Fur Times Issue 15: The Remix 2019 Edition

CONTENTS CEO COMMENT REMIX CLASS OF 2019 Meet The Finalists

THE HISTORY OF REMIX REMIX 2017 & 2018 overview

FUR & FASHION NEWS Plastic Waste Fuels the Fire in Faux vs. Real Fur Debate Faux Fur is the Latest Runway Fad Am I the Only One who Feels Guilty about Wearing Vintage Fur?

FASHION WEEK 2019 Autumn/Winter 2019 Catwalks

SUSTAINABLE FUR Synthethic Fabrics That Are Killing The Planet Furmark: Sustainable Strategy

REGIONAL UPDATES Europe Asia Eurasia Americas

CEO comment

This special issue of Fur Times celebrates REMIX’ sixteenth edition - the global fur fashion design contest supported by Vogue talents.

Today’s generation of young designers love to be creative with fur and you will see vibrant colours, trim, fur mixed with other fabrics and some real innovation. The competition runs across the globe and I love to see how different nationalities bring their own personality into the design.

This year’s theme is all about responsibility. That’s about showing how natural fur is sustainable and plays a vital role in the circular economy of the fashion trade.

Recently, it has been trendy for brands to switch from real to fake fur. I urge them to think again about the planet and to switch to natural materials such as fur and wool. As REMIX shows, it is possible to be responsible and fashionable with fur.

With regards, Mark Oaten.

CEO, International Fur Federation

meet the

finalists

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Alessia-Rose Canada

Collège Marie-Victorin – School of Fashion Design (Montréal)

statement of inspiration: I believe designers play the most important role in ensuring and promoting responsible, ethical and environmentally-conscious practices within the fashion industry. It is not enough anymore for us to design beautiful, innovative pieces. The environmental footprint of our collections, the way they are produced and the materials we choose to use, must become an intrinsic part of our creative choices.

To reflect this, I opted to work with beaver, fox, wool and a host of other natural materials when creating my REMIX collection. Not only is beaver an abundant native fur bearing animal in Canada which often needs to be culled, as left uncontrolled they destroy ecosystems and provoke floods, but they are a source of income, food and clothing for native and distant communities. I chose to include ranched fox because I know that in Canada, fur farming is an ethical, independently and well-regulated sustainable industry that is an indispensable source of income for families in many remote areas. And in all three of my designs, the wool and fabrics I intertwined with the fur are entirely recycled, obtained from Certex – a sorting centre in Montreal specializing in the recovery, reuse and revalorisation of textiles. This is why I consider myself to be an environmentally-conscious and ethical fashion designer who promotes responsible fashion.

To illustrate the weight of responsibility I often feel as a designer to use natural and sustainable material in my creative process, I opted for heavy, loose silhouettes in my REMIX collection. The ample, excessive volumes of my designs are a metaphor for the often-difficult decisions we need to make when presented with a wide array of materials to create with: do we choose natural or synthetic, ecological or polluting, ethical or cost-effective? The answer: responsibility.

My designs are all multipurpose – one transforms into a sleeping bag and another into a knapsack – this is because I also believe the functionality, transformability and durability of garments is a responsible way of creating and selling fashion. I hope my designs convey their intended subliminal message: one of hope to fashion designers that we should work with natural, sustainable materials, and that fur is a perfect example of a responsible fabric. Sometimes we will need to fight to change perceptions, but I urge designers to never hesitate to fight for their principles, for the sake of our planet Earth.

Berivan Cemal Netherlands

ArtEZ Hogeschool voor de Kunsten

statement of inspiration: My Remix collection is an investigation into my own immigrant background and the deep personal responsibility I feel to translate my heritage for generations to come through my designs and use of fur. My intention was to incorporate philosophical questions into my floral mink blankets and avant-garde garments which represent my own, and many others, diasporas.

As a third culture kid, I recognize there is a space that exists between the culture we’re from and the culture we’re living in. This is the main concept I display through my garments and through my use of fur. I chose to use seal, not only because I find it one of the most interesting materials, but because the hunting of Greenland seals is very sustainable and an essential lifeline to the culture of the Inuit people who use everything from bone to meat to skin.

The Greenland seals also live freely in the wild which helps improve biodiversity and dissolves all issues associated with fur farming.

I’m also using mink in my collection because mink fur has been used for these types of blankets for decades and it’s a material that speaks to me as a designer living in Holland. Beyond the fact that the mink is treated very well in Holland, mink is one of the few animals which are used in many industries, not just fashion – bones and oils are used to the fullest helping create bio energy and beauty products, which also means waste is minimized. Besides using seal and mink, I’m also incorporating recycled wool and plastic as a symbol to preserve nature and reject plastic fast fashion.

False advertisements in the form of big bold promises, and eye capturing graphics, is at the core of my collection. A sense of nostalgia is injected with these “real mink blankets” headlines and packaging which is something that will feel recognizable to every immigrant around the world. The use of responsible and sustainable materials, combined with my deep personal responsibility to my heritage means my REMIX collection is one of style and substance.

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Christelle Tran-Thiet

France

University: La Chambre Syndicale de la Couture Parisienne

statement of inspiration: The inspiration for my REMIX collection centres the evolution of humanity, our responsibility to the planet and the awareness of both. My goal is to show the evolution of human responsibility through my clothes in a sustainable way. I use 100% recycled materials like vintage fur and upcycled furniture fabrics, while re-using leftover and unused pieces from past collections of international fashion houses like Sprung Frères and Yves Salomon. Not only does this highlight how I am a responsible designer, doing the most I can to prevent and minimize the waste in the fashion industry, which is on an unprecedented scale, it also shows how we can use fur and all the parts of the skin to produce conceptual, innovative and beautiful clothing.

The combination of fur and silk in my garments represents the different stages of evolution the human mind passes through: first ‘innocence childhood’, second ‘reality stroke’, and third ‘self-realisation’. The first look, ‘Innocence Childhood’, features a mix of 100% recycled mink and alpaca fur, and silk organza designed to represent a cocoon – a symbol of the protected and dream-like stage of human understanding at this stage.

