Redress Design Award 2019 Magazine

REDRESS DESIGN AWARD M a g a z i n e vol. 6 2019

NEXT GENERATION

新世代

Emerging talents balance passion for creativity with commitment to sustainability

充滿激情和創造力，致力於可持續發展的新興人才

PHOTO CREDIT LUKE CASEY

Message from the FOUNDER

創辦人的話

At Redress, we have always believed in the positive power of fashion, with a focus on the prevention and 1 transformation of waste to catalyse a circular economy. Despite the industry being one of the world’s ugliest polluters that is responsible for 10 per cent of global greenhouse gas emissions, and its regular slamming in the headlines over the last decade, we know that the industry is packed with creative and passionate professionals increasingly focused on this systemic issue who firmly believe fashion can still become a force for good. The great news is that fashion’s ability to drive positive change is finally becoming more recognised.

Fashion’s siloed ‘elite’ bubble appears to have burst as we begin to understand its influence, both positive and negative, which extends far beyond the runway. This is evident when considering fashion’s entrenched links to the issues driving the United Nation’s Sustainable Development Goals (SDGs), a series of 17 global targets created to end poverty, protect the planet and ensure prosperity by 2030.

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We are inspired by that around ten out of the 17 SDGs can be positively influenced by fashion, including SDG#12 Responsible Consumption and Production, SDG#13 Climate Change, SDG#1 No Poverty and SDG#8 Decent Work and Economic Growth.

But how do we get there? When you consider that 92 million tonnes of industry textile waste is generated annually, and 20 per cent of industrial water pollution originates from textile dyeing and finishing causing unknown human and environmental suffering, it begs the question – how do we move from today’s reality into this more positive state of fashion?

We believe that by educating fashion designers, who influence around 80 per cent of a product’s environmental impact, we can create a viable pipeline of talent to cultivate a knowledgeable, ethical and forward-thinking force, forming a new backbone for fashion.

This is why we put our heart and soul into the Redress Design Award, now the world’s largest educational sustainable fashion design competition. By inspiring, informing and enabling designers from Hong Kong and around the world to become agents of change, we are helping the next generation of designers to redesign fashion.

Through our work with designers, industry and consumers, Redress actively supports and promotes the UN’s Sustainable Development Goal 12 - Responsible Consumption and Production. 我們透過與設計師、業界和消費者的合作，Redress 積極支持和促 進聯合國的「可持續發展目標 12 : 採用可持續消費和生產模式」。

One designer alone cannot change the industry - which is why we are focused on reaching as many as possible. For the finale of the 2019 cycle, we meet 10 finalist designers from around the world, who have travelled to our home in Hong Kong to share their visions on the runway, the latest in an illustrious line of predecessors. Over the last nine years since launching the Redress Design Award, we have amassed 186 alumni designers, from 32 regions, drawn applications from thousands of designers from 70 countries around the world, as well as creating an educationable digital series that has also been seen by millions of the industry and public.

With Create Hong Kong as the Redress Design Award’s lead sponsor since our first cycle in 2011, together with our collaborative Hong Kong fashion industry, which is evident in the concurrent running of the Fashion Summit also taking place at CENTRESTAGE, we have collectively put Hong Kong on the world stage for sustainable fashion as this next generation of new hope unfolds.

So what next?

We know we cannot rest for a moment. Whilst there may be signs of change, one big question remains – do we have time? Research shows that half of the world’s fashion industry has yet to take action on sustainability. This propels our work forwards, with the belief in the positive power of fashion as our guide.

Thank you for supporting the Redress Design Award and the designers who walk with us. We could never do it without you.

With gratitude,

CHRISTINA DEAN 丁潔絲 Founder and Board Chair, Redress

Photo of textile waste

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PHOTO CREDIT iStock

Photo of water pollution from textile dyeing

PHOTO CREDIT LinaMayorga

Re d re s s 一直相 信 時 裝 正 能 量，並 致 力 於 阻 止 廢 棄 物 的產 生和改 造

它 們，以促 進 循 環 經 濟。儘 管 該 行 業 是 全 球 最 嚴 重 的 污染 源 之一， 佔 據 全 球 溫 室 氣 體 排 放 量 的 1 0 ％，並 在 過 去 十 年 裡 經 常 成 為 頭 條

原因。2019年「Redress 設計大賽」已步入尾段，我們會面了來自世界各

地的十位總決賽者。他們來到我們的居住地 — 香港，在伸展台上分享他 們的願景。他們是最新一輩的傑出設計師。「Redress設計大賽」開辦九

新 聞，但 我 們 知 道，業 界 擠 滿 了具 創 造 力 和 抱 有滿 腔 熱 誠 的 專 業 人

年以來，我們已經匯集了來自 32 個地區共 186 名歷屆參賽者、收到來自

極 力 量。好 消 息 是，時 裝 推 動 正 面 變 革 的 力 量 現 獲 得 更 多 的 認 可。

以萬計的設計師接受了線上教育。另外，我們的《時尚先鋒》(Frontline Fashion)數碼迷你系列也獲得了業界和公眾數以百萬計的瀏覽量。

士。他 們 愈 來 愈 關 注 此 系 統 性 問 題，也 堅信 時 裝 仍 然 可成 為 一 股 積 時裝界的「山頭文化」泡沫爆破，因我們開始了解其造成的影響不僅有 正、負兩面，還超越伸展台以外的範圍。這點更顯見於聯合國定立的可持

全球 70 個國家的數千份申請、5750 名設計師接受了面授教育，以及數

創意香港自 2011 年首屆「Redress 設計大賽」起，一直擔任我們的主要

續發展目標（SDGs）上，兩者有著根深蒂固的連結。可持續發展目標是一

贊助商。我們與香港時裝產業的合作亦可體現於「香港國際時尚匯展」

標。令我們感到鼓舞的是，17 個目標中有十個可被時裝正能量影響，包括

隨著代表著新希望的新一代嶄露頭角，我們共同將香港推向可持續時裝

系列旨在消除貧困、保護地球和確保2030年實現繁榮而制定的 17 個目

「可持續發展目標 12 : 採用可持續的消費和生產模式」、「可持續發展目 標 13 : 氣候變化」、「可持續發展目標 1: 無貧窮」，以及「可持續發展目標

(CENTRESTAGE) 進行中的「可持續時裝峰會」(Fashion Summit) 上。 的世界舞台。

8 :適宜的工作和經濟增長」。

那麼接下來要做些什麼？

但我們如何做到呢？當你想到每年有9200萬噸工業紡織廢料、20%工業

我們暫不能停下來。雖然情況可能有轉變的跡象，但仍存在一個大問題 :

個疑題在腦海浮現 : 我們可如何將現實環境扭轉成正面的時裝業態？

展問題採取行動，這令我們感到害怕。不過我們相信時裝正能量，並以之

水污染源於紡織品染整和加工處理，為人類和環境造成未知災難時，一 我們相信有教育時裝設計師的需要，因為他們決定了產品約 80% 的環境

我們是否還有時間？研究指出，全球有一半的時裝產業尚未就可持續發 作為指導推動我們的工作向前發展。

影響。我們可建立一個可行的人才管道，培育一支知識淵博、道德高尚、

感謝你支持「Redress 設計大賽」和與我們同行的設計師。沒有你們，我

這解釋了我們為何全心全意投入於「Redress設計大賽」，現在它已成為

衷心感謝!

思維超前的隊伍，從而形成時裝界的新骨幹力量。

全球最大型的教育性可持續時裝設計比賽。我們正培育新一代時裝倡議

們永遠無法做到。

者，透過啟發、教育和提供機會予香港及世界各地的設計師，促使他們成 為變革的推動者。

僅靠一位設計師是無法改變這一點，這就是我們盡力接觸更多設計師的

CHRISTINA DEAN 丁潔絲 Redress 創辦人及董事長

Please support our work by making a charity donation via www.redress.com.hk/donate 請瀏覽 www.redress.com.hk/donate 進行慈善捐贈來支持我們的工作

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Redress Design Award 2018 grand fonal show

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 lead sponsor of the Redress Design Award, Create Hong Kong is delighted to see that the competition has been strongly supported by different sectors. Every year, hundreds of emerging fashion designers and fashion design students from different parts of the world participate, showing that they care about our environment and utilisation of resources. Both the trade and the public also learn more about the circular economy.

The Redress Design Award has become an important brand in the sustainable fashion design community. I would like to extend my warmest congratulations to all the awardees of the competition who not only gained valuable exposure, but also learning and development opportunities. I am particularly grateful to Redress for continual promotion of sustainable fashion design to tell us that fashion design can also be environmental friendly.

「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，每年都吸引到全球數以百計的新晉時裝設計師及時

裝設計學生參加比賽，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，亦加強了業界及公眾對循環經濟的認識。

「Redress設計大賽」已成為可持續時裝設計界的一個重要品牌。我

衷心祝賀所有得獎者，在增加了知名度之餘，亦獲得寶貴的學習及發

展機會。當然亦要感謝 Redress，一直以來推動可持續時裝設計，讓

時裝設計成為推動環保的一份子。

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

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NEW ON THE BLOCK 新一輪比賽

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BREAK THROUGH 破繭

Set against bright backdrops of artistically torn paper, this year’s photoshoot celebrates the next generation’s creative frontrunners 以藝術性撕裂紙張為背景，該時尚攝影讚頌了新一代創意領軍者

Meet the finalists 認識總決賽者

Introducing this year’s Redress Design Award emerging talents 介紹本年度「Redress設計大賽」的新晉設計人才

ROAD TO THE FINAL 總決賽倒數

On the way to the Grand Final the finalists embark on an intensive educational journey and series of exciting challenges 邁向總決賽時裝表演，決賽選手們踏上了充滿教育意義和挑戰的旅程

Meet the judges 評審委員

The Redress Design Award is represented by the best that the sustainable fashion industry has to offer 「Redress設計大賽」評審委員是首屈一指的可持續專家代表

Rewarding talents 表彰人才

Discover the prizes that will offer unparalleled opportunities for the winners to present their work around the world 了解更多關於為得獎者提供無與倫比的機會，讓他們向全世界展示其工作的獎項

Behind the scenes 鏡頭背後

Our 2019 photoshoot provides a glimpse into each Redress Design Award Finalist’s collection 2019年度「Redress設計大賽」總決賽者作品鏡頭背後 COPYRIGHT 版權所有 © 2019 REDRESS LIMITED

CONTENTS 目錄

FEATURES 專題

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THE KIDS ARE ALRIGHT 孩子們都很好

Bel Jacobs shows us how the new generation is pushing for more sustainability in the fashion industry Bel Jacobs 告訴我們 新生一代正在推動時尚產業的可持續發展

THE FUTURE OF SUSTAINABLE FIBREs 可持續纖維的未來

How sustainably sourced Naia cellulosic yarn was incorporated in our Finalists’ collections 如何使可持續來源的Naia 纖維紗線納入本屆總決賽系列 TM

TM

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SAYING GOODBYE TO SINGLE-USE PLASTIC IN FASHION 時裝界告別一次性塑膠

Redress Design Award Alumni, Rachel Clowes shares the vision behind her brand, The Sustainable Sequin Company 「Redress設計大賽」歷屆參賽者Rachel Clowes與我們分享了其品牌The Sustainable Sequin Company的創立願景

LEARN 探索問題

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TRANSFORMATION THROUGH EDUCATION 改變從教育開始

Explore how the Redress Design Award is achieving its education mission 探索「Redress設計大賽」如何實現其教育願景

Get informed 了解更多

Keep up with the current issues in circular fashion 了解循環時尚的主要議題

INNOVATIONS 產業創新

Take a look at the latest sustainability initiatives happening in the industry 了解時下最新促進行業可持續發展的倡議

ALUMNI SUCCESSES 歷屆參賽者成就

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DESIGNING FOR ZERO WASTE 零廢設計

How Tess Whitfort, Redress Design Award 2018 winner, developed her collection in collaboration with The R Collective 「Redress設計大賽」2018年度第一名獎項得主Tess Whitfort 與The R Collective合作的幕後故事

BRANDS TO WATCH: AN INDUSTRY PERSPECTIVE 值得關注的歷屆參賽者品牌：行業視角 Some of our Alumni success stories and the way they impact the whole industry 歷屆參賽者分享其成功故事，以及他們對整個行業的影響

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Alumni NEWS 最新動態

Follow up on the work of the Redress Design Award Alumni who are bringing change, innovation and circularity to the fashion industry 關注歷屆參賽者的動態，及他們為時尚行業帶來變革、創新和循環性

New Collections 嶄新系列

Discover the latest Redress Design Award Alumni collections and how they are transforming the fashion industry 探索「Redress設計大賽」歷屆參賽者的最新系列以及其為改變服裝產業所作出的貢獻

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ON THE COVER 封面造型

Fernanda M. wears a dress by Redress Design Award alumni Janko Lam, made with testing sample waste from fabric mills. George N. wears an outfit made by alumni Jesse Lee, using deadstock denim fabric and second hand damaged jeans and skirts.

Fernanda M. 身穿由「Redress設計大賽」歷屆參賽設計師林春菊設計、 由面料工廠樣品廢料製成的連衣裙。George N.所穿的衣服由歷屆參 賽設計師李顯鋒設計、並利用庫存盈餘牛仔面料和二手破損牛仔褲 和半身裙製成。 Editors 編輯 Hannah Lane 林禾雅 Matthieu Amelin Contributors 撰稿 Bel Jacobs Carly Vidal Wallace Rachel Clowes Researchers 研究人員 Kay Liu 廖詠芝 Shirley Yuen 阮雪蓮 Koey Wong 黃嘉程 Designers 設計師 Hudson Law 羅兆赫 Jac Chung 鍾韻 Kevin Ho 何敬謙

TranslatorS 翻譯 Danie Liu 劉悅 Queenie Cheung 張楚君

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CENTRESTAGE 2019

( HK-Redress ) Output.pdf

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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 120 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 120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

Lead Sponsor 主要贊助

Hotel Sponsor 酒店贊助

Gold Sponsor 金贊助

Challenge Sponsor 挑戰贊助

Logistics Partner 物流夥伴

Bronze Sponsors 銅贊助

Alumni Prize & Venue Sponsor 歷屆參賽者獎項及場地贊助

Hair Sponsor 髮型贊助

Alumni Prize Sponsors 歷屆參賽者獎項​贊助

Prize Sponsors 獎項贊助

Education Donor 教育項目贊助機構

Knowledge Partner 時尚學院場地合作夥伴

Make-up Sponsors 化妝贊助

Food & Beverage Sponsors 餐飲贊助

Media Partners 媒體合作夥伴

Location Partner 場地合作夥伴

Accounting Sponsor 會計贊助

After-Party Sponsor 祝捷派對贊助

Fashion Academy Partner 時尚學院場地合作夥伴

Supporting Organisations 支持機構

REDRESS DESIGN AWARD MAGAZINE 2019

With thanks to all members of team Redress, past and present, who are the driving force behind the Redress Design Award, including Matthieu Amelin, Lauren Boucher, Queenie Cheung, Nissa Cornish, Christina Dean, Danie Liu, Stephanie Lai, Hannah Lane, Hudson Law, Kay Liu, Nastasia Malatesta, Mia Shu, Holly Suan Gray, Anneleise Smillie, Nancy Tong, Sonia Wan, Koey Wong, Shirley Yuen, Lena Ziegler, Kevin Ho, Amy Chan and our volunteers Iqra Abbasi, Laila Joy Albuquerque, Chong Ai Ning, Georgia Clayton, Mok Siu Hong, Infa Hou, Indigo Jones, Nelly Mao, Claudi Rensburg, Ivy Lauren Richter, Malina Schuckay, Wang Shiya. 特別鳴謝推動「Redress 設計比賽」的 Redress 成員及義工團隊。

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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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DESIGNING FOR ZERO-WASTE 零廢設計

Tess Whifort and her winning collection | Redress Design Award 2018 2018 was quite a year for Tess Whitfort. After winning the Redress Design Award, the Australian sustainable fashion designer developed her competition collection from catwalk sensation into a real commercial proposition, in collaboration with luxury up-cycling brand The R Collective.

achieved less than one per cent fabric waste, against an industry norm of 15 per cent. Tess’ collection for The R Collective represents another big step forward in catalysing a circular fashion system that avoids the need to create virgin materials.

Bold, streamlined and utilitarian, Tess’ designs for The R Collective were created from rescued denim, crepe, wool and cotton-salvaged from world leading brands, mills and manufacturers - and included an aviation-inspired jumpsuit, an experimental dress with adjustable belted detailing and a varsity-style zip up jacket.

“The biggest thing I’ve learnt is that it’s really important for us to integrate sustainable techniques into the fashion industry,” reflects Tess.

“Rather than thinking about sustainable design as a niche, we need to look at ways of making sustainable fashion profitable and applicable to all aspects of the fashion industry.”

Her collection represents a perfect blend of The R Collective’s aesthetic of timeless luxury with Tess’ signature chutzpah. “I wanted to incorporate a bit of attitude and punk into the collection,” says Tess, who has a Degree in Fashion Design from Australia’s Box Hill Institute.

Tess’ collection, which retailed at Lane Crawford, looks to be the first of many inspiring collaborations between The R Collective and Redress Design Award Alumni, which continued earlier this year with ‘Rinse’, a capsule range by 2015/16 finalist Wen Pan. Seven pieces, created in limited quantities using rescued excess luxury fabrics, were inspired by ideas of beauty in imperfection and the stories our wardrobes tell.

“Sustainable fashion is often portrayed as natural, feminine and wholesome.

I create grungy streetwear so that badasses can wear ethical clothing too!

Environmental issues are going to affect us all. Sustainability has to be for everyone.”

Working closely with manufacturer TAL Apparel, Tess developed groundbreaking fabric utilisation techniques that meant that several styles in her collection

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“‘Rinse’ shows that you don’t need to make a loud statement to support sustainable fashion,” says Wen. “When women wear pieces from my collection, they can feel a strong pride and inner confidence, ‘I am what I am, and I am making a small effort to make the Earth better, which makes me really cool.’”

