少著服裝行業的紡織品廢棄——激勵設計師對廢棄 材料進行二次創意再造、推廣環保生產線、回收計劃 和二手時裝等,沿著供應鏈至生產過程中提出改善, 只希望提升各界的環保意識。可惜的是,對於一些人 來說,滿足自己的慾望比保護環境來的更為重要。 香港能夠貴為「購物天堂」的美譽,全靠世界的時裝 品牌也爭相在港設店,加上消費型媒體的幫助,自然 令大眾誘惑得魂亡魄失。不過香港人理應自覺,為著 本土的未來,務必由心扺抗主流的消費主義,購物絕 非唯一解決壓力的方法。抽出荷包時,考慮親身的需 要屬基本,與其四處尋找收納術的秘笈,不如重新思 量個人審美觀與品味,去了解衣物背後的文化,包括 其生產線過程,這亦是每個人都應有的責任。對於小 動物,人有惻隱之心,其實每件衣服都是具有生命, 同時經過無數人的苦心。不要因三分鐘熱度,不顧在 地球另一邊的工人所付出的汗水,捨棄衣服時又不 理會地球另一邊貧窮線下的基層需要。 我 們 看到了希望。香 港人 對此 的 想法 與 態 度 在 潛 移 默 化 中 發 生著 改 變。在 許 多活 動 中,各 界 媒 體 和在這 方面有著影 響力的人 正開始為這個道德和 環 境 的 挑 戰 尋 找 出 路,同 時 也 增強了人們 的 環 保 意識。2017 年《一物》開始與   Redress  聯手,參與

「Get Redressed x Miele  延續時尚  衣物回收」活 動,在香港 01 公司與 01 空間內設置舊衣回收站,同 時又推出招募義工行動。今年「Redress  設計大賽」 ,《一物》成為數碼媒體夥伴,希望從網上世界至實 體活動中,讓各界了解到時裝與環保之間的責任。 全球污染加劇的時代大背景將敲響整個時尚界的警 鐘,而不僅是香港。這會不會標誌著新時尚文化的開 始?但願如此。

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TRANSFORMATION THROUGH EDUCATION

改變從教育開始

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

From farming and harvesting to spinning and weaving, from packaging to point of sale and end of life, every stage in the life of a piece item of clothing makes its mark on the planet. From day one, the Redress Design Award has focused on the future professionals of the fashion industry, creating a new generation of informed designers ready to push acceptance of sustainability in fashion, and to show just what is possible when creativity meets textile waste. Recently, with new research, the focus of engagement expanded to academies and institutions, where sustainable fashion was still not taught in ways that answered the increased interests of students themselves. For the past two years, Redress has run workshops for educators where the experiences - and challenges - of introducing sustainability into the curriculum have been shared and celebrated. As a result of these sessions, a Sustainable Fashion Educator Pack was created, filled with ready-to-go lectures, project briefs and exercises for educators, covering various waste-reducing design techniques 82

and aspects of a garment’s lifespan. The packs are being used by teachers at more than 70 institutions worldwide, either in full or to supplement existing teaching. Now Redress is expanding its reach further beyond up-cycling and zero-waste to other areas in order to provide more depth in understanding around decision making that will affect how long garments stay in use. One of these is fibres. According to the Ellen Macarthur Foundation, the textile industry relies mostly on non-renewable resources – 98 million tonnes in total per year.1 From plant-based natural fibres to processed wood-based fibres, from cottons to synthetics such as nylon and polyester, each has an effect. And while there is no such thing as a ‘perfect fibre’, some - not surprisingly - have more negative impacts than others. Understanding fibres through their entire lifecycle thus becomes key to the environmental footprint of a design, as well as opportunities to improve the sustainability. With this in mind, Redress has published Sustainability in Fibres, a free guide on why the process of choosing materials is so

important in the context of sustainability, which fibres are available and what impact each has throughout a garment’s lifecycle. The properties of individual fibres are examined while issues relating to production, manufacturing and recycling are discussed, all peppered with expert tips and lively infographics. Case studies feature the challenges and achievements experienced of the Redress Design Award Alumni (including Milan-based designer Camilla Carrara, and Bojana Drača, designer of Farrah Floyd), and the guide ends with useful resources and a glossary. This work on fibres also forms a new, invaluable topic within the Sustainable Fashion Educators Pack. As ideas of sustainability embed themselves into fashion curricula around the world, the impact can only be positive - further guiding and directing the work of Redress itself.