The second look, ‘Reality Stroke’, represents the transformation from a dream-state to reality. This is translated though my design where the right half of the garment is in construction while the left part is standardized. To achieve this, I included a mix of responsible materials, like recycled furniture fabrics and vintage mink, fox, astrakhan, Tibetan lamb and alpaca. My choice to use responsible materials meant fabrics which would otherwise be wasted were not, extending their life-cycle and strengthening human responsibility to waste less.

The third look, Self-Realization, signifies rebirth. The materials show the garment as a realization of ourselves achieved by my use of only responsible and recycled materials such as silk, mink and astrakhan in a modern way: waffled overlap, devoured effect, 3D bands and shoelace insert details. From an ecological perspective, the production took place, in Paris. Reducing carbon emissions during production means my designs, through their entire supply chain, are responsible.

Dong Wang China

Northeast Normal University

statement of inspiration: The naturally dyed blue fur I have used in my design represents the worlds irresponsible use and dependence on plastic. This synthetic material, which is everywhere and often ends up washed up on our beach, not only causes serious pollution to our environment, but it also harms the marine life who encounter it. The hope of my designs is to awaken consumers to return to nature and sustainable fashion materials, such as fur.

Through the use of natural fur, we can promote the sustainability and continuation of Inuit communities whose means of survival is hunting and farming. In my designs, in addition to natural fur, there are a host of other recycled and natural fabrics. For example, my use of recycled and upcycled old jeans and leftover materials like pure wool are all responsible choices which protect the environment.

Here my designs represent the biggest debate within the fashion industry today: slow vs fast fashion, natural vs synthetic materials, irresponsible vs responsible fashion. Many people think that fake fur is an advanced product of our times, but they don't know that artiďŹ cial fur is a petrochemical product. It not only damages the environment in the production process, but it also takes centuries to degrade and even if it degrades over decades, its chemical residues will continue to be released for centuries. Natural fur comes from nature, it has the characteristics of green environmental protection and degrades naturally over time. This is something oil based man-made fur can not achieve. Natural fur is the only sustainable and responsible choice.

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Elina Aarela Finland

Aalto University of Arts, Design, and Architecture

statement of inspiration: My REMIX collection centres the use of nature, in all its wild beauty, for fashion. Nature offers mankind everything we need to create, and fashion is no exception. That is why my use of responsible materials like fur, leather, cotton, wool and crystals promote responsible design with natural resources as well as highlighting the importance of covering the body in natural fabrics.

In a visual sense, my garments represent the growth of foliage and flowers on body. Through the creation of this collection, I rediscovered the outdoors and what nature means to me personally: respect and utility. I spent my childhood in Australia with the most exotic flowers and trees reaching to the sky. And after moving to Finland I fell in love with the forest and its mysterious sounds.

For me, nature has always been a source of serenity, it’s something you can disappear in without distractions.

Responsibility doesn’t always cover taking care of our precious resources nor taking care of our wellbeing. Nature not only offers materials and shelter, but also beauty and calmness. My aim was to create all aspects of nature, representing responsibility in all its forms.

Hüseyin Özer Turkey

Burg Giebichenstein University of Art and Design Halle, Germany

statement of inspiration: When I saw natural light shining through the stained-glass windows at the world heritage site Hagia Sophia, I was mesmerized by its beauty. This experience formed the foundation of my REMIX collection, which would pay homage to Hagia Sophia’s aesthetic excellence and intricate beauty.

The architectural delight that is Hagia Sophia is a reminder to the fashion industry that something, if well-constructed, can last a lifetime or even longer. And it is our responsibility to create, build, design and live responsibly.

Imposing ancient icons such as the Hagia Sophia weren’t built only to be demolished 10 years later, just as fashion shouldn’t be created to be thrown out after one season. This is irresponsible and something I, and my REMIX collection, reject.

My interpretation of Hagia Sophia’s stained-glass window is my proclamation for more longevity in the fashion industry, and for our responsible handling of the planets resources. This collection tries to give a new perspective, bringing the theme: Responsibility into fashion with sustainable and natural quality fabrics.

In an attempt to recreate the Hagia Sophia’s beauty, I used a range of vibrant coloured furs of fox, mink and raccoon. The furs used were provided with bright colors in environmentally friendly processes. In order to create not only an optical but also a haptic structure, the materials were put together by inlaid work techniques. Those techniques combine furs of different species and colors as well as furs with leather and fabrics to create the stained glass-like effects. Mastering this technique requires great tools, experience, knowledge, imagination and understanding of aesthetics.

My REMIX collection is a sign of great appreciation for the noble material that is fur, and, if it is processed in a similar way, with as much appreciation as an ancient stained-glass monument, then we can create new magnificent creations which last a lifetime.

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Long Chen China

Jiangxi Institute of Fashion Technology

statement of inspiration: I choose to design with fur because, as a fashion material, fur has the lowest discard rate of any textile - it is by nature responsible. Unlike fake fur, natural fur biodegrades without adding to the detrimental impacts the fashion industry has on the environment - something we all ought to be aware of.

These facts are at the heart of my double-sided fur creations, they are the reasons why I make responsible design choices by using natural fur.

If a piece of fur can be worn for twenty or even fifty years, then a double-sided fur garment can be worn for double that, effectively extending the life cycle of fur garments and rejecting the negative ecological impacts of fast fashion. Knitting, splicing, crocheting and other fur cutting techniques, combined with natural fashion fabrics in my fur design, make my use of fur more sustainable and stylish.

Fur, as a form of responsible environmental protection, is made even more responsible when it’s dyed in the most natural way possible. I chose the combination of environmentally friendly fabrics like fur, silk and wool, and best practice dyeing techniques, which means even if the fur garments are disregarded in the future, we can be assured that their creation will come at no cost to the planet.

Strengthening the function of fur design, by using more environmentally friendly technology and prolonging the service life of fur clothing is the concept behind my designs. I hope that people understand that natural fur is better than all its plastic alternatives. Natural fur is an environmentally sustainable and responsible fashion choice.