PHOTO CREDIT The R collective

PHOTO CREDIT The R collective

PHOTO CREDIT The R collective

對 Tess Whitfort 來說，2018 年是非凡的一年。勝出「Redress 設計大賽」

「可持續時裝通常被描繪成自然、女性化及及有益身心的。而我卻創造頹

作，將其參賽時裝設計系列，由天橋上的一時轟動化成真正的商業企劃。

響我們所有人，而可持續性是人人有份。」

後，這位澳洲可持續時裝設計師與高端升級再造品牌The R Collective 合

Tess 那大膽、流線型卻不失實用的設計，當中所用到的牛仔布、縐紗、羊毛

及棉布，都是她從世界頂尖品牌、紡織廠及製造商拯救回來的。設計包括 航空風連身衣、可調節腰帶的實驗性裙子及拉鍊棒球褸。

這個設計系列將 The R Collective 永不過時的奢華美學，與 Tess 標誌性的 大膽放肆完美結合。持有澳洲博士山學院（Box Hill Institute）時裝設計學 位的 Tess 表示：「我希望加點個人風格及朋克元素到本次設計系列中。」

廢風街頭服飾，讓那些酷兒亦能穿戴合乎道德生產的衣服。環境問題將影 透過與製造商聯業集團緊密合作，Tess 開發出突破性的織品使用技術，意

味在其服裝系列中，數個款式的廢棄織品生產率將低至不足 1% 與業界標

準的 15% 相比，Tess 為 The R Collective 設計的服裝系列，標誌著向循環

時裝體系的發展踏出一大步，減低製造原生材料的需要。

Tess 反思道：「我得到最大的收獲是，像今天這樣將可持續技巧融入時裝

界對我們來說是非常重要。與其將可持續發展設計視為小眾玩意，我們更 需要研究如何使可持續時裝有利可圖，並放諸時裝界的各個領域。」

Tess時尚設計系列正於連卡佛零售, 她的時裝設計系列是The R Collective 與「Redress設計大賽」歷屆參賽者的首次合作，這種令人鼓舞的配搭之後 陸續有來。就如今年較早前，2015/16 年度「Redress 設計大賽」總決賽 者潘問推出的精品時裝設計系列「Rinse」。七件限量設計是由棄置高檔織

品製成，其靈感來自缺憾美及我們衣櫥中的故事等概念。

潘問說：「『Rinse 』時裝設計系列證明你不用大聲說支持可持續時裝。當 女性穿上這個系列的衣物時，她們會感到一種強烈的自豪感和由內散發的

自信，『我就是我，我正為讓地球變得更好而作出小小貢獻，這令我變得 很酷』。」

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ALUMNI BRANDS TO WATCH: AN INDUSTRY PERSPECTIVE

值得關注的歷屆參賽者品牌：行業視角

PHOTO CREDIT AMA AWE

ALUMNI BRANDS TO WATCH: AN INDUSTRY PERSPECTIVE 值得關注的歷屆參賽者品牌：行業視角

Author | Carly Vidal Wallace, Creative Community Curator at Not Just A Label 撰文 | Carly Vidal Wallace, Not Just A Label 創意社區策展人

As the head Curator of the Creative Community of 35,000 designers at Not Just a Label, Carly Vidal Wallace oversees up to 400 new collections per week submitted by global fashion designers from 150 different countries. For the past eleven years Not Just a Label has been at the forefront of supporting talented emerging designers, working to empower their voices and facilitate industry exposure while simultaneously providing an indispensable tool for the industry.

While statistics show that consumers have been slow to adopt the habit of specifically seeking and purchasing sustainable clothing, it’s encouraging to see a dramatic increase in the number of new designers on Not Just A Label (NJAL) platform who are embedding sustainability into their business practices and brand ethos. As Redress Design Award Alumnus and NJAL designer, Candle Ray states, “For me, sustainability is about how we should live our daily lives – whether it be in designing or just doing our daily routines – without compromising the health of our environment.”

At NJAL, this increase in sustainability-value-driven brands has enabled us to introduce new categories, such as Vegan, Upcycled and Zero-waste, to our already extensive sustainable search criteria. We’re happy to report that we’ve also seen a steady increase in the use of these specific sustainable criteria – as much as 38 per cent over the past two years.

Recognising the urgent need to transform our industry for the better, NJAL is committed to supporting designers who are working to make positive change.

The Redress Design Award is a natural partner, as it provides an important network as well as toolkits for these emerging talents. As alumnus and NJAL designer Pat Guzik notes, “Fashion is about relationships, and Redress have built a huge community around sustainability. We work together, we can share our experience, and we support each other.”

It can be challenging for young designers to find the right information and mentors on their path to sustainability. We believe that Redress provides an invaluable service through its competition, network and various resources – such as its LEARN platform, videos and guides – that are paving a way for designers to make a larger global impact.

We at NJAL look forward to each year’s new entrants, finalists and winners, but we equally like to follow the Alumni with a close eye. There’s Hong Kong’s Angus Tsui, whose current collection, ‘BEEvolution’ employs up-cycling, embroidery and eco-printing techniques, and who believes that fashion is about being avant-garde, chic and non-repetitive; but it is also about protecting the environment. Then there is Pat Guzik, a Polish designer whose latest collection transforms unwanted and damaged textiles into new forms, and who uses local textile producers and seamstresses to produce her garments. We also love Filipino alumnus, Candle Ray’s new collection, which features handcrafted elements like raw hand-stitching and patchwork details made using factory off-cuts, incorporating his vision to encourage consumers to repair and recycle their old clothes.

Ama Awe, by designer Amandah Andersson, is an alumnus brand we adore, with its conceptual chemical -free prints, where each print design tells its own story. And then there’s Amaud, the new brand by alumnus Sarah Jane Fergusson. She sources vintage silk kimonos from antique markets and experiments with modern techniques and silhouettes to bring historical garments into the modern age, through a lengthy, careful process of opening each kimono, cleaning it, and reassembling it. We love that her unique pieces capture the spirit of both of an ancient past and an exciting future.

Where to next? Our hope is that through platforms like the Redress Design Award and its Alumni Network more emerging designers are able to educate themselves, become inspired and embed circularity and sustainability into their collections. With so many incredible offerings entering the market, a shift in consumer habits and global buying teams will surely follow. In the words of Pat Guzik, “The future of fashion needs more responsible producers, suppliers, designers and consumers.”

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PHOTO CREDIT SARAH JANE FERGUSSON

作為創意社區的首席策展人，Carly Vidal Wallace 每週監督來 自150 個不同國家的全球時裝設計師提交的400 個新系列。 在過去的11年裡，Not Just a Label一直站在支持有才華的新 興設計師的最前沿，努力增強他們的聲音，促進行業曝光，同 時為行業提供不可或缺的工具。

雖然統計數據顯示消費者習慣於專門尋求和購買可持續服裝，但令

人鼓舞的是，我們平台上的新設計師數量急劇增加，他們將可持續 發展融入其商業實踐和品牌理念中。作為「Redress 設計大賽」的

歷屆參賽者和Not Just a Label（NJAL）的設計師Candle Ray說：「

對我來說，可持續性是關於我們應該如何過日常生活 - 無論是設計 還是僅僅做我們的日常生活 - 而不影響健康我們的環境。」

在Not Just A Label，價值驅動型品牌的增加使我們能夠將新的類 別，如素食，升級和零廢物引入我們已經廣泛的可持續搜索標準。 我們很高興地報告，我們也看到這些特定可持續標準的使用率穩 步增長 - 在過去兩年中高達38％。

認識到迫切需要改善我們的行業，Not Just A Label致力於支持正

在努力做出積極改變的設計師。「Redress 設計大賽」是一個天然 的合作夥伴，因為它為這些新興人才提供了重要的網絡和工具包。 作為歷屆參賽者和NJAL設計師 Pat Guzik 指出，「時尚是關於人際

關係的，而且Redress已經建立了一個圍繞可持續發展的龐大社區。 我們一起工作，我們可以分享我們的經驗，我們互相支持。」

對於年輕設計師來說，在可持續發展道路上尋找合適的信息和導師 可能具有挑戰性。我們相信，Redress通過其競爭，網絡和各種資源 PHOTO CREDIT Angus Tsui

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（例如學習平台，視頻和指南）提供了寶貴的服務，為設計師創造 更大的全球影響鋪平了道路。

PHOTO CREDIT Candle RAy

PHOTO CREDIT Pat Guzik

我們 NJAL 期待著每年的新參加者，決賽入圍者和獲獎者，但我們同樣希望密切關注歷

屆參賽者。香港的 Angus Tsui，其目前的系列「BEEvolution」採用了升級再造，刺繡和生

態印刷技術，他們認為「時尚是前衛，時尚和不重複的;但它也是關於保護環境」或者Pat

Guzik，一位波蘭設計師，他的最新系列將不需要的和受損的紡織品轉化為新的形式，

並使用當地的紡織品生產商和裁縫製作她的服裝。我們也非常喜歡菲律賓歷屆參賽者

Candle Ray的新系列，其中包括手工縫製的手工製作元素以及使用工廠切割製作的拼湊 細節，並將其願景「鼓勵消費者修復和回收舊衣服。 」

設計師 Amandah Andersson 的 Ama Awe 是我們崇拜的歷屆參賽者品牌，其概念性

的無化學印刷品，每個印刷設計都講述自己的故事。然後是歷屆參賽者 Sarah Jane

Fergusson的新品牌 Amaud。她從古董市場採購復古絲綢和服，並用現代技術和剪影進

行實驗，通過「打開每件和服，清潔和重新裝配它們的漫長而細緻的過程」，將歷史服 裝帶入現代時代。我們喜歡她獨特的作品捕捉了古老的過去和令人興奮的未來的精神。

下一步是什麼？我們希望通過像「Redress設計大賽」和歷屆參賽者網絡這樣的平台，更 多新興設計師能夠自我教育，成為靈感，並將循環和可持續性融入其收藏中。有這麼多

令人難以置信的產品進入市場，消費者習慣和全球購買團隊的轉變肯定會隨之而來。用

Pat Guzik的話來說，「時尚的未來需要更負責任的生產者，供應商，設計師和消費者。」

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ALUMNI NEWS 最新動態

PHOTO CREDIT Claire Dartigues

Claire Dartigues Redress 2018 Alumni Prize winner Claire Dartigues has launched a line of couture tops inspired by women’s football jerseys. Designed to support women’s football as well as ideas of ambition, perseverance, energy and determination, the brand artfully challenges notions of traditional feminine beauty. Coverage by French media and an exhibition at the FIFA Museum, as well as support from actors and sports journalists alike, demonstrate how much the range has captured the public’s imagination. The brand’s mantra “Respect All, Fear None” is a response to the discrimination, small and large, that women encounter in modern life. Made in France, luxurious jacquards and pleated fabrics used in the t-shirts emphasise elegance.

PHOTO CREDIT Claire Dartigues

「Redress 設計大賽」2018年度最佳歷屆參賽者獎項得主

Claire Dartigues 最近推出了靈感來源於女子足球運動衫

的上衣系列。該系列旨在支持女性足球以及雄心、毅力、活

力和決心的理念，巧妙地挑戰傳統女性美的概念；同時得到 了眾多法國媒體的報導、國際足聯博物館的參展邀請，以及 演員和體育記者的大力支持，足以證明該系列吸引了公眾的

注意。該品牌的宣言「尊重所有人，無所畏懼」是對女性在 現代生活中所遇到的、或輕或重的歧視的一種回應。這系列

法國製造的T恤使用了豪華的提花和褶皺面料以強調女性 的優雅。

PHOTO CREDIT Claire Dartigues

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Alumni NEWS 最新動態

PHOTO CREDIT Markus Alexander Voigt

PHOTO CREDIT Hung Wei-Yu

PHOTO CREDIT Markus Alexander Voigt

Julia Talita Pagenkopf Julia is a semi-finalist of the Redress Design Award 2019 and is currently working as a freelance designer whilst continuing to build her own brand, Inside/Outside Studio. Earlier this year, as part of Fashion Revolution Week Berlin, Julia, who holds an MA in Arts Fashion Design from the University of Applied Sciences Berlin (HTW Berlin), participated in events by Berlin online platform, Sustainable Fashion Matterz. “We were invited to wear our own labels, while asking “Who Made My Clothes” and campaigning for greater transparency in the industry,” she says.

Julia 是「 Redress 設計 大 賽」2019年度準決 賽 者，目前正在 擔 任自由職業 設計師，同時著手創立其個人品牌，Inside / Outside Studio。在今年初， 作為柏林時尚革新週（ Fashion Revolution Week ）的一 部，擁有柏林應 用科學大學（HTW Berlin）藝術時裝設計碩士學位的她參加了柏林線上平台 Sustainable Fashion Matterz的活動。她向我們分享道 「 : 我們被邀請穿戴自 己品牌的服飾，同時詢問『我的衣服從哪兒來』，旨在提高行業透明度 。」

Hung Wei-Yu 洪威宇 Hung Wei-Yu is a finalist of the Redress Design Award 2018 and also a semifinalist of the 2017 cycle. On October 4th, 2019 he will present his new collection during Dutch Sustainable Fashion Week as part of an event called the Future Fashion Show. In this collection, Wei-Yu uses leftover fabrics from Singtex, a Taiwan-based company, to explore the boundary between craftmanship and street-style. The designer took the opportunity to discuss the ‘bark lace’ he used in his Redress Design Award competition collection as an illustration of his practice - to transfer culture and old handicrafts into ideas of modern design and to go beyond the exploration of humanities and traditional crafts to embrace the concept of sustainable fashion. 洪威宇是「Redress設計大賽」2018年度總決賽者以及2017年度準決賽者，2019年

10月4日，他將在荷蘭可持續時裝週期間推出一個新系列，作為未來時裝秀的一部

分。在這個系列中，洪威宇使用來自台灣Singtex 公司的剩餘面料，探索工藝與街

頭風格之間的界限。他藉此機會討論他在「Redress設計大賽」系列作品中使用的

「樹皮花邊」作為其實踐的例證：將文化和傳統手工藝品轉化為現代設計理念， 迎合可持續設計概念並融合人文和傳統的工藝品。

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PHOTO CREDIT Farah Floyd

PHOTO CREDIT FaRrah Floyd

PHOTO CREDIT FaRrah Floyd

Farrah Floyd The Redress Design Award 2013 alumnus Bojana Draça’s sustainable fashion label, Farrah Floyd, goes from strength to strength. In November 2018, the designer opened a flagship store in Dansaert, the centre of Brussels’ thriving fashion scene, called Farrah Floyd Concept Store (FFCS) offers collections by Farrah Floyd as well as the work of almost 20 independent designers, who share the same vision in ethics and aesthetics. Her new collection, ‘Romance Vulgaris’, continues Bojana’s work with systematic zero-waste pattern drafting in which every pattern piece is a rectangle of different dimensions to create timeless clothes made to last. 「Redress 設計大賽」2013年度歷屆參賽者 Bojana Draça 的可持續時尚品牌 Farrah

Floyd正不斷進步發展。2018年11月，Bojana在布魯塞爾蓬勃發展的時尚中心丹薩特開

設了一家名叫 FFCS（Farrah Floyd 概念店的簡稱）的旗艦店，出售其個人品牌系列以 及其它將近20個有著相同理念和美學的獨立設計師的品牌。該品牌名叫「 Romance

Vulgaris」的最新系列延續了品牌風格的同時採用零廢棄樣板技術，其中的每片裁片都由 不同尺寸的矩形組成，以創造永恆經典的服裝。

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Alumni NEWS 最新動態

PHOTO CREDIT KATIE JONES

Katie Jones British alumnus Katie Jones’ work with hand-knitted and crocheted designs continues to develop. Earlier this year she was invited by the V&A Museum to share her design journey - as well as an online Flower Folk Collar workshop - on film. 「Redress設計大賽」歷屆參賽者 - 英國設計師Katie Jones在手工編織和鉤編設計方面的工作繼續發展，今年

初，她受邀同V&A博物館分享她的設計之旅，並開發了一個線上花卉衣領DIY的工作坊。

PHOTO CREDIT KATIE JONES

PHOTO CREDIT KATIE JONES

PHOTO CREDIT KATIE JONES

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PHOTO CREDIT KEVIN GERMANIER

PHOTO CREDIT KEVIN GERMANIER

Kevin GERMANIER Few are raising the profile of sustainable fashion as much as Redress Design Award 2014/15 First Prize winner Kévin Germanier. The Swiss student graduated from Central Saint Martins in 2017 before launching his eponymous brand the next year, a ritzy womenswear collection made from up-cycled materials including fabric, zips, thread, and Germanier’s signature beading. Media and retail interest followed in kind, with matchesfashion.com as the exclusive stockist and profiles in industry bibles including Vogue, WWD and Business of Fashion. Just one week before debuting a capsule collection crafted with up-cycled Swarovski crystals, Kévin was announced 2018 Swarovski & Vogue Talents New Generation Award winner. In May 2019, looks from his collections - including a shoe collaboration with Louboutin - were worn by Brazilian model Isabelle Boemeke and AirBnB co-founder Joe Gebbe on the MET Gala red carpet. In the same month, at Le Cigale, Paris, K-pop superstar Sunni chose three looks from Germanier’s collection for her first world tour. 甚少有設計師能像「Redress設計大賽」2014/15年度第一名獎項得主Kévin Germanier那樣能提升可持續 時尚的知名度。這位瑞士學生於2017年畢業於中央聖馬丁藝術與設計學院，次年推出其同名品牌，發布其

奢華的女裝系列，該系列對面料、拉鍊、線材以及Kévin Germanier極具標誌性的珠飾進行升級再造。發行

短時間後並獲得媒體和零售商的強烈興趣，不僅在matchesfashion.com平台上獨家零售，亦頻頻登上頂尖 時尚媒體平台《Vogue》、WWD以及時尚商業評論網（Business of Fashion）。 2019 年 5 月，巴西模特兒

Isabelle Boemeke和 AirBnB 聯合創始人 Joe Gebbe 在紐約大都會藝術博物館慈善晚宴上穿戴了該系列的 設計作品，其中還包括與 Louboutin 合作的鞋子。同月在巴黎Le Cigale，韓國流行巨星Sunni身穿3套Kévin Germanier的設計作品，開啟了首個個人世界巡演。

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PHOTO CREDIT KEVIN GERMANIER

Alumni NEWS 最新動態

PHOTO CREDIT PAT GUZIK

PHOTO CREDIT PAT GUZIK

Pat Guzik Pat Guzik was presented with the first Redress Design Award Alumni Prize of 2019, winning the chance to showcase her current collection to an international audience at Vancouver Fashion Week. Pat’s eponymous label continues to transform textile waste into a colourful mix of streetwear and high fashion. Collaboration is key for the Polish designer, who also won first prize in the 2015/16 cycle. A partnership with illustrator Mateusz Kolek resulted in a capsule collection and a percentage of sales are donated to Redress. More recently, Pat teamed up with visual artist Tomasz Armada to curate Blue Dogs, an exhibition in Poland’s Gdańsk which questioned current practices in the textile industry.