To request a copy of the Sustainable Fashion Educator Pack, visit www.redressdesignaward.com/educatorpack All of Redress’ free learning materials can be accessed at www.redressdesignaward.com/learn 


1 | Ellen MacArthur Foundation (2017), A New Textiles Economy: Redesigning Fashion’s Future


TRANSFORMATION THROUGH EDUCATION  改變從教育開始 PHOTO CREDIT HKRITA

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The new Sustainability in Fibres pack covers a variety of innovations including the HKRITA initiative to separate and recycle blended textiles into new fabrics and yarns 在全新的《纖維的可持續性》教材套中,介紹一系列的創新技術,包括香港紡織及成衣研發中心所提倡的分離及回收混紡紗線 Students get to grips with ‘Design for Repair’ thinking at the Redress Design Award Fashion Academy 學生在可持續時尚學院當中親手嘗試如何以修復為目標作設計 Lenzing leads a tour of their Hong Kong facility for educators and students 教師與學生參觀蘭精纖維在香港的設施

由種植,到收成,再紡成綫,繼而織布,然後 包 裝出售,直至完成使命,每件 衣物的任 何 一個階段,都會在地球留下痕跡。由一開始, 「Redress 設計大賽」的焦點就放在時裝界的

未來新秀,使新一代設計師通曉可持續理念, 並願意推廣開去,展示當創意遇上紡織廢料 所爆發的可能性。 經過反覆調查發現,基於院校及機構對可持 續時 裝的教 授 仍未 完全滿足 興 趣 漸 濃 的學 生,Redress  決定擴展教育對象。在過去兩年 多次舉辦工作坊,讓教師將教授可持續時裝的 經驗及所遇機遇,分享流傳開去。 《可持續時裝教材套》就因而誕生了,當中的 講義、個案研究、練習及研究練習簡介,都可 供教師即時使用,內容涵蓋各種減廢設計技巧 及衣物生命周期的各階段。教材套被全球 70 多間院校的教師採用,有部分當作輔助教材,

有些更是全面使用。Redress  現正擴充教材 套,計劃納入升級再造及零廢棄以外的範疇, 讓學生深入理解足以影響衣物耐用度的各個 因素。 其中一項新教材是「纖維」。根據艾倫・麥克 亞瑟基金會的研究,紡織工業每年依靠不可 再生資源總計 9,800萬公噸。1  由植物性自然 纖維到經處理的木質纖維,從棉到人造纖維 如尼龍及聚酯纖維,都各有所長。雖然「完美 纖維」並不存在,但部分纖維的壞影響確較其 他纖維多,這是毫不出奇的。 理解纖維的整個生命周期,成為改變衣物生 態足跡的關鍵,亦提供機會改進設計的可持 續性。基於這個概念,Redress  出版《纖維的 可持續性》這本免費指南,解釋為何選擇物料 對可持續性如此重要,可選纖維有哪些,及衣 物生命周期每個階段對環境的影響。

教材講及不同纖維的特性,以及討論到其生 產、製作及回收等各階段面對的困難,並加 插專家要訣及生動的資訊圖表。個案研究則 專注於「 Redress  設計大賽」歷屆參賽者所 遇到的挑戰及成就,包括來自米蘭的設計師 Camilla  Carrara  及   Farrah  Floyd  的設計師 Bojana  Drača。教材最後以實用資源及詞彙 表作結。 關於纖維的更多討論,亦在《可持續時裝教材 套》內另開重要新章。當可持續理念與各地時 裝界融合,必將迎來正面衝擊,亦反過來引領 Redress  工作的前進方向。 如欲獲得《可持續時裝教材套》,請瀏覽

www.redressdesignaward.com/educatorpack

所有Redress的免費學習資源則可瀏覽

www.redressdesignaward.com/learn

1 | Ellen MacArthur Foundation (2017), A New Textiles Economy: Redesigning Fashion’s Future

REDRESS DESIGN AWARD EDUCATOR PACK TOPICS REDRESS 設計大賽《可持續時裝教材套》涵蓋不同主題


PHOTO CREDIT LEVI STRAUSS

PHOTO CREDIT ADVANCED E TEXTILES

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A s the world’s environmental and ethical issues become more urgent, designers and activists, companies and communities are developing increasingly innovative ways of solving them. The best merge elements of technical invention with the spirit of collaboration and mutual support. Here are some of the exciting solutions shaking up the fashion industry right now.

InnovatiNG FOR A BETTER FUTURE 創出更好未來 PHOTO CREDIT COSMOS STUDIO

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PHOTO CREDIT HKRITA

世界環境及倫理問題越趨嚴峻,設計師、保育人士、商家及各社群致力尋求 創新方法以解決困局,其中結合了技術革新與社群之間互助合作支援所得出 的方案最為可取。以下列舉了一些正在時裝業激起千重浪的策劃,令人振奮。

PHOTO CREDIT STUFFSTR APP

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PHOTO CREDIT YEECHOO

PHOTO CREDIT CARMEN CHAN | UNSPUN TECH


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FINISHING SCHOOL 後期加工派 www.levistrauss.com

SMALL BUT PERFECT 精細完美 www.adetexs.com

Creating texture effects on denim is a labourious process, requiring thousands of chemicals and labour and water-intensive processes such as sanding and rubbing. Project F.L.X., a unique initiative by Levi’s, uses electric lasers to engrave texture details onto denim jeans instead; with the potential to make denim, one of fashion’s largest sectors, far more sustainable.