Saskia Reggel Germany

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Berufskolleg Für Mode & Design

statement of inspiration: I view my collection as a charm bracelet decorated with nature’s most beautiful charm: fur. Like a charm bracelet, you start with the base form, and from there on you build, add and remove elements to suit your mood and style. These interchangeable sustainable components mean my collection can never go out of season.

The furs I have used in my designs are responsible in a number of ways.

Firstly, I used Mongolian lamb which supports an entire Mongolian nomad community in a remote region of the world, which without fur farming could not sustain itself. The sale of these furs also supports this community in the most environmental ways. Not only do these animals graze on the tundra, promoting sustainable agriculture and removing the need for feed in traditional fur farming, but the lamb meat is eaten and the sinew is used for tools and building tents, meaning the entire animal is utilized and nothing is wasted.

I purposely chose to incorporate African-produced fabrics to show how important global responsibility is in relation to the environment, and how we in the fashion industry should support traditional methods of fabric making in developing countries. These fabrics are underrepresented in the fashion world today. Additionally, I chose rabbit fur for my designs which is a by-product of the food industry, and would be wasted if I didn’t utilize it. It would be irresponsible to throw away a 100% organic, biodegradable, durable, and versatile clothing material – one which complies to Saga Furs’ highly regulated transparency and certification program. Here, I wanted to showcase why choosing fur is more responsible than a plastic alternative, something not many realize.

Fur garments are created by craftspeople that are paid fairly and work under good conditions to craft a garment that can be worn for a lifetime and beyond—passed down through generations. Or, if the fur no longer has a use, it can be recycled into an entirely new garment, alternatively it can decompose and not leave any CO² footprint behind.

Photography by Luca Froehlingsdorf

In the case of my designs, buyers can quickly and easily add or subtract from the look, so even the most particular fashionistas can stay chic. My three garments are created for any gender (binary, non-binary and fluid genders).

My multi-colour designs are intended to make anyone wearing them feel great, while my use of responsible materials like fur reassures anyone wearing my garments that they have made a responsible and considered fashion choice. If you look closely at my designs, you’ll see a message: the eyes represent the awareness of a responsible buyer. Instead of consuming lots and lots, we investigate, contemplate and then buy responsibly. The brightly coloured fur is paired with the traditional African patterns, the colours complement each other beautifully and give my designs a modern touch. My designs are fun—we can mix and match according to our style and mood – as well as rejoicing at our rejection of cheap throw-away plastic clothing that hurts our ecology.

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SIRAPOP DECHRAKSA USA

Parsons School of Design university

statement of inspiration: There are many reasons why a young fashion designer would feel passionate about working with fur, but above all else is the knowledge that I am designing responsibly. While fur is being questioned by today’s consumers, my passion to educate others with the facts about the “true sustainability” of natural fur, which are indisputable, strengthens my resolve to design with fur.

Inspired by, and a tribute to, my father’s career, the design of my main fur coat was inspired by his police uniform called “Kiattiyoj” - which is a khaki garment with a red sash. I wanted to show how beautiful fur can be, not only just as a luxury garment, but, also as a piece of art.

My father was a second ranking police man in Thailand who taught me to always make responsible choices. Through his success, the word responsibility has a powerful meaning to me in more ways than one, and today, I aspire to become a designer who creates responsibly and sustainably.

By working along Saga Furs, I am 100% certain that my fur has been sourced from a certified farm with the most transparent supply chain and the highest level of animal welfare. Not only is the fur that I use 100% biodegradable, but the silk, leather, and wool I used in my REMIX garments are 99% biodegradable. I incorporated up-cycled materials whenever possible to illustrate the longevity of fur. So, for my other 2 designs I integrated fur into everyday, ready-to-wear garments. The black fur cuffs and collar on the leather jacket are detachable. The bomber jacket was created using all naturally coloured fox furs from cross fox and golden island fox.

As an emerging designer who is informed about the nuances of fur production and the industry itself, I believe the ongoing debate about the use of fur can be approached with the transparency I have shown with my REMIX collection. I believe that freedom of creativity is my biggest asset and it’s our responsibility as designers to let consumers know that they have the freedom to choose too. This ethical responsibility has nothing to do with business, but with the ideology behind my artistic vision.

Yuliya Yuknovich Belarus

Belarusian National Technical University

statement of inspiration: I was always inspired by the natural beauty of my home country: Belarus, with its expanse of fields, forests and deep blue rivers. In the modern world in which we live, we are living fast and consuming even faster, but there comes a time when we have to slow down and think about our impact on this planet, and how we will leave it behind. This is why being a responsible consumer and designer has always been my driving force. One which led me to finding new, more sustainable ways of creating. I not only think of the aesthetic values of my collections anymore, but I also consider the footprint that I and they will leave behind.

As a part of my creative process I spent a lot of time surrounded by nature absorbing its untamed beauty which is the source of my inspiration. And while planning each step of my REMIX collection from inception to the final production, I realised man and nature have always worked symbiotically. The beauty of natural materials, with their timeless and endless qualities, have always inspired man and given us the tools we need to create with.

Unfortunately, man has not always been so kind to nature in return.

I am particularly proud of my craftsmanship and my use of only natural certified skins from Belarus. I chose arctic fox and mink, carefully selected from local farmers, which reflects my heritage. I paired natural fur with bright acidic colors, representing nature, and monochrome colors which I chose to represent emissions from the chemical production of artificial fur, which destroy our healthy environment. With this collection, I want to send a message to all young designers, because I believe we, the next generation, have to be responsible for every decision we make. Because the decisions we make today will be the ones defining us tomorrow.

My REMIX collection represents my irrepressible belief that freedom, nature and responsibility are all interlinked. This is reflected by my use of only natural materials like fur, my use of prints and colours inspired by the beauty of birds, butterflies and nature. For me, being a champion of responsible fashion, and passing that down to the next generation, is what I would like to be remembered for. I believe that the fur industry, is a responsible and environmentally friendly industry and this is why I choose to lead the life of a socially responsible young designer.