Pat Guzik 榮獲「Redress設計大賽」2019年度的歷屆參賽者獎項，首個 獲得在溫哥華時裝週上向全球各地的觀眾展示其設計系列的機會。Pat

的同名品牌延續了其將紡織品廢料轉化為多彩的街頭服裝和高街時裝 的理念。這位一舉拿下「Redress 設計大賽」2015/16年度第一名獎項得

主的新晉設計師與多位藝術家合作，例如她與插畫家 Mateusz Kolek

合作設計了精品系列，該系列一定比例的銷售額捐助給 Redress。最 近，Pat 與視覺藝術家 Tomasz Armada 合作，策劃了名為「Blue Dogs」

PHOTO CREDIT Kelvin Wan

Kelvin Wan 溫嘉恆 After winning the Redress Design Award 2012 Hong Kong Most Promising Student Award, as well as the 2015/16 Alumni Prize, Kelvin Wan has become the first-ever alumni to develop kidswear. His aim is to tackle the waste that is created as children grow, simultaneously increasing demand. Working with textile and yarn waste from factories, Wan prioritises woven knits for their ability to be comfortable and safe and to stretch to fit a child’s active life. In February 2019, Wan, who has a BA (Hons) in Fashion Design from Nottingham Trent University, collaborated with Hong Kong restaurant group, Maximal Concepts to create up-cycled denim lai see packets for Chinese New Year. 在獲 得「 Redress 設計 大 賽」201 2年度香港最 具潛力學生 獎以 及「 Redress 設計 大 賽」2015/16年度最佳歷屆參賽者獎項之後，溫嘉恆成為有史以來第一位從事童裝設計

的歷屆參賽者。品牌旨在解決兒童成長過程中不斷增加的需求以及產生的浪費。在使用

來自工廠的紡織品和紗線廢料時，溫嘉恆優先考慮適用更具有舒適性和安全性的編織針 織物，其可延展性滿足了兒童活動的伸展需求。2019年2月，擁有諾丁漢特倫特大學時裝

設計學士（榮譽）學位的溫嘉恆與香港餐廳集團 Maximal Concepts 合作，為中國農曆新

年設計了用升級再造牛仔布製成的利是封。

、在波蘭Gdansk舉行的展覽，旨在對紡織業的現行做法提出令人深思的

質疑。

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PHOTO CREDIT ClEmentine Sandner

PHOTO CREDIT KELVIN GERMANIER

PHOTO CREDIT ClEmentine Sandner

PHOTO CREDIT ClEmentine Sandner

ClEmentine Sandner After participating in the Redress Design Award 2013, Clémentine Sandner moved to Japan where she now specialises in the reconstruction of antique silk kimonos, combining them with high performance fabrics to create beautiful accessories. Public workshops, where participants can learn basic sewing skills and create their own bag, are currently her focus. “These hands-on experiences are opportunities to reconsider rampant consumerism and waste,” says Clémentine. “Not only do participants leave the workshop with a unique new accessory, they also gain valuable insight into the full production process, so that they can continue creating into the future.” 在參加2013年度「Redress設計大賽」後，Clémentine 移居到日本，現專門從事古董絲綢和服的重新構造，並將它們與高性能面料 相結合，創造出漂亮的配飾。她目前還從事於公共工作坊的工作，讓參與者可以學習基本縫紉技能並製作自己的包。「這些實踐經驗

是重新考慮猖獗的消費主義和浪費的機會，」Clémentine 與我們分享道，「參與者在此過程中能獲得的不僅僅是獨特的作品，還有

對整個生產過程的寶貴見解，從而使他們能夠繼續創造未來。」

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Alumni NEWS 最新動態

PHOTO CREDIT Sung Yi Hsuan

PHOTO CREDIT Sung Yi Hsuan

PHOTO CREDIT Sung Yi Hsuan

Sung Yi Hsuan 宋怡萱 Inspired by her participation in the Redress Design Award, Sung Yi Hsuan decided to continue her investigation into material choices, through the MFA Textiles programme at Parsons School of Design in New York. Earlier this year, following the Met Gala, the 2017 finalist contributed a design for Camp: Notes on Fashion, the Costume Institute’s Graduate Fashion Design Competition. Keen to create a debate around the value of materials, Yi Hsuan chose glittery polyester selvage yarns from Taiwanese textile mills and sequin fabric scraps from a home décor studio in Brooklyn to create a luxurious dress inspired by Tiffany lamps. 宋怡萱受到其「Redress設計大賽」參賽經歷的啟發，現攻讀帕森斯設計學院的紡織品藝術碩士學位，並經一步研究紡織品面料的選擇。今年初，紐約大都

（Camp: Notes on Fashion）參加服飾典藏館（Costume Institute）舉辦的 會藝術博物館慈善晚宴之後，宋怡萱以今年展覽的主題「坎普Camp：時尚筆記」

畢業生服裝設計大賽。為引起圍繞材料價值的辯證性思考，宋怡萱從Tiffany燈具設計中汲取靈感，運用來自台灣紡織廠的閃亮聚酯包邊紗線和來自布魯克 林家居裝飾工作室的亮片織物廢料設計出奢華的連衣裙。

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FINALISTS’ PHOTOSHOOT 總決賽時尚拍攝

BREAK THROUGH 破繭 Set against bright backdrops of artistically torn dead-stock paper, the Redress Design Award 2019 photoshoot celebrates the next generation’s creative frontrunners who are breaking through industry norms to drive a sustainable future for fashion.

The Hive Studios provided a space for endless creativity and inspiring visions, which are transformed into reality by our creative team. Renowned stylist Kieran Ho and photographer Donald Chiu perfectly captured our ten Finalists’ approaches to circular design; including zero-waste, reconstruction and up-cycling techniques. The images on these pages demonstrate the infinite possibilities enabled by the power of creativity, and prove once again that waste does not belong in landfills.

2019年度「Redress設計大賽」總決賽時尚拍攝以藝術性撕裂的亮色庫存盈餘紙作為背景，此系列照片讚美了下一代突破行業 慣例的創意領軍者，推動時尚產業可持續的未來。 The Hive Studios 為我們的創意團隊提供了一個無限創意和靈感的空間， 將其天馬行空的想法得以實現。知名時尚造型師 Kieran Ho 聯手攝影師 Donald Chiu 完美呈現了10位總決賽設計師包括零廢 棄、升級再造和重新構造的循環設計理念。此次的時尚拍攝以相片呈現了創造力所帶來的無限可能性，並再次證明了廢棄物也 有它的用處。

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Natalie Tzur

High-neck top made from Naia™ fabric, paired with up-cycled and reconstructed jacket. Trousers created from up-cycled factory workers’ pants, Naia™, and luminous vest. Skirt attachment made from firefighter uniforms.

由Naia™面料製成的高領上衣搭配採用升級再造和重新 構造手法設計的夾克衫以及由工人工作褲、Naia™面料和 發光背心升級再造而成的褲子。裙型配飾是由消防員制 服製成的。

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Chan Meiyan

Reconstructed asymmetrical bra and lace bodysuit, up-cycled from secondhand wedding dresses, under a skirt and length-adjustable wrap-around dress, both made entirely from Naia™ fabrics. 重新構造的不對稱文胸和蕾絲連身衣是由二手婚紗升級再 造而成的，搭配用Naia™面料製成的半身短裙以及可調節 長度的裹身裙 。

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Julia English

Low-waste, up-cycled maxi-shirt dress, with both secondhand and unused production offcut buttons, underneath a dead-stock textile dress. Oversized tank top crocheted from cut-and-sew dress waste. Jacket crafted from manufacturing material waste.

升級再造的低廢棄襯衫式長連衣裙飾有從二手鈕扣以及 未使用的生產剩餘鈕扣，搭配由滯銷紡織品製成的裙子。 超大號背心由連衣裙布料碎屑用鉤針編織而成，而夾克由 生產過程中的廢棄材料製成的。

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Maddie Williams

Roll-neck top made from Naia™. Up-cycled and zero-waste woven jacket made from secondhand clothing waste paired with pants constructed from post-consumer clothing and dead-stock yarn.

由Naia™ 面料製成的高翻領上衣搭配由二手服裝升 級再造的零廢棄梭織夾克衫以及衣物和滯銷的紗 線為原材料製成的褲子。

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Damini Mittai

Zero-waste, reversible jumpsuit up-cycled from her mother’s saris with jacket woven from cutand-sew fabric waste. Model holds a wide arm dress up-cycled from cut-and-sew fabric ropes, secondhand garments, and Naia™ fabric. 零廢棄，可反穿的連體褲是由設計師母親的紗麗升 級再造而成，連同一起穿著的是由布料碎屑梭織 而成的夾克衫。模特兒手中拿著的是一件由布料碎 屑、二手服裝和Naia™ 面料升級再造而成的寬袖連 衣裙。

Carina Roca Portella

Romper and trench coat with skirt attachment, up-cycled from world-famous restaurant napkins and tablecloths. Printed using a sublimation technique.

連衣褲和帶有裙擺的風衣是由西班牙餐廳El Celler de Can Roca的餐巾和桌布升級再造而成， 並採用了熱轉移印花技術。

Anna Schuster

Up-cycled wrapped trousers from end-of-roll fabric and secondhand garments. Trouser belt features watch pieces in the fastener and a screen-print design. Bomber jacket produced from leftover fabric, waste garments and Naia™.

由捲軸尾端布料和二手服裝升級再造而成的捲裹 褲。 褲帶的設計採用了鐘錶中的配件和絲網印花， 搭配由Naia™面料、廢棄面料以及廢棄服裝製成的 飛行員夾克。

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Keith Chan

Zero-waste jacket with asymmetrical collar.

Up-cycled from end-of-roll fabric and ribbon featuring eco-friendly ink prints. Zero-waste skirt made from Naia™ fabric, up-cycled production offcuts, end-of-roll fabric, and ribbon. 不對稱領口設計的零廢棄夾克，由捲軸尾端布料 及採用環保油墨印刷的緞帶升級再造製成；由 Naia™ 面料、生產邊料、捲軸尾端布料以及緞帶升 級再造而成的零廢棄半身裙。

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Abby Gaskin

Zero-waste, handwoven dress constructed from secondhand bed sheets, Naia™ fabric and sampled yardage. Handwoven tubular sleeve accessory from up-cycled bed sheets, yarn and Naia™, supported by scrap plywood rings.

由二手床單、Naia™ 面料以及樣布手工編織而成的 零廢棄連衣裙。所搭配的手工編織管狀袖套配件 是由床單、紗線以及Naia™面料升級再造而成，加以 廢膠合板環作支撐。

Moriah Ardila

Up-cycled jacket made from cut-and-sew waste and a secondhand backpack. Up-cycled tunic fashioned from a secondhand tent and trekking pants. Trousers made from a secondhand tent.

Backpack made from sleeping bags.

由布料碎屑和二手雙肩背包升級再造的夾克，以及 二手帳篷及登山褲升級再造的上衣搭配由二手帳 篷製成的褲子和由睡袋製成背包。

Photography by Donald Chiu Styling by Kieran Ho, Editorial Director at #legend magazine Hair by Marco Chan for KMS Make up by Vic Lai for Popstar Cosmetics

攝影師：Donald Chiu

造型師：Kieran Ho, #Legend 雜誌編輯總監

髮型師：KMS 客席髮型師 Marco Chan 化妝師：Vic Lai (Popstar Cosmetics)

All background paper used for this photoshoot comes from dead-stock and was generously provided

by Rent A Pro Limited and The Hive Studios.

用於此次拍攝照片的所有背景用紙均來源於滯銷庫存，由Rent A Pro Limited和The Hive Studios慷慨提供。

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MORIAH ARDILA

ISRAEL 以色列

For Moriah Ardila, the concept of sustainability is firmly embedded in ideas of re-use and repurposing. “Sustainable fashion means giving objects that are no longer necessary a second chance, which decreases the amount of waste we generate.” says Moriah, who is currently studying Fashion Sustainability at Shenkar College of Engineering and Design in Israel. Moriah’s competition collection draws inspiration from ideas of living minimally, under canvas and close to nature. Despite its origin, her collection’s title, ‘Home’, suggests ideas of safety and protection. Damaged camping equipment, such as sleeping bags and tents, form the materials of her designs. Shapes are functional but versatile and effortlessly cool, recalling the work of her creative hero, British fashion designer, Craig Green. Small details, such as windows, closing fasteners and finishes, are reminders of the items’ original purposes. “Simple defects can make old camping equipment unusable

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- but these are excellent quality materials, made for hard conditions,” points out Moriah. “Rather than discarding them, my project gives them new purpose.” Like many working within sustainability, she is frustrated by wastefulness. “Here in Israel, people buy clothes like they buy bread,” she says. “It’s a bad habit. We should choose quality instead of quantity. I wanted to become a sustainable fashion designer because I’m convinced that sustainable fashion can change the way the public thinks about clothing,” she continues.

“Sustainability is the future. We are moving towards a better world where designers will be aware of the environment and the effects of mass consumption. I’m looking forward to influencing that future.”

Moriah is both a finalist of the Redress Design Award 2019 and the winner of this year’s People’s Choice award.

We should choose quality instead of quantity. 我們應 該 選擇 品質而不是數量。

MEET THE FINALISTS 認識總決賽者

Moriah Ardila 是2019年度「Redress設計大賽」的

總決賽者和人氣大獎得主。可持續理念嵌入在她循 環再造的設計理念之中。 Moriah目前正在以色列申 卡爾工程與設計學院學習時裝的可持續發展，她說

道「 : 可持續時尚意味著賦予不再需要的物品二次生 命。」「與此同時，這能夠減少所產生的廢物。」她

的參賽系列從極簡生活、帳篷露營和接近自然的理 念 中 汲 取 靈 感；不管 其 來 源 如 何，該系列的標題《 Home 》傳

達了安全和保護的理念。睡袋和

帳 篷等破損的露營設備成 為她 設計的原材料。她的作品造型具

功能性、用途廣泛，帶著一種漫 不經心的酷，讓人們想起她心目

中的創意英雄，英國時裝設計師

Craig Green的作品。帳篷的窗戶、閉合扣件

和加工整理等小細節使人聯想到物件的原

始用途。Moriah 指出 :「簡單的缺陷就可能

使舊露營設備無法使用，但該等設備均採用

優質材料，並適用於惡劣條件。我的系列賦 予它們新的用途，而不是將之丟棄。」和許

多從事可持續發展工作的人士一樣，她對浪

費感到沮喪。她說道，「在以色列，人們買衣 服就像買麵包一樣。」她繼續說道，「這是個 壞習慣。我們應該選擇品質而不是數量。我

想成為一名可持續時裝設計師，因為我相信

可持續時尚可以改變公眾對服裝的看法。可

持續發展是未來。我們正在邁向一 個更美 好的世界，在那裡，設計師將會意識到環境

和大眾消費的影響。我期待著為那個未來帶 來影響。」

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JULIA ENGLISH AUSTRALIA 澳洲

Julia English’s competition collection offers a unique proposition: clothes that create genuine dialogue between the designer and wearer. “I use clothes as a medium to ask people about their own experience of fashion and to invite them to question their choices,” says Julia, who holds a BA in Fashion Design from the Royal Melbourne Institute of Technology. Her collection’s strong, oversized silhouettes - constructed from dead-stock material including both end-of-roll and damaged stock - are created to be ‘actively worn’, to be remodelled and reconstructed, according to the wearer’s evolving needs. “The garments are designed to require less frequent washing, as stains can be cut away from the exterior surface and areas which feel bulky or sweaty can be thinned by the wearer to increase functionality,” points out Julia. “These acts of co-creation remove the boundary between designer and wearer, helping to build emotional attachment as the clothes begin to reflect their shared history with the wearer.” In turn, these acts of transformation can provide future makers with ideas on how

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clothing is worn, allowing for smarter, more function-focused designs. Julia’s dream is to foster systemic change in the fashion industry, through engaging and informing consumers. Her inspiration? Kate Fletcher, Professor at the Centre of Sustainable Fashion (London). Julia remembers “Kate once said ‘Even the most progressive technology-based solutions can be undermined by consumer behaviour’,” Julia prefers the term ‘fashion activist’ to ‘sustainable designer’. “This quote has shaped my practice into focusing on the experience of wearing clothing. It’s critical that we evaluate sustainable solutions based on the different ways we wear and care for our clothes, as well as how we make and dispose of clothes. Through looking at ideas around emotional durable design and material culture, my practice explores the functionality and sustainability of wear.”

MEET THE FINALISTS 認識總決賽者

Julia English 的參賽作品讓我們看到了這樣獨特的視角：衣服讓設計

可持 續 發展 時尚中心 的 教 授：K ate Fletcher。「 K ate 曾說 過：『即

己對時尚的體驗，並請他們質疑自己的選擇。」持有皇家墨爾本理工大

喜 歡自稱「時尚活躍分子」而不是「可持 續設計師」的 Julia 回憶 道，

師和穿著者產生了真誠的對話。「我透過衣服這個媒介，去詢問人們自

學時裝（設計）學士學位的 Julia說。這個輪廓強烈，寬鬆誇大版型設計

的系列，由捲軸尾端布料和已損壞的存貨等滯銷庫存構造。系列鼓勵 「積極穿戴」，可以根據穿戴者不斷變化的需求而重新塑造及再改造。

「衣 物 的 設 計 是 為了減 少 頻 密 的 洗 滌 次 數，有污 漬 的 表 面 可以 剪

掉，穿 戴者亦可以 把 笨重或 易出汗的位 置改 薄層次，以增加其 功能 性。」J u l i a 指 出。「『 這 種 共 同 創 造 方 式 』拉

近了 設 計 師 和 穿 戴 者 的 距 離，幫 助 其 建 立 感 情 紐 帶，因 為 衣 服 反 映 了 其 與 穿 戴 者 之 間 的

故 事。」反 過 來，該 等 改 造 行 為 可 為 未 來 的

製 造 者 提 供 關 於 服 裝 如 何 穿 著 的 想 法，從 而 促 進 更 智 慧、更 具 功 能 性 設 計 的 發 展。J u l i a

的 夢 想 是 通 過 與 消 費 者 交 流 及 提 供 資 訊，促 使 時 裝 業 界 系 統 性 改 革。她 的 靈 感 來 自 倫 敦

使 是 最 先 進 的 技 術 解 決 方 案 亦 會 受 到 消費 者行為的 影 響。』」比 較 「這句話讓我在實踐中更加關注『服裝』的穿著體驗。我們必須根據不 同的使用情況來評估可持續的解決方案，例如從我們如何穿著和愛護衣

服入手，亦可在我們如何製作和處置它們入手。通過對經久不衰的設計、 穿著使用的耐久度以及使用材料所蘊含的文化這些方面的思考，我的系 列探索了服裝的功能性和可持續性。」

It s critical we evaluate sustainable solutions based on the different ways we wear and care for our clothes as well as how we make and dispose of them. 我們必須根據不同的方法來評估可持續的解決 方案，可以從我們如何穿著和愛護衣服入手，亦可 在我們如何製作和處置它們入手。

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ABBY GASKIN CANADA 加拿大

The L avish, multi-layered wigs worn in the 1780s by powerful French women, such as Marie Antoinette, provided the inspiration for Abby Gaskin’s modular competition collection, ‘Indigo Blues’. Zero-waste design was a driving force from the get-go, dictating silhouettes and techniques. “I explored zero-waste pattern making, eliminating odd shapes and combining them with hand-knit or woven pieces to ultimately create one zero-waste garment,” she says. One method in particular offers garments multiple second lives: up-cycled bedsheets and natural fibres are handwoven into unique textiles and used to create simple rectangles, which are then hand-linked with looped yarn. “I enjoy solving problems,” explains Abby, who studies Fashion Design at the Parsons School of Design in New York.