New start-up, Advanced E Textiles has created thread sized microelectronic RFID (Radio Frequency Identification) tags which, once sewn into a garment, contain information about the garment’s composition for more accurate and efficient disposal, driving the transition to a more circular system. Win win.

要在牛仔布上做出特別效果,涉及繁瑣的工序,需用逾千種化學劑及大 量勞動力,且磨砂及揉搓等工序亦要用大量水。有見及此,Levi 推出獨 一無二的計劃 Project F.L.X.,以激光在牛仔褲上打磨出特別效果。牛仔 服裝生產素來在時裝業舉足輕重,計劃勢使整個牛仔布業更趨可持續。

3

Advanced E Textiles 是初創企業,創造出如針綫大小的微型電子 RFID (無線射頻辨識,Radio Frequency Identification)標籤。內載布料成 份資料,並縫到衣物上,令日後棄置回收處理變得更快更準,有助推動 循環系統,實現雙贏。

4

BREAK IT DOWN 分解 www.hkrita.com

A NEW WAY TO DYE 漂染新方法 www.cosmosstudio-store.com

Textile blends are one of the greatest challenges to effectively recycling clothing. The Hong Kong Research Institute of Textiles and Apparel (HKRITA) is developing solutions to separate cotton and polyester in poly-cotton blends through a hydrothermal process, meaning that original yarns can be recaptured for use.

Cosmos Studio is a Hong Kong based startup challenging conventional, polluting dyeing methods to produce minimalistic and contemporary clothing. Their proprietary GiDelave™ technology uses 95% less water to dye and creates no wastewater, as they apply colour directly to the yarn through 360 degrees printing. This eliminates the need for dye baths, as well as reducing energy and chemical use.

要高效地循環再造衣物,最大障礙是合成布料。香港紡織及成衣研發 中心 HKRITA 則正研究以水熱合成法,將滌棉混紡織物中的棉及聚酯 纖維分離,意味有望發展出實用的工業模式重新抽取紗線使用。

5

來自香港的初創企業 Cosmos Studio,致力改變高污染的傳統漂染方 法,轉而生產簡約新潮的服裝。他們的 GiDelave™ 專利技術,能減少 95%染色用水量,亦不會製造廢水。由於直接將顏色 360° 印上紗線, 便無需在染料中泡浸,從而降低能源消耗及化學劑用量。

6

RETURN AFTER USE 用後交還 www.stuffstr.com

CUSTOM MADE 度身定製 www.unspuntech.com

Three hundred thousand tonnes of fashion waste goes into landfill in the UK each year.1 To cut waste, in an industry first, British department store John Lewis is trialling a programme, in partnership with Stuffstr, to buy back its clothes. Via an app, customers will be able arrange a pick up from their home, with cash value given to any unwanted clothing bought from the retailer over the past five years.

Most clothing companies use mass production which inevitably creates waste. USA-based Unspun Tech builds custom jeans for consumers on demand, using 3D scanning. This means no inventory, no down-cycling - and a perfect fit. The company’s long term mission? To contribute to the reduction of global carbon emissions by at least 1% through automated, localised and intentional manufacturing.

在英國,每年都有三十萬噸紡織廢料被送到堆填區。1 為減少時尚浪 費,英國百貨公司 John Lewis 與 Stuffstr 合作,推出計劃回購所售出 衣物。顧客可透過應用程式,安排上門收取不要的衣物,如衣物是在 過去五年內購買,更可獲金額回贈。

大多服裝公司都是量 產衣物,難免產生浪費。來自美國的 Unspun Tech,利用3D 掃描技術,為客人度身訂造牛仔褲。如此一來,便不會 有貨存問題,同時避免了降級回收,衣物亦完全合身。公司長遠目標是 透過自動化、本地化的按需生產,從而達到減低全球碳排放 1%的最低 目標。

7

8

CARE AND REPAIR 護理及修補

WHAT’S MINE IS YOURS 共享時尚

One of the key buzzwords in sustainable fashion is ‘repair’ with initiatives growing in the mainstream. In Hamburg, H&M launched its Take Care project, with workshops and facilities for sewing clothes and applying patches. Patagonia’s Worn Wear Programme encourages shoppers to trade in old Patagonia items which are then up-cycled. Every pair of Nudie Jeans comes with a promise of free repairs.