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THE HISTORY S

ince its inception in 2004, launched by the International Fur Federation (IFF) in the greatest effort in the fur trades history to support the next generation of designers, REMIX has been the launch pad for many successful and longevous careers. Supported by former editor-in-chief of Vogue Italia, Franca Sozzani, and Vogue Talents, a platform dedicated to the search, selection and visibility of talents, since 2014, REMIX returns to fashion capital Milan each year for its hotly anticipated final. During Milan Fashion Week, the final REMIX line-up, consisting of 10 young creatives selected from hundreds of applicants from countless countries, battle it out to win the competitions much-coveted prizes. Over 1,000 students from more than 25 countries have taken part in the competition since its inception over 16 years ago. Each year, REMIX finalists develop their craft skills, explore their relationship with fur, and interpret the competitions new theme with great originality and success.

Astrid Andersen London Fashion Week favourite and REMIX 2011 finalist

Nicolas Lecourt Mansion REMIX 2017 Bronze prize winner and gender non-binary designer REMIX offers up-and-coming designers from every corner of the globe the opportunity to showcase their innovative designs to a highly influential audience who can have a positive and long-lasting impact on their career. This is the opportunity of a lifetime that young designers can only dream of.

After parading their final three garments in front of a jury of international designers and editors-in-chiefs, the top three winners of REMIX are announced. Each year, winners are afforded the chance to receive best-in-class training from a selection of the world’s leading fur and fashion designers, sponsored by Kopenhagen Furs, Saga Furs and North American Fur Auctions (NAFA), which also supply a range of fur to allow for design experimentation and innovation.

of REMIX Additionally, REMIX winners, both past and present, have seen their work featured in IFF’s global fashion advertising campaign: FUR NOW each year, and on IFFs social media platforms which are followed by tens of thousands of followers. And, for the last decade, REMIX winners have also had the honour of seeing their creations featured in fashion editorials: Harper’s Bazaar US, Vogue Italia and on vogue.it. All of this does much to kick-start their budding careers.

Many REMIX finalists have gone on to work for the biggest fashion labels in the world. Alexander Kantz, the winner of REMIX 2012, went on to work for the Swedish giant H&M, 2014 finalist Roderick Buijs was recruited by the Louis Vuitton team, 2015 finalist Nicolas Martin Garcia went on to be a menswear designer for Dolce & Gabanna and Roberto Cavalli; REMIX 2013 Gold prize winner, Thom Barends, became the product designer for Haider Ackermann; Sally Bohan adopted a senior designer role for Patagonia; and REMIX 2014 finalist Roderick Buijs became a menswear and womenswear designer at Louis Vuitton.

Morten Ussing REMIX 2017 winner & regular at copenhagen fashion week

Edda Gimnes REMIX 2016 Bronze award winner, brand owner and favourite designer of superstar Lady Gaga & GIGI HADDID However, while many finalists have adopted roles within the world’s biggest fashion houses, others have gone on to launch their own labels. This includes REMIX 2017 Bronze prize winner Nicolas Lecourt Mansion who explores gender identity in his non-conformist collections. REMIX 2017 winner, Morten Ussing, became the Creative Director for a Chinese fur house Liudu before launching his own label and becoming a Copenhagen Fashion Week staple with his collections, REMIX 2016 Bronze award winner, Edda Gimnes, went on to build her own brand and has since dressed superstars including Lady Gaga and Gigi Hadid. And REMIX 2011 finalist Astrid Andersen has been gaining major traction since her participation in REMIX, becoming a London Fashion Week powerhouse and favourite.

Over the last 16 years, not only has REMIX played a fundamental role in discovering the designers of the future, but it has continued to push the boundaries of fur design and fur in fashion. Elaborate, intricate and embellished creations continue to capture the mood of the next generation, one which is environmentally, socially and politically conscious.

This is why year after year, with themes like: Sustainability, Nature, and Responsibility, REMIX fights for eco-friendly fashion and its finalists go on to become the fashion stars of tomorrow.

REMIX 2017 & 2018 overview

REMIX 2017 In 2017, Morten Ussing from Denmark was awarded the Gold prize. Morten wowed the jury with a beautiful array of textures thanks to a blend of mink and swakara in pastel rainbow colours and ocean blues. The collection was inspired by Kristín Marja Baldursdóttirs book “Karitas – Untitled”. Karitas is an Icelandic girl growing up in the beginning of the 20th century as a poor fisherman’s daughter, dreaming of a life as an artist. The REMIX Silver prize went to Ólöf Sigríður Jóhannsdóttir from Iceland for her beautiful graduation collection. The collection was Ólöf’s first time using fur and saw the recent graduate create volume and loud textures through stark dyes and natural colours across swakara and fox fur.

Nicolas Lecourt Mansion from France scooped the Bronze award for his collection exploring gender norms and sexual identity stereotypes. His use of vibrant whites, reds and blacks in mink fur complete with leather cape created a startling background for the use of the transgender symbol and a label sporting the term ‘homo’ to capture the judge’s eyes. The Gold award winner Morten Ussing received a best-in-class training working with some of the world’s leading fur and fashion designers at SAGA Furs Design Centre. Ólöf and Nicolas were prized with €1,000 and €500 bursaries respectively.

REMIX 2018 For the fifteenth edition of REMIX in 2018, IFF has asked the contestants to create fur designs that has an entire sustainable entity. The competition took place in Milan, Italy, and was supported by VOGUE Talents.

REMIX 2018 winner, CHUNCHEN LIU WITH SARA MAINO, TAMU MCPHERSON AND MARK OATEN

That year IFF asked the contestants to create fur designs that had an entire sustainable entity and Chunchen Liu, from Japan, was awarded with the Gold prize. She was offered an all-expense paid trip to Studio NAFA (North American Fur Auctions) at their Toronto headquarters for a week of technical training and practice. This series of designs were inspired by snow mountains and mountain climbing sports.

The use of different kinds of furs show the snow and texture of rocks on the mountain.

During the event, Saga Furs also granted the Saga Award to Chunchen Liu, thanks to her innovative and creative project.

Chunchen Liu received an all-expense paid trip to Saga Furs Design Centre for a week of fur innovation workshops and access to more than 3,000 craft techniques archive.

The REMIX 2018 Silver prize went to Siyang Meng from China.