I d like consumers to know where their clothing is made, what it s made of, and who made it. 我想要讓消費者知 道他 們的服 裝 在哪 裡製作、用 什 麼 材 料 製 作 、 由 誰 來 製 作。

“Once I discovered that fashion design gives me a creative platform to do this, I knew this is what I should be doing.” In ‘Indigo Blues’, the rectangles can be taken apart and reassembled to build new shapes or functional accessories such as tote bags.

“Everytime I develop a collection, I discover new methods of transferring my abstract thoughts into physical realities,” says Abby.

“Even the knit can be undone and re-knit to make completely new garments.” She believes the fashion industry needs more transparency. “I’d like consumers to know where their clothing is made, what it’s made of, and who made it. I’m a sustainable designer because it is my responsibility to demonstrate to - and hopefully inspire - other designers to create with the prospering of our planet in mind. There’s no time for us to reconsider why sustainable fashion is necessary. We must share and compare our work in order for life as we know it to endure.”

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MEET THE FINALISTS 認識總決賽者

Marie Antoinette等有權勢的法國女性佩戴的奢華多層假髮 為Abby Gaskin可自由組合的參賽系列《Indigo Blues》提供

了靈感。從一開始，零廢棄設計就是一種驅動力，決定了該系 列服裝廓形和所運用的技術。 Abby表示，「我一直在探索零

廢棄紙樣技術，摒棄那些奇奇怪怪的形狀，並將它們與手工

編織件相結合，最終創造出零廢棄時裝。」這種方法能夠賦予 時裝多種可能性的二次生命：將升級再造的床單和天然纖維

手工編織成為獨特的紡織品，製成簡單的矩形，然後用環狀 紗線手工連接。在紐約帕森斯設計學院學習時裝設計的Abby

解釋道：「我很享受解決

問題。當我發現時裝設計

為我提供了這樣一個創意

平 台 時，我知道這就是

我應該做的。」在《Indigo

Blues》系列中，設計師可

以 將矩形 拆開並重新組 合，製成新的形狀或功能

性配件，例如手提袋。「每次我創作一個系列時，我都

會發現一些新的方法，可以將我的抽象思維轉化為現

實。」她繼續說道，「即使是針織衫，亦可拆開重新編 織，製成全新的時裝。」她認為 時尚界需要更透明。她

向我們分享道，「我想要讓消費者知道他們的服裝在哪 裡製作、用什麼材料製作、由誰來製作。我是一名可持 續時裝設計師，因為我有責任向其他設計師進行展示，

並希望激勵他們以地球的繁榮為理念進行創作。我們

沒有時間重新考慮為什麼我們需要可持續時尚。我們必 須分享和比較我們的工作，為了讓我們熟知的生活能持 續下去。」

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HONG KONG BEST Winner 最傑出香港獎項 得主

KEITH CHAN 陳劍峰

Keith Chan’s Redress Design Award 2019 collection is inspired

by Hong Kong’s signature neon signs. “Bright, colourful neon lights and visual symbols are everywhere in Hong Kong,” he says.

“They symbolise the spirit and power of Hong Kong, its progress and its fortune, with unique aesthetics revealing its lifestyle and culture. Nowadays, for many reasons, neon light boards are being replaced. My collection celebrates their beauty while giving new life to old clothes and textiles.” Keith applies up-cycling and reconstruction to colourful end-of-roll textiles, which are combined with fabric scraps and secondhand garments to create layered, asymmetric garments. Typography, using eco-friendly inks and embroidery, is applied over a background of deep blue, to recall Hong Kong’s iconic night skies. “The styles are timeless and sophisticated; most people could wear them on most occasions, and the materials are easily obtained,” he adds. Keith holds a BA in Fashion and Textile (Knitwear Design & Technology) from The Hong Kong Polytechnic University but it is his experience as a research assistant that directly informs his philosophy and his techniques. “I’ve been working on new technologies in textile applications and have come to realise that the process produces lots of textile waste. At the same time, commercialisation accelerates the consumption 46

HONG KONG 香港

of textile products,” he says. “As designers, we have a responsibility - and an obligation - to develop sustainable alternatives, repurposing surplus products with innovation and to create positive and balanced design processes.” His dream is to create a brand and also to become a consultant, advising others in developing sustainable design methods and materials. “We need to change the mindset that sustainability is just a trend. Instead, it is here to stay.”

We need to change the mindset that sustainability is just a trend. 我們應該改變可持續發展僅僅 是一種趨勢的思維。

MEET THE FINALISTS 認識總決賽者

陳 劍 峰 的「 R e d r e s s 設 計 大 賽 」作 品 靈 感 來自香 港 極 具 標 誌 性 的

霓 虹 燈 招 牌。「光 彩 奪目和 五 光 十 色 的 霓 虹 燈 是 香 港 隨 處 可見 的 標 誌。」他 說，「它 們 擁 有獨 一 無 二 的 美 感，象 徵 著 香 港 的 精 神 和

力 量、進 步 和 財 富，亦 揭 示了香 港 的 生 活方 式 和 文化。如 今，由 於

各 種 原 因，霓 虹 燈 招 牌 正 逐 漸 被 取 代。我 的 作 品 中 蘊 含了它 們 的 美 麗，同 時 亦 賦 予 舊 衣 服 和 紡 織 物 以 新 的 生 命。」陳 劍 峰 對 色 彩

鮮 豔 的 捲 軸 尾 端 布 料、布 料 碎 屑 和 二手 衣 物 進 行 升 級 再 造 和 重

新 構 造，設 計出富 有層 次 和 不 對 稱 的 服 裝。採 用 環 保 油 墨 印 刷 和

刺 繡，以 深 藍 色 為 背 景，讓 人們 不 禁 回 憶 起 香 港 標 誌 性 的 夜 空。 「風格不受時間限制且較有質感；適合人們在很多場合穿著。而且這種 材料也很容易獲得。」他補充道。

陳劍峰持有香港理工大學服裝及紡織學（針織時裝設計及科技）學士 學位，然而，他的理念和技巧主要來自從事研究助理工作經歷的啟發。 「我一直都在研究紡織品應用的新技術，並且意識到該過程會產生大量

的紡織廢料。同時，商業行銷亦刺激了紡織品的消費。」他說道，「作為 設計師，我們有責任和義務選擇可持續的替代品，透過創新讓剩餘的廢 料被重新利用，以創造一個積極和平衡的設計流程。」他的理想是創造

一個新品牌，同時亦想成為一名顧問，可為他人提供可持續化設計方法 和材料的建議。「我們應該改變可持續發展僅僅是一種趨勢的思維。」

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CHAN MEIYAN 陳美欣 HONG KONG 香港

Every year, approximately 10.6 million weddings take place in China. “Most wedding gowns begin as rolls of raw, tan-coloured fabric,” reflects designer Chan Meiyan. “These are bleached using energy-intensive processes that consume gallons of water and use harmful chemical compounds that affect factory workers and the environment. I thought, what if just 10 per cent of those brides decided to donate their dresses for up-cycling? For one million wedding dresses of fabric to be reused would have significant impact on the fashion industry’s carbon footprint.” Her collection, ‘Leftovers’, resolves that question, using techniques of reconstruction to transform secondhand wedding dresses into sleek, sharp shouldered shapes that pay homage to the 1980s. “I was inspired by the second wave of feminism that took Western fashion by storm, breaking ground for women to aspire to new roles in society,” she says. The project reflects Meiyan’s own journey; the designer,

48

who studied at ESMOD, Paris, entered fashion via a childhood obsession with Barbie, but now cites Grace Jones as the person she would most like to dress. For Meiyan, sustainability means longevity. “I aim to extend a garment’s life cycle for as long as possible, reduce over-consumption, re-use garments or textile waste and slow down the environmental and ethical impacts the fashion industry has created.” Each item is multi-functional to prolong its life.

“A suit jacket can be turned into a wrap dress for dinner; a top with removable sleeves and hood can be worn across the seasons.” The project does not exclude commerciality. “Sustainability cannot work independently from marketability,” she says. The collection’s title refers both to its raw materials and to the label Chinese women in their late 20s were stamped with, if they remained unmarried. “Nowadays, however, modern Chinese women embrace self-reliance in all aspects of their lives,” says Meiyan, proudly.

MEET THE FINALISTS 認識總決賽者

每年，中國大約會舉行1060萬場婚禮。設計師陳美欣表示，「大多數婚紗 的原材料都是來自未經加工的棕褐色面料，然後透過高耗能工藝對其進 行漂白，此工藝會消耗大量的水，並使用影響工廠工人和環境的有害化合

物。我想，如果在這些新娘中，哪怕只有10%的人決定捐出自己的婚紗來 進行升級再造，將會發生什麼？100萬件以重新再用的面料製成的婚紗將

對時尚產業的碳足跡產生重大影響。」她名為《Leftovers》的參賽系列解 決了這個問題，運用重新構造技術，將重新利用的婚紗轉變為簡潔的尖肩

設計，向1980年代致敬。她說道 :「 我的靈感來源於第二波女權主義，這

種浪潮席捲了西方時尚界，為渴望在社會中扮演新角色的女性開闢了道

路。」該項目反映了陳美欣自己的歷程：這位設計師曾在巴黎ESMOD高 等時裝設計學院進行學習，童年對芭比娃娃的癡迷使她建立起對時尚的 興趣，但現在她說最希望Grace Jones穿上她設計的時裝。對美欣來說，

可持續性意味著延長衣物使用壽命：「我的目標是盡可能延長服裝的生

I aim to extend a garment s life cycle for as long as possible. 我的 目 標是 盡可能 延 長服 裝的生命週期。

命週期，減少過度消費，重新利用服裝 或紡織品廢料，減緩時尚行業對環境和 道德造成的影響。」每一件作品均具有 多種功能，以延長其使用壽命。「西裝

外套可以變成裹身晚禮裙；帶有可拆卸 袖子和帽子的上衣在任 何季節均可穿

著。」該系列兼備商業性，她表示，「可

持續性無法脫離市場性而獨立運作。」 該系列的命名，除了指系列中所用到的 材料，同時亦對將近30歲仍未結婚而被

標籤的女性作呼應。陳美欣自豪地說： 「現今，然而新時代女性於生活各方面 都能夠獨立自主。」

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DAMINI MITTAI INDIA 印度

A love of the land and of India’s precious cultural heritage inform the designs of finalist Damini Mittai, born in a small town called Palamaner in the Indian state of Andhra Pradesh. “Land is considered sacred in India,” she says. “Every day, the land in front of our houses is washed and decorated with designs called ‘rangavalli’, the name of my collection. The soil from the land, used to make terracotta pottery, has been a source of income to my hometown for centuries.” Aiming to reconnect consumers to these stories, Damini up-cycles waste textiles, including secondhand saris, to create clean-lined, zero-waste pieces.

These are also reversible, allowing versatility in use. Around 40 per cent of construction is handwork, reducing energy consumption in production and adding a unique value to the pieces. For Damini, creating experience, seeding curiosity, seeking familiarity in the unfamiliar and breaking the ceiling of tradition are keys to raising awareness . As both a consumer and a creator, it is essential to design holistic solutions to problems,” she says. “Sustainability is the only ideal and compassionate way of life. Creating awareness amongst consumers is the first step towards sustainability. Consumers have to start looking at clothes not simply as commodities but as items that can negatively impact the environment but that could also change

50

with them over time.” She is not frightened of hard work. “I was told I could never be a designer because I came from a small town”, says Damini, who holds a Post Graduate Diploma in Fashion Design from the Pearl Academy in Delhi. “It affected me more than it should. Now every step in the design process works towards breaking this notion: that dreams and ambitions are limited or dependent on where you come from.”

MEET THE FINALISTS 認識總決賽者

總決賽者 Damini Mittai 出生於印度安德拉邦一個名叫Palamaner的小鎮，

她的設計體現出對土地和印度珍貴文化遺產的熱愛。她說道 :「在印度，

我們認為土地是神聖的。每天，我們都會將屋前的土地清洗乾淨，並以

『rangavalli』藝術形式裝飾，而這正是我參賽系列的名字。以來自土地的 土壤製作的陶器，數百年來，一直是我家鄉的收入來源。」為了使消費者與 這些故事重新聯繫起來，Damini利用了廢棄紡織品如二手紗麗進行升級再

造，以創造出簡潔線條的零廢棄衣物。這些衣物都可以正反兩面穿戴，用

途廣泛。作品中，4成的結構部份以手工製作，以降低生產過程中的能源消

耗，並為作品增加獨特的價值。對Damini 來說，提高環保意識是解決問題

的關鍵。「達到這目標可透過創造經驗、培養好奇心、在不熟悉的事物中

尋求熟悉感、打破傳統的局限等方式。而作為消費者和設計師，針對問題 設計整體解決方案至關重要。」她表示道，「可持續發展是唯一理想和富有

同情心的生活方式。提高消費者意識是邁向可持續發展的第一步。消費者

必須開始關注衣物，不只是把其當成商品，而要明白衣物對環境或會帶來 負面影響，影響亦會隨時間而轉變。」Damini並不害怕付出努力，她說道：

「有人曾說我永遠亦無法成為設計師，因為我來自一個小鎮。」擁有Pearl

Sustainability is the only ideal and compassionate way of life. 可持續發展是唯一理想和富有 同情心的生活方式。

Academy 時裝設計深造文憑的

她補充道 :「這 對我的影響遠 遠

超 過 想像。現在，設計過程中的

每一步都在努力打破這一觀念： 夢想和抱負受限於或者取決於你 來自哪裡。」

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RUNNER-UP PRIZE 優異獎得主

CARINA ROCA PORTELLA SPAIN 西班牙

Activism and the sense of community it inspires provides the kickstart for Carina Roca Portella’s bold, graphic collection named ‘Caution Line’. “I was inspired by the strength and feeling you get when you join together with others for the same cause,” she says. “I wanted this energy in my collection.”

Rallying statements, aimed largely at fast fashion, are printed across garments cut from up-cycled end-of-rolls as well as cut-and-sew waste. Another source of raw materials came from El Celler de Can Roca, twice named the best restaurant in the world, in Carina’s hometown of Girona. “The Roca brothers provided me with table cloths and napkins for the projects,” says Carina, who is studying for her second MA in Styling, Image and Communication at ESDI, Barcelona.

“El Celler de Can Roca wants to be the first truly zero-waste restaurant in the world. I’m pleased to have played a part in their project by giving life to something previously considered obsolete.” Carina engages directly with the wearer of her clothes - through lively care instructions and the inclusion of

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patterns to turn the item into something new. Reminders of the fabrics’ origins are screen printed on linings and labels. “I want to have a voice in the sustainable fashion world and to challenge the fast fashion industry,” says Carina. “I’ve worked in jobs that didn’t care about the planet or society. They left me unfulfilled and unmotivated. That’s why I want to make a statement that is complex and beautiful. I aim to empower others to become conscious consumers and to change the way they perceive sustainability. As fashion designers, we need to raise awareness of what is going on right now and encourage citizens to use their power as consumers.”

I want to make a statement that is complex and beautiful. 我想要表達一個複 雜而美麗的想法。

MEET THE FINALISTS 認識總決賽者

行動主義及社群意識為Carina Roca Portella大膽的圖案系列《Caution Line》提供了靈感。

「我的靈感來自當你和其他人出於同樣的目的團結在一起時所產生的力量和感覺。」她說

道 :「 我希望把這種能量融入到我的系列中。」她對卷軸尾端布料及布料碎屑進行升級再 造，並印上主要針對快時尚的號召字句。另一個原材料來源是位於Carina的家鄉赫羅納的

餐廳El Celler de Can Roca，它曾兩次被評為世界上最好的餐廳。Carina正在巴賽隆納高

等設計學院攻讀造型、形象和傳播碩士課程，這是她的第二個碩士學位。「Roca兄弟為我

的項目提供了桌布和餐巾紙。」 「El Celler de Can Roca希望成為世界上第一間真正零廢棄

的餐廳。我很高興在他們的項目中扮演了一個角色，為以前被認為過時的東西賦予新的生 命。」Carina分享到。另外，她與其設計衣物的穿戴者直接交流－利用生動的護理說明和

圖案，給予穿戴者改造出新衣物的可能性。她亦使用絲網印刷把布料來源的資料印在衣物 的襯裡和標籤上作提醒用途。「我想在可持續時尚的世界裡發出自己的聲音，向快時尚產

業發起挑戰。」Carina說道 「 : 我曾從事過那些不關心地球或社會的工作。該等工作讓我沒

有成就感和動力。這就是為什麼我想要表達一個複雜而美麗的想法。我的目標是讓其他人 成為有意識的消費者，並改變他們對可持續發展的看法。作為時裝設計師，我們需要提高 人們對正在發生事情的認識，並鼓勵公民行使自己作為消費者的權力。」

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ANNA SCHUSTER GERMANY 德國

Ideas of collaboration and connection sit at the heart of Anna Schuster’s thoughtful collection for the Redress Design Award 2019. “‘Anna meets X’ goes beyond trends and aesthetics and focuses on the humans and materials that surround me as a designer,” she explains. “Each outfit is inspired by another discipline - such as watchmaking, crochet and screen-printing - to look beyond mass production techniques.” This outward focus is characteristic of Anna’s work. “I am interested in traditional craftsmanship and also how technology can improve our work process. I love developing interdisciplinary collaborations with the aim of re-using resources and discovering textile techniques and innovative materials.”