Ideas of common ownership, in which goods are centrally maintained but individually borrowed when required, is starting to gain currency within the sustainable fashion movement. Offering a gorgeous mix of luxury and independent labels for both special occasion and every day, YCloset, MSParis, LeTote, Rent the Runway and Yechoo are leading the way in rental fashion.

「修補」是可持續時裝界潮語之一,並正在主流中傳揚。H& M 於德國 漢堡展開了 Take Care 計劃,設置縫紉和衣物修補的設備及工作坊。 巴塔哥尼亞的 Worn Wear Programme 則鼓勵客人以折價出讓其品牌 的舊衣物,繼而將舊衣升級再造。Nudie Jeans 承諾給予所有旗下牛仔 褲免費修補。

共享概念逐漸於可持續時裝界興起來-即是把物品集中保存,有需要時 才借用。衣二三、女神派、LeTote、Rent the Runway 及 Yeechoo 這些服裝 租賃領導者所提供一系列高檔和獨立品牌,涵蓋日常穿著及特別日子的 裝扮。 1 | WRAP (2017), Valuing Our Clothes: the cost of UK fashion.

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LOOKING FOR A SUSTAINABLE LIFESTYLE?

尋找可持續生活方式 Would you like to live a bit more consciously, but don’t know how? And rather not put too much time, money or effort into it? Then ‘This is a

Good Guide – for a sustainable lifestyle’ is a book for you. It’s filled with practical and positive tips regarding fashion, beauty, food, home, work and leisure, and shows that stylish and sustainable go very well together. And that it’s about good, not perfect - about smart choices, doing what you can and what suits you. An edited excerpt from Marieke Eyskoot’s new book. That something is cheap doesn’t mean that it doesn’t cost much, but that someone other than you is paying the price. Sustainable products are not expensive, regular ones are too cheap. Fortunately, conscious, good-quality products generally last longer, making the ‘price per use’ lower, so that we’re actually better off in the long-term. If you choose a bargain you subsequently can only wear a few times, you need to keep buying, ultimately spending more. This is how we’ve become programmed. Shaking off that short-term way of thinking has so many benefits. Sustainable living is like chocolate in that respect. However much I want to devour an entire bar in one go, I always seem to enjoy it more when I choose to eat it more slowly and with a bit of attention. We determine the world. We can choose how we want to live, who we want to be, what we like and don’t like. Every time you buy something, you’re actually saying to the brand or the store: ‘I love what you’re doing, please, take my money to continue doing it.’ You support a particular development, and so can steer it too. Especially when we do it together. Collectively, we have tremendous power and strength, if we choose to use it. You probably already knew this. Just as you probably know how necessary it is. People are suffering to facilitate our lifestyle. Not cool, but true. And the earth is too. We need to make changes. Now. Also true, but actually cool: this doesn’t mean your life should suffer, become sparse or boring. On the contrary, I’m convinced that it can be better, more interesting, and more varied once you stop automatically choosing the easiest and most familiar path. For now, there will still be ridiculous choices to make. Between people and the environment, animals and style; impossible. You can 86

ask yourself all sorts of questions. Vegan shoes are better, because no animals are used to make them. But aren’t alternatives to leather often made of plastic, which comes from oil? Should I buy local to reduce emissions, or fair trade from a developing country to support the people there? All paramount issues, but don’t let them drive you crazy. And most of all, don’t let them stand in your way. There isn’t yet an answer to everything. That’s fine. Choose what you feel is best and what’s within your capabilities. That’s all you can do. Every step you do take, is one you wouldn’t have taken before. Of course, the more, the better – but trust me, this will happen naturally. And it’s not just about buying, but also about how we interact with the world and each other. About equality, diversity, body image and inclusion. Freedom for everyone, regardless of background, preferences or appearance. About what you do, not what you say. And about trying, sometimes stumbling/failing, but always doing your utmost with the best of intentions. Sustainable living is modern living: in amazing style, with respect for people and our environment. Modern, because it both looks to the future and is very much in the here and now. Life is to be celebrated (by everyone), not to be tossed away or wasted with stuff that’s actually not good enough for us anyway.

Marieke Eyskoot is a sustainable fashion and lifestyle expert, author and consultant. She is Regional Judge of the Redress Design Award 2018. Marieke  Eyskoot  是可持續時裝及生活方式的專家、作家兼顧 問,她亦是 2018年度「Redress  設計大賽」的地區評審委員。


LOOKING FOR A SUSTAINABLE LIFESTYLE? 尋找可持續生活方式 是否想活得更有環保意識,卻苦無良方?又或是不想為此費時、費錢、費力?那這本《 This is a Good Guide》正是為你

而設,內載有關時裝、美容、飲食、家居、工作及休閒的實用妙招,顯示型格及可持續能雙向並行。關鍵在於求好,而 不求完美:選得明智,按自己的財力及需要,量力而為。以下文章是從 Marieke Eyskoot 的新書摘錄出來的。