Her inspiration came from the natural rock crystal and its many features and characteristics of the likes of coral. She was granted an all-expense paid trip to Kopenhagen Design Studio for a week of technical training.

Abigail Wirth from Hungary scooped the Bronze award with a manifesto against the plastic world of products around us. As fur is renewable, reusable, sustainable and an ancient material, it creates a big contrast with the social media’s fake reality.

The jury, composed of Sara Maino Sozzani (Deputy Editor in Chief of Vogue Italia & Head of Vogue Talents), Tamu McPherson (All The Pretty Birds), Arthur Arbesser (Creative Director of Fay), Adrien Roberts (Director of Education at Accademia Costume & Moda Roma) and Luca Rizzi (Desinger’s scouter and founder of Creative and More), selected Chunchen Liu innovative designs from over 30 garments presented and over 100 applications submitted from all over the world.

The top three prize winners had the opportunity to have their garments featured in FUR NOW, the International Fur Federation’s global fashion advertising campaign. The campaign runs seasonally throughout the year in print as well as online in major magazines such as Vogue, Harper’s Bazaar, Elle, L’Officiel, Cosmopolitan, as well as on social media. Each year, REMIX gives up-and-coming design talent from across the globe an opportunity to showcase their innovative designs to a highly influential, international audience and to receive global exposure across a range of traditional and online media channels.

FUR&FASHIONNEWS Plastic Waste Fuels the Fire in Faux vs. Real Fur Debate @ WWD “Fur is the most sustainable fabric that you can actually use,” argues Anderson, a Danish designer who shows in London, echoing the stance of pro-fur lobby. “It is 100 percent able to go back into the earth. And you also have it for a long time because it gets passed down through the generations,” said the designer who works with Saga Furs on sourcing.”

“In 2019, the pro-fur lobby promises to speak up louder than ever with more aggressive campaigning. Mark Oaten, chief executive officer of the International Fur Federation, said his organization is preparing to release some new reports, as it aspires to ever more transparent practices.”

Photography by GETTY IMAGES

Photography by WWD

FAUX FUR IS THE LATEST RUNWAY FAD, BUT IS THE TREND HURTING MORE THAN IT HELPS? @CRFASHIONBOOK Though, in the process of bringing fake fur to new fashion heights, is the industry simultaneously turning a blind eye to the inevitable flaws that accompanies the material? For starters, your favourite fuzzy teddy coat isn’t exactly saving the environment, nor the animals who are trying to thrive in it.

“Faux fur is made from synthetic fibres that never biodegrade and aren't kept and reused and recycled like real fur is,” Alden Wicker, sustainability journalist and president of the Ethical Writers Coalition, tells CR. “Fashion companies can save a lot of money and increase their profit margins by making faux fur coats and selling them at a similar price to real fur coats. The motivation is money, not altruism.”

Though making a case for sustainability becomes complicated once you take a look at product labels. Gucci’s faux furs are made from acrylic and polyester–so are the imitation furs from Burberry, Michael Kors, DVF, and Versace. Even Stella McCartney, who has long been an outspoken sustainability advocate, uses these materials in her fake fur.

Am I the Only One who Feels Guilty About Wearing Vintage Fur? @VOGUE Two coats were given to me about five years ago, back when the idea of wearing vintage fur seemed to make perfect sense, back when I could virtually pat myself on the back for making what I thought was an environmentally sound choice—not disposable fast fashion but a responsible, second hand purchase. And somehow, I could justify wearing them exactly because I wasn’t contributing to the current cycle of mass fur production. I wouldn’t buy a new fur even if I could afford to.

When I ask my other co-workers to weigh in on the subject, some decline to answer. (One anonymous comment: “I have thoughts, but I don’t want to be attacked on the Internet!”) And rightly so: Wearing fur, old or new, can provoke a barrage of negative responses for obvious reasons.

So is cruelty-free faux fur the environmentally sound antidote? The answer isn’t that simple. Much of the research out there appears to be conflicting. A report commissioned by a fur industry organization, the International Fur Trade Federation, published in 2012 found that faux fur has a greater negative impact on the planet as it requires more non-renewable energy to produce.

# fu r now

alexandros kotoulas OWNER & ACCESSORIES DESIGNER AT ALEXQUISITE

Fashionweek2019

Astrid Andersen

edward crutchley

Astrid Andersen

edward crutchley

Astrid Andersen

edward crutchley

edward crutchley

autumn/winter 2019 catwalks

london fashion week edward crutchley Edward Crutchley has made formal wear fancy. His new fall 2019 collection seems to suggest so, as the ‘grown-up’ look appears to be classic, rooted and radiating with sophistication, moving away from his sporty aesthetic. Fur is something that is ostensive in his collection, coming in swakara, fox and shaved mink. Crutchley intertwined womenswear in his men’s collection, both sharing materials ranging from opulent cashmere knits, heavenly velvet and rich fur which translated into voguish yet glamorous pillow box hats, blazers, stealing-the-show slippers, flowy styled trousers and long fitted blazers. The hints of fur during this AW19 has certainly alluded to the idea that formal wear can be seen as stylish and sleek and doesn’t need to be taken so seriously, and this is further grasped as Edward Crutchley exhibited a cape that features a fur-embroidered bird, combining a sensible collection with something playful yet remarkable.

Astrid Andersen Astrid Andersen has melded the idea of streetwear and classic-wear as the ideas of street and catwalk have become distorted, leaving what was once a clear differentiation in styles, rather similar in essence. Anderson brought the furs this AW19 with multiple fur coats. Five fur garments were seen subjugating the runway, all which lifted the classic puffer coat, into new heights of luxury, and lavishness.

Anderson created a duvet effect with the fur puffer jackets, a style sensation which has become a distinguishing feature in her work. Andersen’s carefree attitude converted into her range, as the silhouettes had an element of ‘street’ within them, creating an appealing visionary of, as well as the fur coats, tracksuit bottoms, ‘pyjama’ striped shirts and bottoms, and knit co-ords, which in turn, combined with the formal-wear, established an inevitable pairing.