Dead-stock, leftover fabrics and yarns and even stained, damaged materials influenced the pattern cutting and colourways of her collection. “Instead of trend analysis, the first step was materials sourcing,” Anna says. “This allowed me to adapt the silhouettes according to zero-waste principles.” The designer has an MA in Fashion Futures from London College of Fashion and is currently working as a Menswear Concept Design Assistant at Hugo Boss. Anna’s aim is to create sophisticated wardrobe essentials that can be worn by both men and women, exchanged with friends and family or resold. Patterns are straightforward, allowing them to be constructed again and again from whatever fabric waste is available. “Fashion has clearly lost

54

its value,” says Anna. “The fashion industry needs to stop overwhelming people with garments. My aim is to bring back an appreciation for crafts and materials into everyday fashion. I want to prove that fashion and nature can work together. We are taking too much from the planet and I want to give back to nature through design thinking and creativity. To act sustainably is not a limitation; it’s an opportunity for innovation.”

MEET THE FINALISTS 認識總決賽者

Anna Schuster 於2019年度「Redress設計大賽」的參賽作品是一個考慮周到的系列，

以合作與聯繫的概念為核心理念。「《Anna meets X》系列超越潮流與美學，作為設計

師，我的焦點放在環繞身邊的人與物料。」她解釋道，「每套服裝都受到其他工藝學科 的啟發，例如製錶業、鉤織技術和絲網印刷等，目光不只局限於大量生產技術。」對跨

行業的關注是 Anna作品的一大特點：「我對傳統工藝很感興趣，但同時亦探索技術如

何改善工作過程。我熱衷於跨學科合作，希望能夠做到重新利用、探索紡織技術和新 材料。」滯銷庫存、剩餘布料與紗線，甚至有污漕或破損的材料，都影響著她作品中的 紙樣剪裁和配色。「第一步不是分析潮流趨勢，而是要篩選材料」，Anna說道 「 : 這使我

能夠根據零廢棄原則調整衣服的廓形。」Anna擁有倫敦時裝學院時尚未來專業的碩士

學位，目前在Hugo Boss當男裝概念設計實習生。她的目標是設計出有質感的衣櫥必需 品，男女都可以穿戴，亦可與朋友和家人交換穿 戴或者重新出售。樣式簡單的設計，容許每當有 布料廢棄時，可以進行重新構造「時尚顯然已失 去其價值」Anna 說道，「時尚產業需要阻止過度

消費和鋪張浪費。我的目標是希望人們懂得欣賞 手工藝和材料，讓其回歸到日常的時尚中。我想

要證明時尚和自然並不衝突。我們從這個地球上 索取太多了，我希望能夠透過設計理念和創新回

饋大自然。可持續設計給予我們的不是各種局限 性，而是一次革新的機會。」

To act sustainably is not a limitation, it s an opportunity for innovation. 可持續設計給予我們的不 是各種局限性，而是一次革新 的機會。

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NATALIE TZUR ISRAEL 以色列

For her Redress Design Award collection ‘Unireform’, Natalie Tzur taps into a plentiful but under-utilised textile source: uniform waste. Inspiration came from the iconic Ata Textile Company which clothed Israel’s workers and soldiers. “The company was active between 1934 and 1985 and was the largest of its kind in Israel,” says Natalie, who is studying Fashion Sustainability at the Shenkar College of Engineering and Design. “I wanted to find out more about the factory’s activity and its production processes.” What she discovered was waste on an industrial scale. “All over the world, masses of work clothes are thrown out.

I wanted to give uniforms longer life cycles by turning them into new garments.” A flowing coat, kilt and high-collared tailored shirt are inspired by silhouettes from the past and each retains unique features from the original uniforms they are cut from. “I used lining to make the nylon coat and reflective fabric to highlight. Details are what distinguish us from the rest and make us unique.” There will be no shortage of

56

fabrics for her collections. “Because of the sheer amount of work clothes thrown away every day, there is an endless supply of raw materials,” says the designer. “My strategy would be to gather the excess from around the world and turn them into innovative, fashionable clothes. Fast fashion has serious implications for this world and one of the reasons for this is that we no longer value the clothes we own. I try to re-create value so that we will keep our clothes longer. Being a sustainable designer means changing the way people think about the world and about making the world a better place to live in.”

MEET THE FINALISTS 認識總決賽者

Natalie Tzur 在其「Redress設計大賽」參賽系

而賦予制服更長的使用壽命。」寬鬆的外套、

用的廢棄制服。其靈感來自標誌性的 Ata 紡織

的廓形——每一件都保留了原始制服的獨特優

列《Unireform》中，運用了大量未得到充分利 品公司，這間公司為以色列工人和士兵提供服

裝。Natalie正在以色列申卡爾工程與設計學院 學習時裝的可持續發展，她說道 :「 該公司在

1934年至1985年期間一直非常活躍，是以色列

同類公司中規模最大的一間。我想瞭解更多關

於工廠活動及其生產過程的資訊。」結果她發 現了工業規模的浪費。「在世界各地，大量的工 作服被扔掉。我希望將制服變成新的服裝，從

蘇格蘭摺裙和高領 定制襯衫的靈感來自過去 點。「我使用襯裡來製作尼龍外套，並採用反 光面料作突出用途。細節使我們脫穎而出、與 眾不同。」她的系列不會出現面料不足的情況，

她表示 「 : 由於每天有大量的工作服被扔掉，因 此我們擁有無限供應的原材料。」她繼續說道 :

「我的策略是從世界各地收集多餘的服裝，並 把它們變成創新、時尚的服裝。快時尚已經對

這個世界產生嚴重影響。其中一個原因是我們

I try to re-create value so that we will keep our clothes longer. 我嘗試重新創造價值，這樣我們會 將自己擁有的服裝保存得更長久。

不再重視自己擁有的服裝。我嘗 試重新創造價值，這樣我們會將 自己擁有的服裝保存得更長久。

成為一名可持續發展設計師意味 著改變人們對世界的看法，讓世 界變得更加美好。」

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PHOTO CREDIT Caroline Hughes

First Prize Winner

第一名獎項得主

MADDIE WILLIAMS UNITED KINGDOM 英國

Ecological breakdown lies at the heart of Maddie Williams’ powerful competition collection, ‘The Mourners’. “My designs represent the eco-grief we are collectively feeling at the devastation of the planet,” says the designer, who holds a BA in Fashion Design from Edinburgh College of Art. “They also act as a warning. Memento mori symbolism - the medieval Latin Christian theory and practice of reflection on mortality - is embedded within the textile and print designs to remind us that time is running out.” Fittingly, Willliams draws inspiration from death gods and rituals, as well as witches burnt at the stake for their links with the natural world, to inform the silhouettes and rich colours of the collection, which was built from reclaimed materials. “Clothing that would otherwise have gone to rag men or ended up in landfill was dismantled and reworked into new garments,” says Maddie, who previously interned at Vivienne Westwood. Screen printing with water soluble inks, as well as handwoven textural effects contribute to garments that are intricate, dramatic and surprisingly joyous. “Through my work, I try to show that conscious fashion does not have to play it safe and be minimal, but that it can also excite and tell stories.” To keep the collection as low impact as possible, materials are sourced in England and

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recyclability is carefully considered. “I will only use cloth of the same fibre content within each garment, which means they can be more easily recycled back into a pure yarn for re-use,” says Maddie. The ability of fashion to communicate big ideas is vital to her concepts. “Fashion can be a more accessible, democratic medium than academic papers and books for disseminating ideas because of its visual, tactile nature. We need to change the industry drastically - and now.”

MEET THE FINALISTS 認識總決賽者

生態破壞是Maddie Williams具有影響力的參賽系列《The Mourners》的核心價值。

Maddie擁有愛丁堡藝術學院時裝設計學士學位，她說道 :「 我的設計表達了我們對於地

球毀壞的集體哀嚎。」 「該作品亦可起警示作用。將『勿忘你終須一死』的象徵意義——中

世紀西方基督教對必死性之反思的理論及實踐——嵌入紡織品和印花設計中，以提醒我

們所剩時間已經不多。」準確來說，Williams 的靈感來自死神和儀式，以及因與自然世界 聯繫而被燒死在火刑柱上的女巫，為這個使用回收材料創造的系列提供了廓形和豐富的

色彩。Maddie之前曾在Vivienne Westwood品牌實習，她說道 「 : 那些原本會被收垃圾的

人撿走或填埋在垃圾堆裡的衣服，將被拆解並重新加工成新的服裝。」使用水溶性油墨在

畫室進行絲網印刷，以及手工編織的紋理效果有助於製作複雜、引人注目且令人驚喜的服 裝。「透過我的作品，我試圖表明，可持續時尚並不代受到限制及從簡，同樣亦可激動人心

I try to show that conscious fashion does not have to play it safe and be minimal. 我試圖表明，可持續時尚並 不代表受到限制及從簡。

和講述故事。」為了盡可能降低該系列的影 響，其材料來源於英國，並且仔細考量其可

回收性。Maddie 說道 :「 我只會在每件衣服

裡使用含有相同纖維的布料，這意味著它們 更容易回收成為純紡紗線，以便進行重複利

用。」以時尚傳遞重要想法的能力，對Mad-

die設計概念來說很關鍵，「因其具有視覺、

觸覺特性，時尚可以是一種比學術論文和書 籍更容易獲得、更民主的思想傳播媒介。我 們需要徹底改變這個行業——就是現在。」

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We believe, do you?

S u s t a i n a b i l i t y

www.talapparel.com

T h e

A r t

o f

I n n o v a t i o n

Throughout the competition cycle, Redress creates an exciting, in-depth learning journey for emerging designers, inspiring and enabling them to positively contribute to a circular economy for fashion. 在整個比賽階段，Redress 為新興設計師創造了一個刺激、豐富多彩的學習之 旅，並旨在啟發他們，使他們能夠積極地為時裝界的循環經濟做出貢獻。

Educating designers

教育新晉設計師

ROAD TO THE FINAL

800+

Redress gave 26 lectures and workshops about the careerchanging opportunities gained from joining the competition, to DESIGNERS reach around 700 students. A 設計師 further 5,000+ visited the online LEARN platform during the open application process while another 100 students came to attend Redress’ two academies in the UK and in Hong Kong.

R e d r e s s 舉 辦 了 2 6 埸 講 座 和 工作 坊，分 享 參 加 「Redress 設計大賽」所帶來改轉事業的機會予700 名學生。另外，於比賽公開申請期間，Redress 學習平 台共錄得多於5000次瀏覽人次。還有過百名學生參加 分別位於英國和香港舉行的 Redress時尚學院。

SCOUTING FOR TALENT

人才選拔

45

For the ninth cycle of the competition, Redress received applications from 45 regions and six continents. Entries from Mainland China made up a quarter of regionS applications. Thirty semi-finalists and then 地區 ten finalists - two from Hong Kong - were chosen by our judges. For the first time in the competition’s history, menswear was included alongside unisex and womenswear. 在第九屆比賽中，Redress 收到來自45 個地 區和六大洲的申請。其中來自中國內地的申 請者佔四分之一。我們先選出 30 名準決賽 者，然後再選出十名總決賽者，當中有兩名 是來自香港。我們打破歷史，除女裝和中性 服裝外，首次允許男裝參賽。

總決賽倒數

Inspiring change in education

推動教育改革

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INSTITUTION PARTNERS 支持教育機構

The 2019 cycle opened with the support of 121 academic institutions and 16 supporting organisations worldwide.

We also engaged with 55 educators via three teacher training sessions in Hong Kong, Mainland China and the UK. To increase the focus on circular design strategies, applicants were asked additional questions about low-impact materials and processes, low waste, longevity and recyclability.

2019 年度「Redress設計大賽」在全 球 121個學術機構和16個合作機構的

支持下展開。我們亦透過在香港、中 國內地 和英國舉辦的三次教育工作 者工作坊，與 55 名教育工作 者進行 交流。為讓大家更專注於循環設計策 略，參賽者被問及到有關低環境影響 物料及生產過程、低廢棄、衣物壽命 和可循環性問題。

realising designs

11

The finalists had just over 11 weeks to develop their five-piece collections, focusing on the transformation of different waste streams - including WEEKs 週 a surprise selection of Eastman Naia™ sustainable surplus fabrics using one or more techniques of zero-waste, up-cycling and reconstruction. Additional marks were awarded for finalists’ depth of knowledge and demonstration of sustainable design strategies. 總決賽者花了逾 11 週的時間來製作他們一共五 套的時裝設計系列。他們主要運用一種或多種 零廢棄、升級再造和重新構造設計技巧，以對 不同廢物流進行改造，讓人驚喜的是 Eastman

Naia™的可持續盈餘織品也在其中。總決賽者對

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可持續設計策略的了解及展示能有助獲得額外 分數。

ROAD TO THE FINAL 總決賽倒數

BUILDING PORTFOLIOS 建立個人作品集 From a combined distance of 68,000km the six womenswear, two menswear and two unisex collections that feature in this year’s competition were transported to Hong Kong, courtesy of logistics partner UPS, to appear in our magazine photoshoot.

68,000 KILOMETERS 公里

總決賽者的作品，包括六個女裝系列、 兩 個 男裝 系列 以 及 兩 個 中 性 時 裝 系 列，在物流夥伴UPS的協助下，橫跨了 68,000公里，抵達香港並進行了時裝 拍攝。

HONG KONG 香港

10

Finalists spent ten days in Hong Kong engaged in stimulating workshops and challenges to explore multiple areas of the supply chain, from fabric sourcing to design days 天 and manufacturing, with industry leaders VF Corp, TAL Group and The Mills, whilst being encouraged to take inspiration from Hong Kong’s heritage to create change for a sustainable future. Finalists also attended Fashion Summit, model fittings, rehearsals and the all-important pre-judging event. During this busy itinerary, our designers sought haven in the luxury of The Kerry Hotel. 總決賽者在香港的十天，參與了具啟發性的工作坊和設計挑戰， 探索供應鏈的多個領域，由面料採購到設計及生產。以及與領先 業界集團威富集團、聯業集團和南豐紗廠一起進行設計製造，鼓 勵設計師 從香港 遺 產中汲取 靈 感，為可持續的未來創造變革。 他們還出席了「香港時尚峰會」 、模特兒試穿、彩排和重要的評 委預審。在計劃滿滿的行程中， 我們的設計師將入住奢華的嘉里 酒店。

granD final 總決賽時裝表演 continuing impact

延續影響

250K+

Once again, the Frontline Fashion team will capture the finalists’ experiences through engaging video CONSUMERS 消費者 content. The series, along with the traveling exhibition which will take part in the Eastman Naia™ showcase at Premiere Vision Paris, amongst others, will broadcast the finalists’ work to consumer and industry audiences around the world. Last year, Frontline Fashion 3 attracted over a quarter of a million views.

Working in collaboration with JNBY Group, the winner will develop a sustainable fashion collection for release in 2020. 《時尚先峰 Frontline Fashion 》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。本次影片更會以 將巡 迴 影展 方 式 展 出，將 於 法 國 巴 黎

1,000+ LIVE AUDIENCE 直播觀眾

The Redress Design Award 2019 Grand Final took place at HKTDC’s CENTRESTAGE on 5 September to a 1,000 strong international fashion audience, and livestreamed worldwide to thousands more. Over 50 sustainable outfits appeared on the runway, including designs from competition Alumni, before the winners were announced. 「 Redress 設計大賽」總決賽 於 9 月 5 日在香港貿發局主辦

的「CENTRESTAGE時裝週」 舉行，向逾千名現場和數千名 欣賞網上直播的國際時裝觀眾 展示。在宣佈獲獎者名單前， 將有50 多套可持續服裝在時 裝天橋上亮相，其中包括歷屆 參賽者的設計。

Premiere Visio舉行的 Eastman Naia™ 展會和其他

地 區 展 出。去年，《 時尚先 峰 Frontline Fashion》系列

吸引了逾 25萬的觀眾。今年 第一名獎項得主將與江南布 衣集團合作開發一個可持續 時裝設計系列，並於2020年 發佈。

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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 look for qualities of creativity, originality, sustainability and market viability in the participants work. 「Redress 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、可持續性、市場認受性等特質。

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

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

TARA ST JAMES | Founder of Study NY Study NY 創辦人

QUEENNIE YANG | BOF CHINA EDITORIAL DIRECTOR OF THE BUSINESS OF FASHION AND FORMER EDITORIAL DIRECTOR OF ASIA AT VoGUE INTERNATIONAL 《Vogue時尚國際》編輯 (亞洲)

“

It’s been incredibly inspiring to return as a judge this year. The depth of thought, and breadth of creativity, applied by these talented young designers to dreaming up circular fashion design solutions has really impressed me. 今年能夠再次擔任評委，令我感到非常鼓舞。這

方案時所運用的思維深度和創意廣度，給我留

- CLARE PRESS

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It has been very exciting to see talented young designers in the competition living and breathing sustainability. Their designs show creative flair and innovative thinking built on a strong foundation of sustainability.

”

些才華橫溢的年輕設計師在實現循環時尚設計 下了非常深刻的印象。

“

Ruth Farrell | Global Marketing Director OF Textiles Eastman | 伊士曼全球紡織品營銷總監

CLARE PRESS | Podcaster & Sustainability Editorat-Large OF Vogue Australia 播客主持及《Vogue》澳洲版可持續議題特約編輯

”

很高興看到有才華的年輕設計師參加本次比賽，並為可持續發

展努力。其的設計以可持續發展為堅實基礎，展現了創造力和 創新思維。

- RUTH FARRELL

“

“

Lin Li | Executive Director and Chief Creative Officer OF JNBY GROUP 李琳 | 江南布衣集團執行董事兼首席創意官

MEET THE JUDGES 評審委員 My absolutely favourite competition in the world! These emerging designers are offering us their views on the world we are leaving them, dictated by need and imagination instead of greed and exploitation. We need them more and more. Their design opinions are steeped in today’s problems with creativity as their solution.

”

這絕對是我最喜歡的比賽！新興設計師向們我們展示他們對這個世界的看法。這

些看法是由需求和想像力所推動，而非由貪婪和剝削所主導。我們愈來愈需要他 們。其設計理念融合了現今議題，而創意正是他們的解決方案。

- ORSOLA DE CASTRO

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

“

Janko Lam | Design Director & Founder of Classics Anew 林春菊 | 新裝如初 Classics Anew 設計總監及創辦人

As First Prize winner of the very first Redress Design Award in 2011, judging brings back positive memories. I am overwhelmed by the sense of passion and mission from the finalists.