有時東西賣得便宜,其實成本不低,只不過有其他人替你付了。可持續 產品其實並不昂貴,而是一般產品太賤價了。幸好這些品質好、以環 保概念出發的產品,亦較耐用,攤開計算每次的使用成本,更加物有 所值。若選購只能穿一兩次的廉價品,便要買完又買,最終開銷更大, 我們往往不自覺陷入了這種購物模式。摒棄以上短視的思考方式,其 實好處多多。過可持續生活猶如吃巧克力,無論有多想一口把整排吞 掉,但最能領會巧克力滋味的方法,似乎還是慢慢地、專注地享受。 世界由我們話事。該怎樣活、做怎樣的人、喜歡什麼、討厭什麼,選擇 權都在我們手中。每次買東西,其實亦變相是對品牌或商店說:「我喜 歡你們的作為,拿着我的錢,繼續吧。」你是在推動其發展。同樣,你 亦可引導方向,特別是當大家一起行動。若人人都願意表態及作出選 擇,我們將有極大力量。 為維持我們現有的生活方式,很多人正在受苦。或許你早就知道了,同 時你亦可能早意識到問題是有多迫切。不是開玩笑,是真的,地球亦在 受苦。我們必須改變,現在就變。改變不是意味你要活得很痛苦,過著 匱乏、苦悶的生活。相反,我體會到一旦願意主動停止沒有思維下最簡 單及熟悉的生活方式,你會活得更好、更有趣、更多元化。

10,000

LITRES 公升

of water go into the making of one outfit (T-shirt & jeans) 生產一套衣物 (T裇及牛仔褲)的耗水量

343

TONNES 公噸

of clothes and textiles end up in Hong Kong landfills every year 香港每年棄置到 堆填區的衣物重量

THIS IS A GOOD GUIDE - FOR A SUSTAINABLE LIFESTYLE

接下來,我們還面臨很多困難的抉擇:在人與大自然或是在動物與潮 流中二擇其一,這根本選不下手。你或會問自己這些問題:素皮的鞋較 優,因為不殘害動物,但問題是真皮的替代品不也是從石油提煉出來 的塑膠所製成的嗎?應該買本地生產的貨品以降低碳排放,還是買來 自發展中國家的公平貿易產品,支持其理念呢?雙方都很重要,但別 被這些選擇難倒。 最重要的是,你的生活不應被妨擾。世事不一定都有答案,沒關係的, 你只須 選你覺得最好且能負擔的,這也是你唯一能做的。你的每一 步,都是在前進。步伐大點,當然更好,但相信我,一切會自然發生。 這亦不限於購物,亦可能應用到我們與他人,以至與世界互動上,關乎 平等、多元、身體意象及包容等。每個人都是自由的,不論種族、喜好 或外表。關鍵在於你的行動,而非說話。在嘗試的過程中或有挫折或 失敗,但依然抱著最大真心誠意盡力去做。 可持續生活是現代推崇且富滿足感的生活方式,既尊重人,也尊重大 自然。備受推崇是因為這方式既顧及未來,又十分着重當下。所有人 的生命都是有獨特價值的,不應被配不上我們的物件而隨意消磨或浪 費。

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kWh 千瓦時

Energy saved by replacing one kilo of new cotton clothes with secondhand 每公斤二手棉取代新棉製衣 所能節省的能量

10%

CO2 二氧化碳

of the global CO2 emissions are caused by the fashion industry 全球二氧化碳排放中 時裝工業所佔比重

DRESS [WITH] SENSE

‘This is a Good Guide – for a sustainable lifestyle’ includes international stores and brands, hands on do’s and don’ts and interviews with leading pioneers. It’s available worldwide now, published by BIS Publishers (bispublishers.com). You can also try Dress [with] Sense, Redress’ guide to a conscious wardrobe. 《This is a Good Guide》載有世界各地的店鋪和品牌資料、實際的行業小規矩及行業先鋒的訪問等,由 BIS 出版社出版,全球出售。你亦可以看 Redress 製作的《Dress [with] Sense》,這是一本教你如何把衣櫃變成一個有環保意識的選擇指南。

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GET INFORMED 了解更多

The State of Fashion

Keep up with the main issues in the world of sustainable thinking as well as their solutions with this carefully edited selection of books, podcasts, people and websites. 透過這些精心挑選的書籍、播客、人物以及網站,以了解可持 續領域的主要議題和解決方案。

2018

LEARN 學習

THE STATE OF FASHION businessoffashion.com

CHINA WATER RISK chinawaterrisk.org

The State of Fashion 2018 by the Business of Fashion was created to provide a comprehensive view of the fashion industry, including current and projected performances as well as the influences driving fashion in the year to come.