Fashionweek2019 Astrid Andersen

milan fashion week

BILLONAIRE

FENDI

FENDI

Karl Largerfield and Silvia Venturini Fendi have taken the same gist and gone down the route of classic and formal for their AW19 collection. There’s something in the air. Puffer coats came over-sized and long with fur also making its presence, suits came in neutral toned colours featuring grey, black and washed brown, caps were visible too taking on an occurring theme of ‘street’ and finally, new printed, velvet and shearling man-baguettes accompanied the whole look. Fur was an extensive part of Fendi’s AW19 collection, with silhouettes taking on a wide varied number of coats with contrasting and opposite prints going in many different directions. These prints featured a combination of the Fendi logo, sketches and images.

Man-baguettes, which came in shearling were a prominent feature of the AW19 collection, creating a youthful appeal, as well as a stylistic approach, all which produced a fur fantasy.

BILLONAIRE BILLONAIRE

Phillip Plein has undeniably put on a show-stopping show, with more-than-we-bargained-for snow-set, music, models, and last but not least, his AW19 collection. Fur (majority) puffer jackets were worn over neutral-toned suits, co-ord suits, white trousers, snazzy blazers, causal-laid-back turtle necks, and accessories featuring scarves and bags. Plein played with and combined a lot of saturated colours of orange, red, light/dark brown, green, black and blue to form all silhouettes ready to foreshadow an array of what’s to come for upcoming generations. Fur made its debut down the runway, with very beautiful consistent puffer jackets (that have been a regular feature from majority of fashion labels), fur collars, and a grand fur bag, all which establishes an opulent winter wardrobe.

Billionaire

FENDI FENDI

Billionaire

LOUIS VUITTON

FACETasm

LOUIS VUITTON

DIOR

LOUIS VUITTON

DIOR

louis vuitton

Fashionweek2019

pARIS FASHION WEEK Louis Vuitton

LOUIS VUITTON

Vigril Abloh brought the fur, the fashion and used Michael Jackson as a metaphor for his AW19 collection. Abloh created a historic moment which spoke louder than just fashion, as his collection was eminent for change within society. The runway was a substituted set of a New York street scene, where models walked down a barber shop, graffitied shutter, street signs, and bins with silhouettes of long and large fur puffer jackets where star prints, seen in other pieces too, and the Louis Vuitton logo were the foremost and most striking features apparent.

Another fur piece that appeared to be walking down the ‘streets of New York’ was a fur collar on a leather coat, with a flag of America on one side, and Ghana, Abloh’s origin country, on the other. Colour came in an ‘all-or-nothing’ palette with bright red coats, neon yellow and pink bags, and gaudy blue, green and white stripe patterns and designs making their stamp on the runway. Grey and brown suits, American-flag designed jumpers, and coats made an entrance, which juxtaposed the look of the other pieces, but simultaneously melded with the New York streets.

Facetasm Hiromichi Ochiai gave us an AW19 show to remember. With this fantasy world came an arrangement of multiple fur favourites.

Fur coats, and shearling details came in the colours black, white and red to reinforce what Ochiai wanted to express with this collection, that fashion is beyond what society says it is, and that there are endless possibilities in the fashion world, that do not need to be confined into a small box, with ‘normal’ fashion.

Instead, jeans with pockets at the front, eccentric patterns and designs that overlap and look bizarre placed together, patterns and designs that have planets, eyes, and science symbols on tights, tops and bottoms were used to express this message as loudly as possible. Colourful headbands and hairclips also helped convey the peculiarity of Ochiai’s collection. Colour palette came in all kinds ranging from red, purple, dark blue, white, black and orange to help create this piece, and highlight the significance that fashion can come in all forms, and that it’s down to the creativity of the person to conclude their own fashion statement.

Hermes

Azzaro Couture

Schiaparelli

Thom Browne

Thom Browne

VALENTINO

DIOR

Azzaro Couture

Alexandre Vauthier

Fashionweek2019

SUSTAINABLEFUR

Sustainability SYNTHETIC FABRICS THAT ARE KILLING THE PLANET

Eco-leather, synthetic sweaters, and faux leather are a true poison to both our planet and to us. It all started at the beginning of the 20th century, when the textile industry was hit by a huge revolution: the birth of synthetic fabrics.

Most of these fibers are derived from oil refining and obtained in laboratories through chemical processes. The main synthetic fibers used to produce fashion garments are nylon, polyester, acrylic, neoprene and polyurethane – also known by the “more innocuous” name of Elastan, and an aramid fiber known as the SUPER STRONG Kevlar.

WHAT ARE THESE KILLER FABRICS MADE OF? Most synthetic fabrics are highly flammable, they require frequent washing and their disposal is also pretty complicated. Being derived from petroleum, synthetic fabrics are a problem for both human life and the wider environment, because the working process through which they are obtained is toxic and the final products are not biodegradable.

These are fabrics that should be washed at a maximum temperature of 30 °, and do you know why? Because otherwise they risk falling apart.

Have you ever seen a sheep or a plant falling apart, while being under the Summer sun, with the temperature barely hitting 30 °? I have never seen such thing.

Why does this happen?

Because these fabrics are made from petroleum! The same petroleum that is destroying the seas when it is extracted and transported, and which is also destroying our atmosphere only to fuel our means of transport.

The same oil that is not a renewable source and that is not the raw material for the production of any environmentally sustainable materials. The same oil that “we are ending”, and that will allow us to totally destroy our planet if we do not become aware of even the smallest gestures that we can do every day to stop this awfull process: like the choice of the shirt we wear. The future is not in the bowels of the earth but it can be found in its luminous surface, if we want nature to be still part of our life.

After food, clothing is something we are most frequently in contact with on a day to day basis. Inevitably, our skin will absorb the chemicals used for the textile production of the garments we wear. These are so often indigestible synthetic products – both for our planet earth and for us.

SUSTAINABLEFUR

and Fashion

by Samantha De Reviziis

Did you know that in your faeces (or at least in the faeces of 50% of the population) there are micro-plastic fibers deriving from synthetic clothes put into circulation by the fashion industry?