They remind me of why I started as a fashion designer. 作為首屆「Redress設計大賽」的第一名，評審

”

工作讓我憶起昔日美好的回憶。我被參賽者

的熱情和使命感所折服。他們讓我想起選擇 成為時裝設計師的因由。

- JANKO LAM

MAGDALENA SCHAFFRIN | CEO and Co-Founder, Kaleidoscope Berlin | Kaleidoscope Berlin 行政 總裁及聯合創辦人

“ TILLMANN LAUTERBACH | Creative Director OF REVERB (JNBY GROUP) | REVERB 創意總監（江南布衣集團）

ROGER LEE | CEO OF TAL GROUP 李國權 | 聯業集團行政總裁

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

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FIRST PRIZE 第一名獎項

The Winner will join a team of fashion leaders in creating a contemporary sustainable collection for a JNBY Group brand, which will retail in JNBY Group stores around the world and online. The winner will work with a JNBY Group design team in Hangzhou, China for up to three months. During this time, they will gain experience in fabric sourcing, design and product development, as well as all aspects of building a collection, with mentorship from experts in fashion, business and sustainability. 第一名獎項得主將加入時尚領導 者的團隊，為江南布衣集團品牌 創造一個既時尚且可持續的時裝 系列。該系列將在江南布衣集團 的全球門店和網上進行零售。第 一名獎項得主將與江南布衣集團 在中國杭州的設計團隊合作長達 三個月。在此期間，他/她將在時 裝、商業和可持續發展專家的指 導下，獲得織品採購、設計和產 品開發並建立一個時裝設計系列 等所有方面的經驗。

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PRIZES 本屆獎項

PEOPLE’S CHOICE 人氣大獎

RUNNER-UP PRIZE 優異獎

The Runner-Up 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 emerging designers through to established brands. This opportunity, delivered over a six month period by video and email, will give the winner targeted support through the next steps in their career in sustainable design, preparing them, their vision and their collections for the competitive world of fashion. 優 異 獎得主 將 獲 得 一 個 為他 / 她 量 身打造的啟 導計劃。計劃由著 名可持續時裝設計師及比賽評審 Orsola de Castro負責。她培育過 無 數在可持 續時 裝界的精英，從 早期設計，到成立自己的品牌，給 予很多意見。這個為期六個月的啟 導計劃將以視頻和電郵形式進行， 為得獎者在可持續時裝設計的職 業發展上，提供針對性支援，讓他 們為自己、願景以及打入具競爭性 的市場做好準備。

HONG KONG BEST PRIZE 最傑出香港奬項

The Hong Kong Best Prize is an award for the highest scoring applicant from Hong Kong, recognising the imagination and achievements of an emerging voice in Redress’ home city. This year, the winner of the prize will receive a customised mentoring programme from fashion and lifestyle incubation platform azalvo, as well as use of azalvo’s innovative co-creative working space and technical appliances to develop their collection. Also included in the prize - a JUKI highperformance lockstitch sewing machine. 最傑出香港獎項是頒發給得分最 高的香港申請者，以表彰新興設計 師在Redress發源地所發揮的想像 力和成就。得獎者將於今年獲得來 自時尚及生活培育平台azalvo的定

制啟導計劃，以及利用azalvo的創新 共創工作空間和技術設備來開發他 們的時裝設計系列。獎項還包括一 台 JUKI 高性能平縫縫紉機 。

The Redress Design Award 2019 People’s Choice Winner collects thousands of votes, cast over four weeks from across the globe, and awards the prize to the young designer who has outshone the 29 semi-finalists in the public’s imagination. This year, the winner is Israeli designer, Moriah Ardila.

As well as promotion across Redress’ social networks, Moriah will receive a JUKI overlock sewing machine and a copy of Bloomsbury’s ‘Sustainability and Social Change in Fashion’ by Leslie Davis Burns.

2019年度「 Redress 設計大賽」 人 氣 大 獎得主在四 週 的 投 票 期 內 獲 得 全 球 數 千 張 選 票。獎 項 是 頒 發 給 於3 0 名準決 賽 者 中最 令 公 眾 青 睞 的 年 輕 設 計 師。本 年 度 獎 項 得主 是 以色列 設計 師 Moriah Ardila。她不僅在Redress 社 交 平 台 上 獲 得 宣 傳，亦 將 得 到一台J UKI包縫 機 和由L eslie Davis Burns撰寫、Bloomsbury出 版的《 Sustainability and Social Change in Fashion》一書。

ALUMNI PRIZES – THE MILLS & COMMON OBJECTIVE 歷屆參賽者獎項 - 與

THE MILLS和 COMMON

ALUMNI PRIZE WITH VANCOUVER FASHION WEEK AND MERCEDESBENZ 2019年度「Redress 設計大賽」

OBJECTIVE 獎項

ALL 2019 FINALISTS 2019年度總決賽者

The journey for competition finalists stretches well beyond the Grand Final. After the event, all designers will present their sustainable collections at HKTDC’s CENTRESTAGE. They will also receive a 12-month Pro membership to the Common Objective CO platform, providing them with access to premium intelligence and learning; a subscription to Bloomsbury’s online portal, the Berg Fashion L i b r a r y ; a n d a t wo-h o u r mentorship with a sustainable fashion expert who matches their own area of expertise. 總決 賽 者的 旅 程在 總決 賽 後再 度 展開。所有總決 賽 者將 在香港 貿易發展 局舉 辦的香港 時 裝 週 CENTRESTAGE 展示其可持續 時 裝設計系列。他們亦將獲得為 期 12 個月的 Common Objective 平台 Pro 會籍，以瀏覽高級智能平 台和學習平台。另外，他們亦獲得 由 Bloomsbury 網上平台 The Berg Fashion Library 提供的訂閱會籍, 以及由一位與其專業領域相符的 可持續時裝專家所提供的兩小時 指導。

The Alumni Prizes incorporate two opportunities. The first is a 12-month Showcase membership to the Common Objective CO platform, which supports the fashion industry to do business better. Through CO, the winner will have the benefit of a premium business profile, enabling them to showcase their work and make industry connections. The other prize is a one-month trial at The Mills Fabrica’s co-working hot desk space and use of Fabrica Lab. 歷屆參賽者獎項包兩個得獎機會。 第一個是由Common Objective平 台提供，為期12個月的 Showcase 會籍。該機構致力於令時裝界的業 務有更好發展。得獎者可從此優質 的業務平台中得益，不僅可展示個 人作品集，還能與業界建立網絡。 另一 個是在南豐作坊的共用辦公 空間進行為期一 個月的試用並獲 准使用南豐作坊Lab。

NJAL (Not Just A Label)– SUBSCRIPTIONS TO BUILD CAREERS NJAL(Not Just A Label) — 訂閱 文章，建立職業生涯

Six Redress Design Award 2019 Alumni will be awarded with NJAL+ Memberships, giving them the chance to connect their online stores with their NJAL profiles, leveraging The Shop on NJAL to drive sales, as well as exclusive access to a global selection of design competitions, collaboration opportunities and events, for six months. Free subscriptions to Women’s Wear Daily, shipping discounts, savings on Apple products and exclusive packages to trade shows make up an effective designer tool-kit.

2019 年度「Redress設計大賽」歷 屆參賽者將成為 NJAL+會員，為

期六個月。這使他們有機會將個人 線上商店與他們在NJAL 的個人資 料相連。利用NJAL的The Shop推 動銷售，並有機會獨家參與全球精 選的設計 大 賽和活動，以 及獲 得 獨家合作機會。《Women’s Wear Daily》的免費訂閱、運費折扣、蘋 果產品折扣以及套裝組合，這一切 均構成有效的設計師工具包。

歷屆參賽者與溫哥華時裝週和 梅賽德斯 - 賓士 (MercedesBenz) 合作獎項

This Alumni prize winner receives the opportunity to showcase their sustainable designs on the runway at Vancouver Fashion Week, the second largest fashion week in North America. This opportunity will create exposure for the winner by reaching an international fashion audience, including buyers, media and influencers. Alumni Pat Guzik showed in March for FW2019.

The following opportunity, with a paid trip supported by Mercedes-Benz, takes place in October for SS 2020. 此 歷 屆參 賽 者 獎 項 得主 將 有 機 會在北美第二大時裝週 —「 溫 哥華時裝週」展出其可持續時裝 設計系列。這個機會將透過與國 際時尚觀眾接觸，包括買家、媒 體和有影響力人士，為得獎者創 造曝光的機會。歷屆參 賽者 Pat Guzik 參加了三月份的「溫哥華 2019 秋/冬時裝週」。 今年得獎 者將獲得由梅賽德斯 - 賓士提供 的旅 費下，參加十月份的「溫哥 華 2020 春/夏時裝週」。

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THE KIDS ARE ALRIGHT

孩子們都很好

Greta Thunberg

Author | Bel Jacobs is a seasoned fashion editor with a passion for sustainability 撰文 |Bel Jacobs是一位經驗豐富的時裝設計師，對可持續發展充滿熱情

PHOTO CREDIT Anders Hellberg

A few years ago, fashion buyers were treating sustainability as another trend, rather like tailored denim and tropical florals.

It was as if, after two or three seasons, they didn’t believe consumers would care about the planet. They couldn’t have been more wrong. As the world wakes up to the environmental challenges we face, it’s quite clear that ‘sustainability’ is here to stay.

In March 2019, inspired by Greta’s words, students in more than 100 countries took part in the first ever global school strike - ‘Fridays for Future’. Arguably, none of this would have been possible without social media. More than 2,000 separate events, involving over 1.4 million young people, were co-ordinated by volunteers, largely over the internet.

Generation Z has woken up and they are demanding better.

What changed? Quite a lot. For the past two years, barely a week has gone by without news of another part of the planet suffering under the weight of the human footprint. In 2018, the UN Intergovernmental Panel on Climate Change (IPCC) called for urgent changes to keep global warming to a maximum of 1.5°C, after which even half a degree would worsen risks for millions of people.

From the developing nations of India and Uganda to the Philippines and Nepal - countries already struggling with the impacts of climate change - tens of thousands of students demanded that the political elite change their ways and address the climate emergency.

Communities of ordinary people around the world have started to take action through protests both off and online.

In these urgent times, by far the most powerful voices have been those of students, those who are too young to have contributed to the climate emergency but who also look set to bear the brunt of its worst effects.

For those in the fashion community, the call has been particularly urgent. Fashion may be fabulous but, in its current model, it is destroying the planet. Apparel is responsible for around 10 per cent of global greenhouse gas emissions but its impact doesn’t end there. By its very nature, fashion affects literally everything - from land and water use, pollution and deforestation, to oceans of microfibres.

For many, their inspiration is Swedish school girl, Greta Thunberg. In August 2018, she decided not to go to school one day, starting a strike for the climate outside the Swedish Parliament. Her actions have sparked a global movement, winning her the prestigious Prix Liberte as well as a Nobel Peace Prize nomination.

Massive labour rights abuses also plague the industry. Factory owners and managers have been known to fire pregnant workers; deny maternity leave; retaliate against workers who join or form unions and turn a blind eye when male managers or workers sexually harass female workers. Meanwhile, over one hundred million animals are bred and killed for fur each year, while a further billion are killed for leather.

Greta has a way with words. Few can forget her searing speech to the UN Climate Change conference in 2018: “You are not mature enough to tell it like it is. Even that burden you leave to your children. But I don’t care about being popular. I care about climate justice and the living planet. Our biosphere is being sacrificed so that rich people in countries like mine can live in luxury.”

Overconsumption is matched by waste. Worldwide, fewer than one per cent of garments are recycled into new clothing, and only 20 per cent of textiles are recycled at all. And it looks set to get worse. In 2015, it was estimated that global clothing production had more than doubled over 15 years. Global consumption of clothing and footwear is expected to increase by 63 per cent by 2030.

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The system is broken and it needs rebuilding. If there is anything the school strikers are calling for, it is a cessation of business as usual. And what will take the place of mainstream fashion? A bold new industry where technology makes swapping and renting mainstream and accessible to all, where repair and up-cycling are recognised as exciting ways to personalise garments, where secondhand sits alongside new in our retail spaces, and where the entire fashion industry works with care for people, animals and planet.

The future will be an industry where millennials - using social media no doubt - will continue to push for the world they want to see. And it will be an industry in which discarded textile scraps and unwanted clothing are no longer regarded as ‘waste’ but instead as precious raw materials from which new and creative possibilities can emerge. The solutions, as the finalists for the Redress Design Award demonstrate again and again, are already here for the taking.

PHOTO CREDIT Markus Spiske on Unsplash

幾年前，時裝買手將可持續發展視為另一種潮流趨勢，一如定制牛仔布 和熱帶花卉。他們似乎不相信兩至三季之後，消費者還會關心這個地球。

但他們真是大錯特錯。隨著世界逐漸意識到我們所面臨的環境挑戰，「可

於此。從本質上講，時裝影響無遠弗界，包括土地和水的使用、污染和森 林砍伐、到產生大量微纖維。

持續發展」顯然已變得歷久不衰。

大量犯勞工權益的行為亦困擾業界。眾所周知，工廠老闆和管理層會解雇

什麼改變了？答案是許多方面。過去兩年，因人類活動帶來的壓力致地

或工人對女員工做出性騷擾時而視而不見。與此同時，為獲取毛皮，不僅

球某處環境每況愈下的新聞，幾乎無日無之。2018年，聯合國政府間氣

候變化專門委員會（UN Intergovernmental Panel on Climate Change ,

IPCC）呼籲採取緊急措施，將全球暖化控制在攝氏1.5度以內，否則即使

只是提高攝氏0.5度，亦會令數以百萬計人面臨更大的危機。

懷孕工人；拒讓她們放產假；報復參加或組建工會的工人；當男管理人員 飼養和宰殺逾億隻動物，另外為了皮革也再殺數以十億隻動物。

過度消費與廢棄相伴而生。全球只有不到 1%的服裝被回收再造成新衣，

僅 20%的紡織品被回收利用。而情況似乎會變得更壞。2015 年，全球服 裝產量估計在過去15年增長了一倍以上。全球服裝和鞋類消費量，估計到

世界各地民間組織已在虛擬及現實世界展開行動。此等危急關頭，暫時

2030年將增長63%。

偏卻是注定承受一切最壞結果的一群。

這個系統已經崩潰，需要重建。若說罷課者有什麼請求，那就是停止若無

瑞典女學生格蕾塔·桑伯格（ Greta Thunberg ）無疑為年輕人帶來啟

交換和租賃成為主流，人人可用, 而修補和升級再造亦被視為令人振奮、

最有力的聲音來自學生。要為危急氣候問題出力，他們無疑太過年輕，偏

示。2018 年 8月某日，她決定罷課，就氣候問題到瑞典國會外抗議。她的 行為引爆一場全球運動，為她帶來自由獎（Prix Liberte）殊榮，並獲諾貝

爾和平獎提名。

她有獨特的說話技巧。在 2018 年聯合國氣候變化會議上，她的霸氣演講

令人難以忘記。她說：「你們還不夠成熟，以致不能實話實說，甚至把重 擔留給你們的下一代。 我不在乎是否會出名，我關心的是『氣候公義』及 我所居住的地球。我們的生物圈正被犧牲，以讓像我國這樣國家的富人， 可享奢華生活。」

其事。那麼，什麼將取代主流時尚？這是個大膽的新興行業，不僅技術使 為衣物增添個性的方法。另外二手物品也成為零售買賣首選，整個時尚行 業都努力愛護人類、動物和地球。

毫無疑問，使用社交媒體的千禧一代將繼續推動這個行業的發展，以實 現他們想要看到的世界。在這個行業中，被棄置的紡織品碎屑和不需要的 衣物不再被視為垃圾，而是珍貴的原料，將新穎及具創意的可能性從中 展現。就像「Redress 設計大賽」總決賽者一再展示的那樣，解決方案一 直都在，只待被採納。我們能否及時採納則是另一問題。

2019年3月，來自逾百國家的學生因受桑柏格演講所啟發，同樣參與了史

上首次、名為「周五為未來」的全球罷課。當然，如果沒有社交媒體，這一

切不可能發生。由義工透過互聯網組織的逾 2000場活動，則有超過140 萬年輕人參與。Z世代已經覺醒，他們並不滿足。

可以說，互聯網令這場運動得以到達最需要它的地方，由印度、烏干達、 菲律賓到尼泊爾等發展中國家，他們正於氣候變化帶來的衝擊中掙扎，成 千上萬學生要求政治精英改變他們的方式，解決氣候危機。

對於時尚圈中人來說，有關呼聲更為迫切。時裝也許光鮮亮麗，但按目前 模式，則正摧毀地球。服裝業約佔全球溫室氣體排放量的 10%，影響不止

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Greta Thunberg

PHOTO CREDIT Extinction Rebellion Sverige

THE FUTURE OF SUSTAINABLE FIBRES 可持續纖維的未來

Photo credit : Redress, behind the scenes

Designed by Redress Design Award 2019 finalist Keith Chan

An exciting new element of the Redress Design Award is the introduction of Eastman Naia™ as the Gold Sponsor of the 2019 competition.

Sustainably sourced Naia™ cellulosic yarn is the latest in a line of pioneering eco-fabrics by the US-based company, which has been at the forefront of advanced materials and cellulosic yarn innovation since the 1920s.

impact than generic modal, triacetate, and viscose. In developing the yarn, Eastman considers the entire life cycle, from responsible sourcing to end-of-life disposal. Naia™ is certified as biodegradable in fresh water and soil, having received the OK biodegradable WATER, OK biodegradable SOIL, and OK compost INDUSTRIAL conformity marks from TÜV AUSTRIA.

All finalists in this year’s competition were invited to incorporate Naia™ into their designs, allowing them to experience the fabric’s versatility.

The yarn has almost unlimited possibilities for texture and style, making it suitable for use across several sectors of the fashion industry – from womenswear to intimate apparel and even linings. Not surprisingly, these qualities mean that it has already been scooped up by clothing brands ranging from luxury to lifestyle labels.

Redress’ Founder, Christina Dean, is clear on the value of such fibre innovations. “There is an innovation race to find more sustainable fibres for fashion,” she says. “Breakthroughs like Naia™ enable designers to strategically design for the circular fashion system, by providing lowimpact materials with low-impact processing that are durable and easy to care for.”

Due to the hypoallergenic nature of the fibre, fabrics made with Naia™ yarn are skin-friendly and comfortable for even the most sensitive skin.