Last year, China Water Risk released the results from their survey of over 85 Chinese textile manufacturers on their actions and challenges around water, cleaning up and going green. Eagerly received, the report is now available to download in English and Chinese.

《BoF  時裝商業評論》發表的《 2018 年度全球時尚 業態報告》為時裝業界提供一個宏觀分析,包括當前 表現、對未來的預測和在接下來一年將影響業界的各 項因素。

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去年,中國水風險發佈了對 85 家中國紡織品製造商 的調查結果,當中包括企業的用水行為、所面臨的挑 戰、處理污染和響應環保的情況。這份期待已久的報 告現推出了中、英文版本,以供下載。


READ WORN IN NEW YORK Emily Spivack

TURNING THE TIDE ON PLASTIC Lucy Siegle

Over 60 designers and creatives share stories about a significant piece of clothing from their wardrobe. Worn in New York is a contemporary cultural history of America’s brightest city, reminding readers that there’s more to fashion than chasing trends.

One of the UK’s most prominent writers on sustainability, Lucy Siegle creates an accessible, practical book that serves both as a call to arms to end the plastic pandemic, as well as a guide to change.

逾60 位設計師和創作者分享關於他們衣櫥裡一件重 要衣物的故事。《Worn in New York》記載美國紐約 的當代文化史,提醒讀者在追逐潮流以外,時裝蘊含 著更多意義。

撰寫了一本易於理解的實用書籍,呼籲終結塑料氾濫 的問題,亦是一本引導讀者作出改變的指南。

閱讀

Lucy Siegle 為英國最傑出的可持續議題作家之一。她

BROWSE

瀏覽

ECO WARRIOR PRINCESS ecowarriorprincess.net

MAKE GOOD makegood.world

In 2010, Jennifer Nini left her glamorous, corporate lifestyle to live off-grid on a solar-powered farm. Today, her blog Eco Warrior Princess has a monthly readership of 20,000, eager for intelligent, article views on sustainability.

This timely collection of interviews with sustainable fashion experts including Mara Hoffman and Elizabeth Cline (author of Overdressed), brings to life the challenges and real potential for fashion to become part of the solution.

Jennifer  Nini  在 2010年選擇定居到遠離繁囂商業生

透 過 這一系列 與 多 位可 持 續 時 裝 專 家 的 訪 問,包 括 Mara Hoffman 和《Overdressed》作者 Elizabeth Cline,呈現時裝界當前面對的挑戰和潛力,讓其成為 解決可持續問題的其中一枚齒輪。

活的太陽能農場。時至今日,每月有二萬名讀者瀏覽 她的博客《Eco Warrior Princess》,閱讀有關可持續 生活的精闢文章。

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WATCH LISTEN

觀賞 收聽

A PLASTIC OCEAN plasticoceans.org

WARDROBE CRISIS clarepress.com

Award winning documentary, A Plastic Ocean takes a devastating look at the impact plastic is causing to our oceans and marine life and explores working solutions that could help combat this alarming damage.

Clare Press, Vogue Australia’s Sustainability Editor-at-Large, creates a lively podcast which, in weekly episodes with inspiring guests, digs deep into the fashion industry, exploring topics in ethics, sustainability, consumerism, activism, identity and the role of creativity.

屢獲殊榮的紀錄片《A Plastic Ocean》震撼地呈現塑膠 對海洋和當中的生物所造成的影響,並探討對抗這種 災難的解決方案。

《Vogue》澳洲版的可持續議題特約編輯 Clare Press 所創辦的這個生活化播客節目系列。每週與啟發思考 的嘉賓一起深入探討時裝界中與道德、可持續發展、 消費主義、行動主義、身份認同和創意定位等相關的 主題。

FOLLOW 追蹤

MORGAN HAMEL @TheGarmentLife

Marianne Caroline @Marianne.Caroline

WENDY GRAHAM @MoralFibresBlog

Instagram influencer and founder of The Garment, Morgan Hamel aims to encourage women to own fewer but better quality things, by introducing them to responsible fashion brands and photographing the clothes on ‘real’ models.

Working between London and China, Marianne Caroline is an impact entrepreneur, on a mission to give everyone equal access to information about their impact on people and the planet, starting with the fashion industry.

An ethical fashion instagrammer who focuses on style, budget and green living, Wendy Graham provides her followers with resources on how to lead a more ethically conscious lifestyle.