Fibres contained in synthetic clothes end up instead in our water network through the washing action. The Austrian Environmental Protection Agency has researched in the faeces 10 different types of plastics, discovering 9. The most widespread were PET (polyethylene terephthalate) and PP (polypropylene), used respectively for wrapping food and clothes. As for the quantities, the stool samples contained an average 20 plastic particles of variable size between 50 and 500 micrometres.

Synthetic products represent the negation of both nature and craftsmanship, and with their presence they have annihilated entire categories of craftsmen and production chains. They are also slowly killing the planet, stifling the earth and polluting our seas. Replacing itself as an invisible poison to animal food.

Synthetic products are polluting and destroying the air and water, starting from their production and passing through their maintenance through washing. They are standing as indestructible death sculptures on our planet.

According to the fashion houses allied with Peta, in the near future we will all end up wearing plastic clothes. And this should certainly not be viewed as a position.

I think there will soon be a revolution. Fashion brands will become more aware, rewrite the rules and unmask those who are deceptively playing the role of protectors of nature, such as Peta and Stella McCartney, pioneers of the synthetic.

MY BOOK ON THE SUSTAINABILITY OF FASHION It is not a debate, it is not an attack against the fashion industry. Instead, it is a solution for an industry that I truly love and that I hope will return to being as ethical as it was in the past.

I’m finishing writing my first book on the sustainability of fashion. The aim is for this to be a useful book that will offer effective solutions to fashion businesses that are currently using synthetic fabrics and that do not respect the environment nor the rights of humans and animals. A book that will make people meditate on what should be the true and new goal of our beloved fashion industry.

Today, in addition to being a point of reference in the fur industry, I also work as a consultant for many fashion brands. I love to help brands to use biodegradable materials and fabrics. My work consists not only of finding valid substitutes for synthetic fabrics (which are suffocating and indigestible for our planet), but also in helping companies to work ethically and sustainably. Sustainability in this context means sustainability that should be both environmental, social and economic.

I do not want to attack the fashion industry, I just want to suggest a way that it can work to solve a problem created by animal welfare associations. Animal welfare associations such as PETA were born with the aim of safeguarding animals, but to obtain so and to gain both public consensus and strong economic incomes, they ended up embracing extremist positions, forgetting their original mission and becoming the protagonists of the killing of what they should have protected: the animals and the environment.

How did they manage to do such thing? By confusing and misinforming public opinion, by creating sensitizing marketing strategies with big fashion players — such a devastating strategy.

If nobody intervenes, soon we will end up dressing only in plastic and there will not be a future for our grandchildren.

#fu rnow malin lindqvist FURRIER APPRENTICE AT KOPENHAGEN FUR

SUSTAINABLEFUR

FURMARK THE INTERNATIONAL MARK OF RESPONSIBLE AND SUSTAINABLE NATURAL FUR

The International Fur Federation (IFF) is in the process of developing FURMARK. FURMARK, is an independent world-class, comprehensive certification and traceability program that covers sustainability, animal welfare and the dressing and dyeing of fur.

The program is based on three key principles : Science; Independent inspection; Transparency.

FURMARK is a guarantee of commitment to the highest sustainability standards and assurance that the fur industry is striving to further improve the sustainability of the sector and the FURMARK label will help brands and retailers offer reassurance to consumers.

FURMARK will be launched globally in 2020 and the IFF is currently establishing the infrastructure, protocols and partners to deliver the program. FURMARK covers all aspects of the fur trade and after 2020 FURMARK certified furs will be sold through the auction houses globally.

FURMARK builds on and brings together the key global animal welfare programs including WelFur, SAGA Certification by Finnish Standards, North American Farm-Raised & Wild Fur, Namibian Swakara, Russian Sable and the dressing and dyeing process. In the future, other natural fur programs may also form part of FURMARK as those standards are developed, independently assessed and approved.

SUSTAINABILITY STRATEGY With the help of the leading sustainability consultancy BSR, the IFF and Fur Europe are developing an industry wide sustainability strategy which will be published in 2019. It is being formulated to align with the United Nations Sustainable Development Goals upon which other sectors base their approaches. The IFF considers it vital to tackle the issue holistically therefore the strategy will be based on three pillars: good for welfare, good for the environment and good for people.

Animal welfare is the top priority for the fur industry and the strategy will ensure that welfare standards are amongst the highest for animal-based materials. Fur is, by definition, a raw material and natural product. The industry is committed to going further and striving to protect biodiversity, improving production processes, ensuring production transparency and establishing systems for circularity. Finally, the strategy will reflect the fur industry’s commitment to enriching livelihoods, respecting human rights whilst ensuring business integrity across the value chain. The first full sustainability report will be published in 2020.

regionalupdates

eur ope

The European Commission promotes WelFur as Self-Regulation The European Commission has endorsed the European fur sector's animal welfare programme WelFur as a Self-Regulation and Co-Regulation Initiative. It is the first animal welfare programme ever to be promoted in the Commission’s database of so-called ‘soft law’ initiatives.

“The European Commission does not promote whitewashing, so it is a recognition of the credibility of WelFur, and it shows the fur industry works responsibly with animal welfare and society,” Mette Lykke Nielsen, CEO of Fur Europe says.

Amongst other things, the Commission’s description of WelFur reads: “WelFur is a science-based, practical and reliable on-farm assessment systems as an instrument to monitor and improve welfare and demonstrate, in a transparent way, good animal welfare practices.”

All programmes promoted under the Self-Regulation and Co-Regulation Initiative must go through an evaluation process in which they are assessed against a range of principles including stakeholder participation, transparency, reliability, feasibility and legal compliance. Often programmes promoted under the Self-Regulation and Co-Regulation Initiative are the backdrop for binding legislation, and this is the very purpose for Fur Europe.

“Fur Europe supports the idea of taking binding animal welfare legislation to the next level, whether this is at national or EU levels. WelFur assesses the animals rather than the housing system. It is dynamic and future-proof, and it comes with serious sanctions towards non-complying farmers. If someone looks at fur animal legislation, there is no reason to look elsewhere, because WelFur is exactly what animal experts recommend,” Mette Lykke Nielsen says.

WelFur is developed by independent scientists at seven European universities and is being implemented on 3.500 European mink and fox farms in the period 2017-2020.