Inherent quick-drying and cool-to-touch properties mean that Naia™ keeps wearers feeling cool and dry. Couple that with silky textures, the potential for rich colour and the capacity to be blended with other fibres to create fabrics with a range of purposes and the material wins a place in any future fashion design.

At the same time, bio-based Naia™ offers a wealth of environmental positives. Made from fully traceable, sustainably-sourced wood pulp, it offers full transparency from tree to yarn. A safe, closed-loop process ensures that solvents are recycled back into the system for re-use. This translates into substantially lower-impact manufacturing. Listed on the Higg Materials Sustainability Index, Naia™ has a smaller environmental 72

Eastman Naia’s™ partnership and the participation of Ruth Farrell, Global Marketing Director of Textiles of Eastman, as a judge of the Redress Design Award 2019, highlight the fact that efforts to imaginatively re-use waste materials in the fashion industry must go hand-in-hand with innovation and the widespread adoption of sustainable raw materials.

“Sustainability know-how in fashion must extend from fibre to fashionista”, notes Christina. “Through the Redress Design Award and our partnership with Eastman, we can truly educate the next generation of designers to catalyse circular change.”

THE FUTURE OF SUSTAINABLE FABRICS 可持續織物的未來

今年的「Redress設計大賽」有一個令人興奮的新元素，即伊士曼Naia™ 成為本屆大賽的金贊助品牌。自20年代以來，伊士曼這家總部位於美國

的公司一直處於先進材料和纖維素紗線創新的前沿，而可持續性佳的

Naia™纖維素紗線是其首創的生態織物系列中的最新產品。

本屆大賽的所有總決賽者都接受了這個設計挑戰，將Naia™融入其設計

之中，從而體驗到了織物的多功能性。Naia™ 纖維素紗線在質地和風格

身都對環境影響小的材料，能夠使設計師為循環時裝系統進行戰略性 設計。」

伊士曼Naia™與「Redress設計大賽」的合作表明，時裝行業創造性地再

利用廢棄材料的努力，必須與創新和可持續原材料的廣泛採用攜手並 進。

上有著無限的可能性，適用於從女裝到貼身衣物甚至到內襯等時裝行業

丁潔絲（Christina Dean）指出:「時尚界的可持續發展技術必須從纖維

品牌到生活方式品牌等各服裝品牌的搶手貨。

真正教育下一代設計師促進循環變革。」

的多個領域。不足為奇，這些優越品質令Naia™ 纖維素紗線成為從奢侈

延伸到時尚。透過『Redress設計大賽』與伊士曼的合作發展，我們可以

由於纖維具有低過敏性，因此由 Naia™ 紗線製成的織物對皮膚非常友

好，即使皮膚最敏感的人也感到舒適。Naia™自帶的快幹性和觸感涼爽

的特性可以讓穿著者感到乾爽和涼爽。Naia™ 還有著絲綢般的質地、豐

富的色彩，還能與其它纖維混合，創造具有多用途的織物，因此在任何 未來時裝設計中都佔有一席之地。

Photo credit : Redress, behind the scenes

同時，以生物為基礎 Naia™有著豐富的環境優勢。由完全可追溯的、可

持續來源的木漿製成，Naia™ 從樹木到紗線都具有完全的透明度。其

安全而閉環的生產過程確保溶劑能夠回到系統中循環再利用。這意味 著其製造對環境的影響將大大降低。在Higg 材料可持續發展指數中，

Naia™對環境的影響比普通材料、三醋酸纖維和粘膠纖維更小。在開發 紗線時，從負責任的採購到使用壽命結束的報廢處理，伊士曼考慮到了

織物的整個生命週期。Naia™ 獲得 TÜV 奧地利的「 OK biodegradable WATER 」、「 OK biodegradable SOIL 」以及「 OK compost INDUSTRIAL 」合格認證，可在淡水和土壤中生物降解。

Redress創始人丁潔絲（Christina Dean）對這種創新纖維的價值很清

楚。她表示：「現在有一場創新競賽，目的是為時尚行業尋找更可持續

的纖維。」 「像Naia™ 這樣的突破提供耐用、易於護理且其加工及其自

Designed by Redress Design Award 2019 finalist Anna Schuster

Designed by Redress Design Award 2019 finalist Maddie Williams Photo credit : Redress, behind the scenes

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SAYING GOODBYE TO SINGLE USE PLASTIC IN FASHION

時裝界告別一次性塑膠

Author | Redress Design Award Alumnus Rachel Clowes shares the vision behind her brand, The Sustainable Sequin Company. 撰文 |「Redress設計大賽」參賽者Rachel Clowes分享了其創建品牌The Sustainable Sequin Company背後的願景。

Single use plastic is rightly recognised as a huge global issue, causing environmental problems around the world. Whilst, thankfully, disposable coffee stirrers and plastic straws have been earmarked for extinction, the fashion industry is hiding a big, shiny plastic problem in plain sight. Cheap, sequinned, fast-fashion garments are often only worn for a few uses, making sequins as the ‘single use’ plastic of the fashion world.

I love sequins! They can be frivolous and fun, and also glamorous and luxurious, and I would hate to lose those wonderful qualities in fashion. But, something needs to change; frivolous can’t come at the expense of the environment.

I set up The Sustainable Sequin Company to provide fashion businesses, designers and makers with an alternative to the current unsustainable embellishments available.

Currently, I use recycled PET to make my sequins, which although not perfect, does offer clear advantages over virgin plastic, especially when compared to conventional sequins which commonly contain PVC. My ultimate aim is to develop biodegradable sequins and I am thrilled to be working with T he B ioComp osites Centre at Bangor University to make this a reality.

Producing sequins from renewable, naturally grown crops will reduce the consumption of n o n-r e n e wa b l e, p et r o l e u m-b a s e d materials and the associated, greenhouse gas emissions.

Most importantly, these sequins will biodegrade at their end of life rather than persisting in the environment for thousands of years, like their polluting cousins so prolific in fashion today. I hope to have these sequins commercially available by the end of 2019 and I’m really excited to see what impact they will have.

So far, industry reaction has been overwhelmingly positive, with brands from around the world showing interest in my sequins and asking meaningful questions about their benefits. Students in particular have been incredibly receptive to more sustainable ways of working and are keen to incorporate sustainable materials into their design practice, making me feel bright, shiny and positive about the future of the fashion industry. 一次性塑膠公認是一個巨大的全球性問題， 在世界各地造成環境問題。很感恩，即棄咖啡

攪拌棒及膠飲管，遲早會被淘汰，但時裝界卻

對一個巨大、顯眼的塑膠問題卻視而不見。飾 有亮片的廉價快時裝，往往只被穿戴數小時， 而亮片便成為時裝界的一次性使用塑膠。

我愛亮片！它們既可以是輕快而有趣，也可以

是迷人又華麗，我不想失去時尚中那些美妙事

物。不過，有些事需要改變；輕快時尚的代價 不能是環境。

因 此 我 創 立了 T h e S u s t a i n a b l e S e q u i n

Company，向時裝企業、設計師和製造商提

供另類選擇，取代目前的不可持續裝飾品。現 在我用回收的 PET膠製 造亮片，儘 管並非完

美，但與原生塑膠（virgin plastic）相比明顯較

佳（尤其是與通常含有 PVC 膠的傳統亮片相 比)

我的最終目標是開發可生物降解亮片。我很高 興能夠與英國班戈大學（Bangor University）

的生物複合材料中心合作，以實現目標。採用 可再生、自然生長的農作物生產亮片，將減少 以石油為基礎的不可再生材料的消耗，同時減

少隨之而來令氣候變暖的溫室氣體排放。最

重要的是，這些亮片會在生命結束時降解，而 非像他們在當今時裝界被大量生產的同類那 樣，能存活數千年，污染環境。我希望這種亮

片能在 2019 年底推出市面，我很期待看到它

們會帶來的影響。

到目前為止，業界的反應非常正面。來自各地

的品牌都表示對我的亮片感興趣，並對亮片有 何優勝之處等提出許多有意思問題。學生對更

可持續工作方式的接受度尤其高，並熱衷於將 可持續物料融入其設計實踐中，這讓我覺得 時尚界的未來是一片光明的。

Gucci, MonCita, KITX by Kit Willow and the Royal Opera House, UK are just a few of the clients using Rachel’s recycled sequins and she has recently been collaborating with artist & maker, Michelle Lowe-Holder.

Find out more about The Sustainable Sequin Company at www.redressdesignaward.com/thesustainablesequincompany

古馳 (Gucci)、MonCita、Kit Willow創辦的KITX 以及英國皇 家劇院，僅只是Rachel可持續亮片顧客中的一小撮。最近 Rachel更與藝術家兼製造者Michelle Lowe-Holder 合作。 想了解更多有關 The Sustainable Sequin Company的詳情， 請瀏覽 www.redressdesignaward.com/thesustainablesequincompany

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TRANSFORMATION THROUGH EDUCATION 透過教育變革

Author | Kay Liu, Education Director and Hannah Lane, Strategic Director of Partnerships and Communications of Redress 撰文 | Redress 教育總監廖詠芝、Redress 策略合作關係與傳播總監林禾雅 In a resonating quote in a recent Business of Fashion article, London College of Fashion

lecturer Noorin Khamisani said, “We have to look at education because we’re still training designers to work in an industry that doesn’t work for the future.” This beautifully captures the vision that has driven the education aspect of the Redress Design Award as it has grown and flourished, gaining traction year on year since our launch in 2011.

Over these last nine years, and particularly the latter few as the competition has become truly global, we have been thrilled to witness a growing understanding of sustainable design techniques, as well as a greater awareness of issues and the need to transform the industry, among students and emerging designers. This is complemented by an increase in action on the industry side, with businesses finally implementing circular methodology into their supply chains. The Redress Design Award has evolved to keep ahead of these changes, with a stronger than ever focus on circular design in the 2019 cycle.

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Drawing on Redress’ and our partners’ expertise in the circular economy, and newly welcoming the esteemed Ellen MacArthur Foundation as our Knowledge Partner for this cycle, we raised the bar once more for emerging designers and introduced four circular design strategies into the application process, whilst simultaneously expanding our education resources on designing for circularity. With the Redress Design Award already attracting the best sustainably-minded emerging designers from around the world, this added dimension has already proven to be a valuable tool for both designers and judges of the competition.

To our free-access online LEARN platform, this year we added the topic Design for Longevity to further engage educators, students and designers on the need to consider circularity long before the end-of-life stage, and the challenges and opportunities that come with designing garments to be kept in use longer.

In addition to this, we have been thrilled to work more closely than ever with our global

education partners, who form a vital part of our outreach. Our workshops for students, designers and educators, focused on circular fashion design and how to transform theory into practice, have been hosted at Hong Kong Design Institute; SCAD Hong Kong; Shanghai International College of Fashion and Innovation (a subordinate school under Donghua University) in Mainland China; and Sheffield Hallam University in the UK. We have also been working in partnership with IFA Paris on the development of a new Fashion Sustainability BA programme, an exciting development bridging circular theory and practice with mainstream fashion curriculum development.

As we look ahead toward our 10th anniversary next year, and reflect on the evolution of the competition, it is clear that lasting, systemic change needs to start with education. We are proud that the Redress Design Award can be a vehicle for change, as we continue to focus on providing the best emerging designers with the tools they need to help transform the fashion industry.

TRANSFORMATION THROUGH EDUCATION 透過教育變革

最近一篇由「時裝商業評論」撰寫的文章中，有一番令人十分有共鳴的

今年，我們的免費線上學習平台增設了「衣服使用壽命延長設計理念」此

我們仍在訓練一批，將在一個未來會行不通的行業中工作的設計師。」這

段前，及早思考可循環性，以及設計較耐久服裝所面臨的挑戰和機遇。

話。倫敦時裝學院講師Noorin

Khamisan說：「我們必須審視教育，因為

句話完美地捕捉了「Redress設計大賽」的願景。隨大賽自2011年開展以 來，年復年愈加受歡迎，其教育部分亦成為了願景的基石。

過去九年，尤其最近幾年，大賽變得真正全球化。我們很高興見證學生和 新晉設計師不僅對可持續設計技巧的理解日益加深，也更關注各種議題 及行業變革的需要。業界亦配合加強行動，企業終於在其供應鏈中推行 循環方法。另外「Redress設計大賽」已走到這些變化的前線，而2019年度

「Redress 設計大賽」對循環設計的關注力更勝從前。

借助Redress自身及我們的合作夥伴在循環經濟方面的專業知識，加上有

新加入、享負盛名的艾倫麥克阿瑟基金會（Ellen MacArthur Foundation）

作今屆比賽智囊，我們得以再為新晉設計師設立更高標杆，將四種循環

課題，進一步鼓勵教育工作者、學生和設計師，在衣物遠未到壽終正寢階

除此之外，我們非常高興能夠與全球教育夥伴，展開前所未有的緊密合 作。他們是我們對外宣傳接觸的關鍵。我們為學生、設計師及教育工作者

舉辦的工作坊，聚焦循環時裝設計及如何將理論化為實踐。工作坊的主辦 單位包括香港知專設計學院（Hong Kong Design Institute）、薩凡納藝

術設計學院香港分校（SCAD Hong Kong ）、上海國際時尚創意學院（東

華大學屬下學院）及英國雪菲爾哈倫大學（Sheffield Hallam University）

。我們亦與法國國際時裝學院（IFA Paris）合作開發一個新的可持續時

裝學士學位課程，將循環理論及實踐與主流時裝課程結合。這種進展令 人感到興奮。

設計策略納入公開申請。與此同時投放於循環設計的教育資源亦擴大。

當我們展望我們明年的第十賽事並反思大賽演變，便會發現持久及系統

尖的一群。而新增範疇亦已被證實，對評委及參賽設計師來說都是有價

所需工具，改變時裝界之際，我們也很自豪「Redress設計大賽」能夠成為

「Redress設計大賽」已吸引世界各地具可持續思維的新興設計師中最頂

值的工具。

性的改變，顯然要由教育開始。在我們致力向最優秀的新晉設計師提供 變革的載體。

Register for our Educator Pack at www.redressdesignaward.com/educatorpack 請於 www.redressdesignaward.com/educatorpack登記索取教材套

Head to the Redress Design Award LEARN platform at www.redressdesignaward.com/learn 瀏覽「Redress設計大賽」學習平台 www.redressdesignaward.com/learn

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

GET INFORMED 了解更多

Keep up with the main issues in the world of sustainable thinking as well as their solutions with this carefully curated 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。

PHOTO CREDIT States Of Undress, Documentary Series, SBS

LEARN 學習

FASHION FUTURES 2030 ff2030.h5mag.com/scenarios/home A joint project between Forum for the Future and Centre of Sustainable Fashion at London Collage of Fashion, the Fashion Futures 2030 toolkits have been created for industry professionals and educators to engage in the critical consideration of fashion and nature. 倫敦藝術大學（University of the Arts）的未來論壇（Forum for the

Future）和可持續發展中心（Centre of Sustainability）聯合推出一 個專案——“ Fashion Futures 2030 工具包”，旨在讓業內專業人士 和教育工作者參與對時尚和自然的批判性反思。

GUIDING THE FUTURE OF DESIGN www.nikecirculardesign.com Working on the principle that design has a powerful role in making the world a better place, Nike creates Circularity: Guiding the

Future of Design, a guide and workbook that supports a call to action for the industry. 設計在使 世界 變 得更 美 好方面 發 揮 著重 要 作 用。本 著 這 一 原 則，耐 克 公 司 發 布 了《Circularity: Guiding the Future of

Design 》，是號召行業行動的一份指南和工

作手冊。

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READ 閱讀

GLOBAL PERSPECTIVES ON SUSTAINABLE FASHION Alice Gwilt, Alice Payne & Evelise Anicet Ruthschilling

THE UNINHABITABLE EARTH: LIFE AFTER WARMING David Wallace-Wells

Published by Bloomsbury, Global Perspectives on Sustainable Fashion showcases the global fashion industry’s efforts to reduce the negative impacts associated with fashion production and consumption.

Eighteen essays focus on six regions, examining sustainable fashion in the context of local, cultural and environmental concerns.

In The Uninhabitable Earth: Life After Warming, David Wallace-Wells puts forward the climate troubles that await us - from food shortages and refugee emergencies to the complete transformation of politics, culture and our relationship to technology. A mustread.

由 布 魯 姆 斯 伯 里（ B l o o m s b u r y ）出 版 的《 G l o b a l Perspectives on Sustainable Fashion》記錄了全球時尚

在《不適合居住的地球：氣候變暖後的生活》 一書中，w Wallace-Wells 提出了我們即將面 臨的氣候問題—— 從 糧 食 短缺、難民緊急 情 況到政治、文化、我們與技術的關係的徹底變 革，是一本不可不讀的佳作。

行業為減少與時尚生產和消費相關的負面影響所做的努 力。18篇文章聚焦6 個地區，從地方、文化和環境的角度 審視可持續的時尚。

FOLLOW THE ETHICAL FASHION REVIEW @ethicalfashion_review

The Ethical Fashion Review is Australia’s

UNITED NATIONS FASHION @unfashionalliance

ALLIANCE

FOR

SUSTAINABLE

largest directory for style, advice, news and guides to ethical fashion and sustainable living.

Stop here for hints and tips and a good-looking Instagram page.

In recognition of fashion’s enormous impact on the environment, the United Nations Alliance for Sustainable Fashion is a joint initiative of UN agencies designed to contribute to the Sustainable Development Goals through coordinated action in the fashion sector.

The Ethical Fashion Review 是澳大利亞最大

為了認 識 到 時尚對 環 境的巨 大 影 響，聯 合 國 機構 提出了一項 聯 合 倡議 ——聯合國可持續時尚聯盟（ United Nations Alliance for Sustainable Fashion），旨在透過時尚界的協調行動促進可持續發展 目標的實現。

的關於道德時尚和可持續生活的風格、建議、 新聞和指南的目錄。關注其主頁獲取提示以及 一個賞心悅目的Instagram賬號。

關注

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BROWSE

瀏覽

ECO-AGE eco-age.com/news/news-brief

GRIST grist.org

Eco-Age, the sustainability consultancy founded by the inimitable Livia Firth, features a handy News in Brief section on its lively, good-looking online magazine. Check here for the latest developments in sustainable fashion from a range of leading publications.

Independent, irreverent online news outlet, Grist is pulled together by innovators working on stories about issues such as clean energy, sustainable food, livable cities and environmental justice - all while celebrating the positive. If you haven’t subscribed yet, do it now.