Marianne  Caroline  於英國倫敦和中國兩邊 走,是位具影響力的企業家。她的使命是從時 裝界開始,讓每個人都能平等地知道個人對社 會與地球的影響。

Wendy  Graham  是位專注於風格、相宜價 格和綠色生活的道德時尚專家,為粉絲提供 資源,邁向更具道德意識的生活方式。

在   I n s t a g r a m  平 台 上 頗 有 影 響 力 的   T h e Garment 創辦人 Morgan Hamel,透過介紹負 責任的時裝品牌,鼓勵女性可以擁有得更少, 但 質 量 需要 更 好。她 的 相片中皆由「真 實 尺 寸」的模特穿上服飾進行拍攝。

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DRESS [WITH] SENSE OUT NOW! Dress [with] Sense, the practical guide to a conscious closet is Redress’ easy-to-read guide giving fashion facts and practical tips for readers to enjoy a lifelong journey towards developing a more conscious closet. Including tips from inspiring people from around the world, from models to bloggers to activists, this four-chapter guide will cater to your appetite to develop a more conscious dress sense and takes you through how you can:

BUY

better and make more responsible choices when hitting the shops

WEAR CARE

your clothes more creatively and rescue hidden treasures from the depths of your wardrobe

for your clothes with more environmentally friendly ways to wash

DISPOSE of them by swapping, gifting, donating or recycling – anything but throwing them in the trash! Dress [with] Sense is currently available in English, French S’habiller (avec) Éthique and Korean 드레스 윤리학 and is sold in multiple countries around the world. Order your copy direct from Redress via info@redress.com.hk or pick up from any good bookstore.

Help us expand our reach! If you are able to facilitate publishing our book in further languages, and to help us inspire more consumers around the world, please email hannah@redress.com.hk


BEHIND THE SCENES

鏡頭背後

Our dynamic team worked from the crack of dawn to showcase the finalists’ work against a contrasting backdrop of decay and renewal, at our setting of The Mills, Hong Kong carefully selecting locations for each designer as well as for the dramatic magazine cover shot. Creative Stylist and Redress Alumni Angus Tsui enjoyed the challenge and noted, “The finalists work is so thoughtful, especially as they present a myriad of beautiful and viable solutions that can lower the environmental impact and pollution of our industry.” Up-and-coming photographer Sam Tso, worked to capture the beauty and creativity together with our talented model Bonnie Chen, a long-standing Redress ambassador. As she struggled to choose her favourite designer, Bonnie shared her delight in being part of the journey and said, “Not only [are the finalists] preparing themselves for the Redress Design Award Final this September, but also for the inevitable future of the fashion industry.” 旭日初升時,Redress 團隊已經到達 The Mills 南豐紗廠開始為「Redress 設計大賽」總決賽 時尚拍攝及準備。每一個拍攝位置都經過精心挑選,以配合每一位總決賽者的作品及雜誌封 面造型,呈現介乎於老化與重建的反差。擔任本次拍攝造型師的「Redress 設計大賽」歷屆 參賽者徐逸昇說:「每一件參賽作品都經過深思熟慮,特別是他們提出了無數美麗而可行的 解決方案,可以降低我們的行業對環境的負面影響與污染。」 嶄露頭角的攝影師 Sam Tso 與擔任 Redress 大使多屆的名模陳碧舸共同演繹設計中的創新 變革力量。每套設計都有優勝之處,讓 Bonnie 難以選擇她的最愛。能成為這段旅程的一份 子,她感到非常高興,並說:「他們不僅是為今年9月的『Redress 設計大賽』總決賽,更是為 時裝行業的未來做好準備。」


To see the finalists’ shoot in action, in our behind the scenes video, 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

SPECIAL THANKS TO 特別鳴謝 Models: Bonnie Chen Zuzana T Creative Stylist: Angus Tsui Photographer: Sam Tso Make-up: Donald Chiu, Popstar Cosmetics Karen Yiu, HK Makeup Artist Hair: Marco Chan, KMS Venue: The Mills

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Sarah Devina Susanto For her Raffles Institute of Higher Education, Jakarta graduate collection ‘Memento’, Sarah was inspired by the whimsical and playful nature of childhood dreams and makes use of end-of-roll fabrics and up-cycled cords. Sarah 以「Memento」畢業系列作為她在印尼雅加達萊佛士高等教育學院的一個總結,靈感源自兒時夢中那份異

想天開和俏皮的本質,服飾以捲軸尾端布料和繩索升級再造而成。

PHOTO CREDIT Sarah Devina Susanto

Zhao Ying  趙穎

Cut-and-sew waste and damaged textiles were up-cycled to create the menswear collection, ‘Caltic Mythology’. The shirt can be disassembled and worn separately to create three looks from one. 男裝系列「Caltic  Mythology」是以布料碎屑和已損壞紡織品升級再造而 成。這件襯衫可以拆卸並單獨穿著,繼而化成三種造型。

PHOTO CREDIT ZHAO YING

PHOTO CREDIT Saachi Khattar Saachi Khattar Created by up-cycling secondhand sarees, the ‘Memkar’ collection incorporates the indigenous traditional weaving techniques of a small village in Gujarat, highlighting the rich handicraft culture of India. 「Memkar」系列以二手紗麗升級再造,揉合印度古吉拉特邦一個小

村莊的本土傳統編織技術製成,突出印度的手工藝文化。

PHOTO CREDIT Michelle Rickardsson Amanda Borgfors Meszaros Her graduate ‘DNA’ collection made use of textile and leather waste materials, and led to her winning a scholarship from the Marianne & Sigvard Bernadotte Art Awards 2018.