European Trade Figures Suggest Increased Demand for Fur Products The latest UN trade figures reveal that in 2017 the overall European export value of finished fur products increased by 22 % to 750.7 million euro compared to 614.7 million euro the previous year.

There is also a 20 % rise in the export value of processed furskins from European countries to markets across the globe. Trading of tanned, dressed and dyed skins amount to almost 422 million euro compared to 346.6 million in 2016. The figures suggest that customers demand for fur is increasing despite some high-end fashion brands adopting a fur-free policy and the enduring price crisis. The value of exports of raw skins both within Europe and worldwide remains steady despite the slight drop in the prices caused by the overproduction.

The only significant fall in 2017 was the import of raw skins, whose value halved from 771 million euro to 367.3 million euro in 2017. Such decline could mean that raw skins that until now were being stored finally started to be absorbed by the market.

Denmark, Finland and Poland remain the biggest producers of fur skins, while Italy, Greece, France, Germany and the UK continue to lead in fur manufacturing. The fur trade is estimated to be a $35.8 million business at retail.

Hellenic Fur Federation invited both the presenter and the producer of the programme to Kastoria and Siatista to learn first-hand about the fur sector.

Although currently there is no discussion about fur in Greece, Hellenic Fur Federation took the chance to engage proactively and be ahead of the events. As part of the actions, they also organised a seminar “The truth about fur and animal rights’’ which took place in Kastoria at the end of October where local media and authorities were invited.

Asia

In China, the tariff for wild-fur was dropped from 20% to 15% from January 1st, 2019.

Thanks to our members especially China Leather’s endless effort to make it happen.

2019 Hong Kong Fur Design Contest drew the curtain on January 10th, 2019. Au Chi Yip, Wesker from The Hong Kong Polytechnic University supported by Ace Fur Manufacturing Ltd won the grand prize.

Hong Kong Fur Federation participated the Hong Kong Fashion Week (FW) on Jan. 14-17, 2019. HKFF also organized another successful fur workshop at their booth of the Hong Kong Fashion Week.

2019 China Good4fur Certification Media Conference took place on January 16th, 2019. Combining 2017 and 2018, there are 14 fur baring animal farms in China have been certified by the Good4fur. Good4fur Certification program is supported by the Chinese Ministry of Agriculture and State of Forestry. It involves foreign experts and independent scientists through-out the certification process.

regionalupdates

eura sia

International Fur Workshop in Istanbul 2018 On November 15, 2018, an international workshop on the use of modern technologies in the field of design and sewing of fur products was held in Istanbul, organized by the Russian Fur Union in cooperation with the Turkish Fur Industrialists and Businessmen Association (KSIAD) with the support of the International Fur Federation.

Over 100 people took part in the Workshop. Among them were students, designers, representatives of companies engaged in the tailoring of fur garments, teachers of specialized educational institutions. The master class was conducted by Russian and foreign designers who have many years of experience in the field of sewing fur products, as well as representatives of the international fur auctions: SAGA, Kopenhagen Fur and NAFA. Remix-Eurasia 2018 Results On 15th of November 2018 the final of the international competition of young designers of fur garments Remix-Eurasia 2018 was held in Istanbul (Turkey), organized by the Russian Fur Union in cooperation with the Turkish Fur Industrialists and Businessmen Association (KSIAD) with the support of the International Fur Federation.

The competition was held in two stages: At the first stage, the jury determined the most talented and interesting sketches of young designers. At the second stage, the finished models made from sketches were evaluated and the winners of the competition were determined.

The competition jury was represented by: 1. Sergey Stolbov - Chairman of the IFF-Eurasia Board. Chairman of the jury.

2. Sergey Efremov - designer of the Fashion House "Sergey Efremov" 3. Oksana Moroz - NAFA Marketing Director for Eastern Europe 4. Malin Lindqvist - furrier and designer of the creative studio Kopenhagen Fur 5. Dmitry Larionov - Business Manager, Eastern Europe, Sagafurs auction 6. Elena Esina - head of furrier laboratory. An expert in the quality of fur products.

Institute of Fur Industry 7. Mustafa Senojak - President of the Union of Exporters of Turkey 8. Mehmet Koymen – Designer (Turkey) The winners are: 1st Place: Julia Yukhnovich (Belarus) The prize is an internship in the design studio NAFA (Canada) 2nd Place: Huseyin Ozer (Turkey) The prize is an internship in the design studio Saga Furs (Finland)

ame ricas

Court Victory – Canada Judge strikes down enforcement powers of OSPCA as unconstitutional An Ontario, Canada judge has found some of the enforcement powers held by the province's animal welfare agency to be unconstitutional and says the government must rewrite related laws to remedy the situation. Ontario Superior Court Justice Timothy Minnema says the provincial government was wrong to grant police powers to the Ontario Society for the Prevention of Cruelty to Animals (OSPCA) without also imposing reasonable standards of transparency and accountability. IFF Americas helped to fund this constitutional challenge and our lawyer, Kurtis Andrews, was the lead on the case. Ontario fur farmers, and other commodity groups, argued that the OSPCA fulfilled public functions without being accountable like -other police organizations that have to comply with the Police Services Act, the Ombudsman Act and freedom-of-information laws.

WWD Editors & International Fur Federation Americas: Thought Leaders Luncheon IFF Americas, in conjunction with Paul Wilmot communications (PWC), customized luncheon and panel discussion alongside WWD Editors to promote IFF to a curated audience of 32 industry professionals inclusive of stylists, retailers, buyers, editors, and designers. The event provided key takeaways on the state of the fur industry, as well the value and sustainability of natural fur and ethical best practices of the industry.

Content recorded at the event was then translated into a native article that will live on WWD.com and also ran in the digital daily edition of Women’s Wear Daily during the publications 2018 Sustainability Week (December 17th – 21st).

New York Fashion week PWC will work with IFF to offer a handful of top-tier fashion editors a fur garment along with a luxury showroom experience during this year’s NYFW (February 8th – February 16th) in exchange for coverage.

For any enquiries, contact: info@iftf.com

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