Eco-Age是由無人能比的 Livia Firth 創立的可持續發

展諮詢公司，在其生動美觀的線上雜誌提供了簡短的 新聞報導。你可在該平台上了解到一系列頂尖媒體對 可持續時尚最新發展動態的報導。

獨立而不懼權威的線上新聞媒體 Grist由創新者們齊心 合作，致力於有關清潔能源、可持續食品、宜居城市和 環境正義等問題的報導，同時為所有問題的積極面感到 歡欣鼓舞。如果您還沒有訂閱該平台的話不妨立即訂 閱。

WATCH 觀賞

PHOTO CREDIT 2040 (Feature Documentary) Director Damon Gamea

2040 whatsyour2040.com

Frontline Fashion www.youtube.com/user/Redress Asia

In his award-winning feature documentary 2040, Australian director Damon Gameau makes the case for hope by celebrating real solutions that exist today. Example? You could feed 10 billion people with the protein culture from marine permaculture alone.

The third instalment of Redress’ awardwinning documentary series, Frontline Fashion 3 follows 2018’s excited finalists as they travel to Hong Kong to encounter a series of workshops and challenges and to showcase their collections at the Redress Design Award 2018 Grand Final Show.

澳大利亞導演 Damon Gameau 在其屢獲殊榮 的紀錄片《2040》中，透過對當今存在的真實 解決方案的讚頌來表達對可持續發展的希望。 例如光靠海洋永續設計的蛋白質培養就可以養 活100億人 。

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Redress 屢獲殊榮的紀錄片系列《時尚先鋒》 （Frontline Fashion ）在第三季中記錄了2018

年總決 賽設計師前 往香港，參加一系列研討 會、設計挑戰以及為「 Redress設計大賽」總決 賽時裝表演做準備的激動人心的旅程。

States of Undress www.viceland.com/en_us/show/states-ofundress From Pakistan to the Congo and beyond, States of Undress is a documentary series which explores global fashion scenes and addresses issues the industry often ignores.

Presenter Hailey Gates shows us what fashion really means for different cultures and societies. 紀錄片《States of Undress》探索了從巴基斯坦 到剛果再到其他地區的全球時尚行業並指出時 尚界經常忽視的問題。主持人 Hailey Gates 向我 們展示了時尚對不同文化和社會的真正意義。

LISTEN 傾聽

THE ETHICAL AGENDA safia-minney.com/podcasts

COSTING THE EARTH www.bbc.co.uk/programmes/b006r4wn/episodes

Launched by social entrepreneur, consultant and leading figure in ethical and environmental thinking, Safia Minney, The Ethical Agenda features stimulating discussions on sustainability and social inclusion with some of the world’s most innovative minds.

With fresh ideas from the sharpest minds working towards a cleaner, green planet, Costing the Earth on BBC Radio 4 continues to be a thorough, authoritative and stimulating presence in environmental media.

由社會企業家、道德與環境思考領域的顧問和領導 人物 Safia Minney 主持的道德議程（The Ethical Agenda）旨在與世界上一些最具創新精神的人士就 可持續發展和社會包容問題展開具有新意的討論。

英國廣播公司BBC Radio第 4台的節目Costing The Earth 具有最敏銳的思想，為更清潔、更環保的地球

提供新思路，該節目也繼續成為環境媒體中的深入、 權威和有新意的一檔節目。

INNOVATIONS 創新

The UN Secretary General has warned that humanity faces a ‘direct existential threat’ from the climate emergency if we do not change course by 2020. Designers and activists, brands and communities are coming together to propose solutions that could, if implemented on a wide enough scale, have a significant impact on the environment. Here are some of the best: 聯合國秘書長曾警告，如果我們不在 2020 年前改變方向，人

類將面臨來自氣候緊急狀態的「直接生存威脅」。設計師、社

會倡議者、品牌和社區正共同努力地思考解決方案，如果所實

施的規模足夠大，可能對環境有顯著性的影響。以下就是其中 的最佳方案：

PHOTO CREDIT YKK plant-derived zipper, GreenRise™

1. ZIP IT 拉鍊

Making a zipper involves a number of chemical and carbon intensive processes including extracting petrochemicals for polyester as well as smelting metal. YKK, the best-known zip manufacturer in the world, launches GreenRise, a new plant-derived option made from molasses, the by-product generated in the sugar production process. Sustainability never looked so sweet. 拉鍊的製造涉及到許多化學和碳密集型工藝，包括提煉石油化工產品來 製作聚酯和冶煉金屬。全球最知名的拉製造商YKK 推出了 GreenRise，一

種由糖蜜（糖生產過程中所產生的副產品）製成的新植物衍生產品。可持 續性從未試過用如此的甜美的形態呈現。

2. FASHION FOR THE FUTURE PHOTO CREDIT CARLINGS

面向未來的時尚

Last year, Norwegian retailer Carlings launched a digital collection to counter the wasteful ‘wear once, take a selfie’ philosophy of today’s frantic online influencer. For a small fee, users could e-fit images of the futuristic streetwear onto their photos. “We’ve opened up a world of taking chances with styling, without leaving a negative footprint,” Morten Grubak of Virtue Nordic, told iD magazine at the time. 去年，挪威零售商 Carlings 推出了一個數碼設計系列，以應對

當今瘋狂的網絡影響力者「一次穿戴，一張自拍」的浪費理念。

用戶只需支付少量費用，就可以將未來主義街頭服飾的圖像整

合到他們的照片上。全面服務代理商 Virtue Nordic 的 Morten Grubak 在接受雜誌《iD》訪問時表示：「我們開創了一個新時

尚造型的世界，並不會留下任何負面影響。」

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INNOVATION 創新

3. YOU SPIN ME RIGHT ROUND 循環不息

Clothing rental is being touted as the new economic model for fashion. Here’s a structure that allows the same textiles to be re-used - again and again. Most recently launched is For Days, a closed-loop clothing label in which you apply for membership, keep the organic cotton item for as long as you want, then return it to be recycled. 服裝租賃被吹捧為時裝界的新經濟模式。這是一種可以 讓同一件紡織品得到反復使用的體制。最近推出的閉環

服裝品牌「For Days」，只要你申請做會員，你就可以無

限期地保留一件有機棉衣物。當你不需要時，再將其退 回以進行回收。

PHOTO CREDIT FOR DAYS

PHOTO CREDIT GCA 2020 - key visuals

4. RUN FOR IT 運動鞋

Due to the number of parts and steps required to make them, trainers have a heavy footprint on the planet. They are also tricky to recycle. Set for release in 2021, Adidas proposes Futurecraft Loop, a 100 per cent recyclable, zero-waste sneaker that can be returned to the company when the owner is done with it to create another shoe. 由於製造所需的配件和步驟繁多，運動鞋在地球上留下了重的足跡。

它們也很難回收利用。阿迪達斯計劃於 2021 年推出一款 Futurecraft

Loop 運動鞋。它是一款 100%可循環再用的零廢運動鞋。鞋子主人更

可以將它退回公司，用它製造一雙新鞋。

www.businessinsider.com/adidas-recyclable-sneaker-futurecraft-loop-2019-4

5. FROM THE SEA 來自大海

A soup of toxic chemicals are required to make clothes. Algalife’s dyes and fibres, made from algae micro-organisms, release anti-oxidants, vitamins and minerals to nourish and protect skin; they also have a far lighter environmental footprint than conventional processes. No wonder the clean tech innovation company is both the Global Change Award Winner 2018 and a Fashion for Good incubatee. 製作衣服需要一劑有毒化學品。Algalife 的染料和纖維

是由藻類微生物製成，釋放滋養和保護皮膚的抗氧化 劑、維生素和礦物質。與傳統工藝相比，它們遺下的環

境足跡要輕得多。難怪這家潔淨科技創新公司不僅是 「2018 年全球變革大獎」 （Global Change Award）的 獲獎者，而且也是 Fashion for Good 的培育者。 www.alga-life.com/

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6. MOOD INDIGO 靛藍的心情

The World Bank Group has calculated that 17 to 20 per cent of all water pollution comes from textile dyeing and finishing treatments alone. ‘Dry Indigo’ is a new foam-dyeing process that eliminates 99 per cent of the water used in conventional dyeing by replacing water with foam to transfer dye onto yarns. Wrangler is the first denim brand to embrace the tech. 據世界銀行集團計算得出，所有水污

7. LIQUID OLD

一切都在改變

染中有 17%至 20% 來自紡織染色處

理。「乾染靛藍」是一種新型的泡沫

染色工藝。透過用泡沫代替水將染 料轉移到紗線上，從而消除傳統染

An estimated 92 million tons of textile waste is created annually from the fashion industry and is estimated to increase by about 60% between 2015 and 2030.

Mechanical recycling or chopping up fabric weakens fibres. NuCycl, by textile innovations company Evrnu, is a technique that uses chemical processes to purify and then liquify old cotton to transform it into new material.

色工藝中 99% 的用水量。Wrangler

是首個採用這種工藝的牛仔品牌。

每年，時 裝界大 約產 生 9, 200 萬噸

的紡織廢料。據估計，在 2015 年至

203 0 年 期 間，這個 數 字 將 再 增 長 60%。機械回收或切碎織品會使纖維 變得脆弱。由紡織品創新公司 Evrnu 開發的一項技術 NuCycl 是一項利用

化學過程將舊棉花凈化，然後液化它 們，再轉化為新物料。

PHOTO CREDIT Modern Meadow

8. LIVE KIND 善待動物

Over a billion animals are killed every year, often in the worst possible conditions, to make leather for the global fashion market. New York-based company Modern Meadow blends design, biology and material science to create cruelty-free vegan alternatives. Its product Zoa, the world’s first bio-leather materials brand, is currently in development.

PHOTO CREDIT Modern Meadow

每年有超過十億隻動物被宰殺，而且通常是在最惡劣的

條件下，從而為全球時裝市場提供皮革。企業總部位於 美國紐約的 Modern Meadow 將設計、生物學和材料科

學融為一體，創造出無殘酷的純素選擇。其產品 Zoa 是世

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上首個生物皮革材料品牌，目前正在開發中。

BEHIND THE SCENES 鏡頭背後

The photoshoot of all the finalists’ signature looks, which were shipped to Hong Kong from around the globe by long-term partner UPS, highlights the stunning work of the Redress Design Award 2019 Finalists, with the inclusion of menswear in the competition for the first time alongside womenswear and unisex lines.

The team behind the shoot celebrated the invaluable influence that the collections possess to break the stigma of reused and up-cycled fabrics. 大賽長期合作夥伴UPS將來自世界 各地的總決賽者參賽系列寄送至香 港，時 尚 拍 攝 選 取 了 一 部 分 2 0 1 9 年 度 「 Redress 設計大賽」最為精彩的作品， 這也是大賽歷史上首次設有男裝參賽類 別，此 前 僅 限 於 女 裝 與 中 性 服 飾 系 列。 幕後拍攝團隊突出了設計師打破大家一 貫對重新使用和升級再造的面料的負面 印象。

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“

These collections are interesting because in this cycle there are men’s collections as well (I remember last year there were only female and unisex collections in the Grand Final). This selection of designers, I would say, presents beautiful fabrics, unique ideas, and exceptional designs. 「本年度的參賽作品非常有意思，因為本屆大賽設有男裝參

”

賽類別，不同於此前僅限於女裝與中性服飾系列。在我看來，

今年入圍總決賽的設計師採用了美觀的面料，發揮了獨特的創 意，創造出了非凡的設計。」

- DONALD CHIU, PHOTOGRAPHER , 攝影師

“

If you look at each designer’s collection, there is so much meticulous craftsmanship, consideration, creativity and overall quality in the design. These are pieces that you would want to buy off the runway. 「當你看到今年『Redress設計大賽』的系列作品時，並不會發

現任何受眾群狹隘的單品。不難看出這些系列設計作品背後所

”

蘊含的工藝、對設計的思考、創意以及方方面面的高質量體現。 這些是你在伸展台上看到後，馬上想購買的產品。」 - KIERAN HO, CREATIVE STYLIST,

EDITORIAL DIRECTOR OF #LEGEND MAGAZINE 時尚造型師，#LEGEND雜誌編輯總監

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NEW COLLECTIONS 嶄新系列

Of the 213 circular economy targets for 2020 set by 90 big name fashion companies taking part in a Circular Fashion System Commitment, created by the Global Fashion Agenda, just one fifth have been met. Many of the Redress Design Award’s Alumni already have the solutions and are applying their knowledge and innovations to the problem across the globe. 參與Global Fashion Agenda所提出的「循環時裝系統承諾書」(circular fashion System Commitment)的90家品牌時裝公司設定了213項2020年前達成的循環經 濟目標，其中只有五分之一項得以實現。許多「Redress 設計大賽」歷屆參賽者已 經有了​​解決方案，他們正用他們的知識和創新在全球範圍內解決這個問題。

PHOTO CREDIT Pragya Sharma

PHOTO CREDIT Seerat Virdi

Pragya Sharma Zero waste and hand-making remain priorities for 2019 semifinalist Pragya Sharma, who opened her knitting and crochet studio Unpurl in November 2018.

2019 年 1 月，「Redress設計大賽」歷屆參賽者 Seerat Virdi 的品牌 Miesu成功入圍Lakme時裝週循環設計挑戰賽的總決賽，該挑戰賽旨 在表彰未來環保的最佳人才。

零廢棄和手工製造是「Redress設計大賽」2019年度準決 賽者Pragya Sharma的首要設計手法，她在2018年11月創 立了她的針織和鉤針工作室Unpurl。

PHOTO CREDIT Sarah Jane Fergusson

Seerat Virdi In January 2019, Redress Design Award Alumni Seerat Virdi’s brand Miesu made the finals of Lakme Fashion Week’s Circular Design Challenge, created to celebrate tomorrow’s environmental champions.

Tess Whitfort | https://www.instagram.com/ pendulum.studios/ Straps, studs, fingerless gloves: Tess Whitfort’s brand Pendulum may be inspired by punk and counterculture but it speaks to a bold, new, zerowaste future.

條帶、鉚釘、無指手套：Tess Whitfort的個人品 牌Pendulum受朋克文化和反文化的啟發，創造 一個新穎大膽的零廢棄未來。

PHOTO CREDIT Tess Whitfort

Sarah Jane Fergusson | https://www.notjustalabel.com/amaud For her brand Arnaud, Swiss-born Sarah Jane Fergusson sources vintage silk kimonos from antique markets in Kyoto, experimenting with new techniques to give them a second life. 出生於瑞士的Sarah Jane Fergusson創立了其個人品牌Amaud，設計師從 京都的古董市場尋找老式絲綢和服，結合新技術給予這些服裝新的生 命。

NEW COLLECTION 嶄新系列 Blond Gone Rogue 2019 semi-finalist Denitsa Damyanova’s own label Blonde Gone Rogue transforms end-ofroll materials, recycled textiles and sustainable fabrics into bright, fresh casualwear.

PHOTO CREDIT Candle Ray Candle Ray Torreverde End-of-rolls, second hand fabric and clothing, and cut-andsewn fabric are transformed using techniques of up-cycling, reconstruction and zero waste in Candle Ray Torreverde’s eponymous brand.

PHOTO CREDIT Blond Gone Rogue

「Re d r e s s設計 大 賽 」201 9 年度 準決 賽 者 Denitsa Damyanova的個人品牌Blonde Gone Rogue巧妙運用捲軸尾端布料、循環再用的 面料以 及可持 續面料創造出明亮、新 鮮的 休閒服飾。

Candle Ray Torreverde的同名品牌運用零廢棄、升級再造以及 重新構造的手法對捲軸尾端布料、二手織物和服裝以及布料 碎屑進行二次創造。

CJ Martin PHOTO CREDIT alien nonaduch

As part of a team of three alumni, 2018 Redress Design Award finalist CJ Martin helped design the R Collective’s iconic Clementine shirt, currently available on the label’s website. 包括「Redress設計大賽」2018年度總決賽者CJ Martin在內的3位歷屆參 賽者幫助The R Collective品牌設計具有其品牌標誌性的Clementine襯衫， 該款式的襯衫先在品牌官網有售。

Emma Bogren

Emma Bogren的同名品牌從城市街頭服裝汲取靈感，升級再造庫存盈 餘以及紗麗生產中產生的絲綢織物廢料，打造了精緻又前衛的夾克系 列。

PHOTO CREDIT CJ Martin

Emma Bogren’s eponymous brand creates sophisticated but cutting edge statement jackets, inspired by urban streetwear, from up-cycled deadstock as well as silk fabric waste from sari production.

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PHOTO CREDIT Sarah Stone

Jesse Lee 李顯鋒

Winner of the Redress Design Award 2018 Second Prize, Jesse continues to explore possibilities in denim in his latest collections. 「Redress設計大賽」2019年度第二名獎項得主李顯峰在其最新 系列中探索了牛仔布的無限可能性。

PHOTO CREDIT He Mengmeng He Mengmeng Sustainable fashion brand MMHmoe, brainchild of 2019 semi-finalist He Mengmeng, mixes factory stock and environmentally-friendly fabrics to create classic pieces with glamorous twists. 「Redress設計大賽」2019年度準決賽者賀萌萌創立其個人的可持 續時尚品牌MMHmoe，她巧妙結合了工廠庫存面料和環保面料，打 造具有迷人色彩的經典作品。

Sarah Mayer

「Redress設計大賽」2019年度準決賽者Sarah Mayer與阿姆斯特 丹M-ODE展覽聯合創作展現伊士曼Naia™纖維素紗線的柔滑、 動感特性的系列作品。

PHOTO CREDIT Anna Marija Keomegi 「Redress設計大賽」2019年度準決賽者Anna Marija Keomegi對 生產中廢料進行升級再造創造了首個環保服裝系列，製作出鑰 匙鍊和卡套，旨在開啟喚起人們環保意識的一系列。

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Lina Mayorga Earlier this year, 2017 finalist Lina Mayorga presented her latest collection, inspired by the UN’s vital Global Goals agenda, at the French American Chamber of Commerce in New York. 「Redress設計大賽」2017年度總決賽者Lina Mayorga在紐約的美 國法國商會上發布了其從聯合國所提出的全球目標議程中汲取 靈感而設計的一系列作品。

PHOTO CREDIT Lina Mayorga

Anna Marija Keomegi Anna produces her first sustainble collection - The Breakfast Club for her graduation. Keychains and cardholders created from up-cycled manufacturing waste are the start of a longer series of promotions and awareness-raising activities for the 2019 semi-finalist.

PHOTO CREDIT Jesse Lee

2019 semi-finalist Sarah Mayer’s collection, made in collaboration with the M-ODE exhibition in Amsterdam, demonstrates the silken, dynamic properties of Eastman Naia™ cellulosic yarn.

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