她的畢業作品「DNA 」系列由紡織和皮革廢料製成,並使她獲得「Marianne & Sigvard

Bernadotte Art Awards 2018」獎學金。

WATCH THIS SPACE

減廢新浪潮

Not content with the state of the fashion industry today, our Redress Design Award Alumni newcomers are already making waves... Here we present a selection of these fashion students and recent graduates who are fully embracing waste not only as a staple material for their work, but also as a source of inspiration. We can’t wait to see what is next for these bold talents. 不滿時裝界現況的一群「Redress 設計大賽」歷屆參賽者,正掀起一股減廢新浪潮……我們在此展示 的精選作品來自這群仍在就學或剛畢業的時裝系學生,他們不僅完全接受以廢料作為主要素材,還 以它們為靈感泉源。我們迫不及待見證這群人才的發展。

PHOTO CREDIT PRAGYA SHARMA Pragya Sharma The ‘Sechseck’ - German for hexagon - collection developed for her final year of design school achieves zero-waste through clever patchwork design using textile waste from previous projects. Pragya  通過零廢棄技巧,利用以往設計中剩下的紡織廢料,巧妙地

(六邊形的德語)。 拼接製成這個畢業系列 -「Sechseck 」

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NEW COLLECTIONS 嶄新系列

If you are looking to make a considered fashion statement and want to support independent designers, look no further than the latest collections from these bold emerging brands, created by Redress Design Award Alumni from across the globe. 無論你是在尋找考慮周全的時裝選擇,或是希望實質支持 獨立設計師,答案其實近在咫尺,請勿錯過這些最新的時 尚系列,每件服裝均來自環球「Redress  設計大賽」歷屆參 賽者所創辦的品牌。

PHINE RAUN | sales@phineraunfashiondesign.com The ‘Flower Power’ collection is up-cycled from vintage textiles and crochet, and lined with organic cotton. Accepting custom orders now and available online from 2019.

「 Flower  Power」系列由紡織品和鉤針 編織品製 成,並採用有機棉作襯裡。現已接受定制訂單,並將 於2019 年起提供網上訂購服務。

PHOTO CREDIT PHINE RAUN

PAT GUZIK  |  www.shop.pat-guzik.com | €40+ ‘We All Come From a Place’ is a unisex collection inspired by diversity. Up-cycled from industry waste and secondhand t-shirts, damaged textiles are saved through a collaboration with illustrator Mateusz Kolek. 「We All Come From a Place」是一個受多樣性啟發、男女皆宜的升級再造時尚系列,品牌與插圖畫家 Mateusz Kolek 攜手拯救業界的紡織廢料和二手T恤。

LINA MAYORGA  |  www.linamayorga.com | US$75+ A progression of her 2017 competition collection inspired by the UN sustainable development goals, the ‘Inform to Survive’ collection up-cycles colourful industry textile waste.

這個名為「Inform to Survive」時尚系列發展自 Lina 的2017年 度參賽系列,靈感來自聯合國可持續發展目標,以色彩豐富的 業界紡織廢料升級再造而成。

PHOTO CREDIT LINA MAYORGA PHOTO CREDIT Anka Bardelebe PHOTO CREDIT LICK STUDIO

BENU BERLIN  |  www.benu-berlin.com ‘Black Indigo’ transforms textile scraps through elaborate fabric manipulation. 「Black Indigo」時尚系列透過精細的織品改造紡織廢料而成。

PHOTO CREDIT Dawid H. Groński

PHOTO CREDIT AMA AWE

AMA AWE amaawe.com | SEK 1,500+ Prints featured in the ‘Passive Sleep’ collection designed by Amandah Anderson are digitally printed with toxin-free inks.

Amandah Anderson 設計的 「Passive Sleep」時尚系列上的印花 是以無毒素油墨進行數碼編印。 LICK STUDIO  |  www.lickstudio.net | US$100+

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The ‘Timeless Dream’ collection is made from end-of-roll fabrics and organic cotton, and is locally produced in Singapore.

「Timeless Dream」系列是以捲軸尾端布料和有機棉製成,並在新加坡生產。


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Redress Design Award 2018 Magazine  

Redress Design Award Magazine vol.5

Redress Design Award 2018 Magazine  

Redress Design Award Magazine vol.5

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