01 ever manifesto everlution

FASHION IS CHANGE AND

REINVENTION. SUSTAINABILITY

IS JUST THE NEXT STEP.

BREAK THE RHYTHM

OF FASHION. MARCH TO

A NEW DRUM. EVER Manifesto 01

EVER Manifesto

Some time ago, Michelangelo Pistoletto traced a wavy line that closed in on itself to form three connecting circles one large central circle flanked by two smaller ones. This is the symbol of the Third Paradise, the theoretical and aesthetic essence that has driven Pistolettos practice in recent years. A symbol of a place where the first, Earthly paradise meets and makes its peace with the second one, an artificial paradise of the manmade resulting in a third, harmonious utopia of compromise and responsibility. A Third Paradise that Pistoletto describes as a new civilisation model in which each of us contributes to the survival of the collective by assuming personal responsibility. The two outer circles are like the father and the mother. In the centre is a pregnant womb that will give birth to our new life. Today, he pushes his symbol another step forward and adds a continuous motif of arrows as used in the recycle sign around its perimeter. This renewed symbol was created in association with his latest project, Cittadellarte Fashion: Bio Ethical Sustainable Trend, a new sustainable-fashion development centre inaugurating today at Cittadellarte, the social art workshop he set up in Biella ten years ago.

I dont think the expression ethical fashion is an oxymoron. The idea of change has always been inherent in fashion and that change isnt necessarily just exterior, superficial. Change happens on the level of renewable ethics, not just renewable aesthetics, states Pistoletto. A pioneer of the Arte Povera movement, Pistolettos long career and diverse creative traits have led him to experiment with self-portraiture, mirrors, Plexiglas, waste materials, chalk and interactive installations. Now its time to start the engines of what Pistoletto calls a lunar module (Because I hope it goes into orbit and opens the way to new worlds) i.e. the Cittadellarte Fashion project created in collaboration with Vogue Italia Editor-in-Chief Franca Sozzani, and a team of 11 up-and-coming

fashion designers from across the world who have designed a look using only eco-friendly fibres. And this lunar module comes just at the right time 2009, the year the Food and Agriculture Organisation of the United Nations [FAO] have declared the International Year of Natural Fibres.

During the intensive two-day workshop in June of this year, the designers were assisted by a number of Italian textile manufacturers in their research into organic yarns. This is comforting and important because it summarises perfectly the two cultural spirits of our adventure, says Pistoletto. On the one hand Biella, an ancient, widely-acknowledged centre of textile-manufacturing excellence. And on the other, young people of different nationalities gathered together at Cittadellarte, a multicultural, artistic setting where there is harmony in diversity, where an individual is encouraged to develop his or her creative talent.

A new mirror work, Prima Scena-La Presentazione by Pistoletto shall also be unveiled at the same time. Featuring the artist alongside Franca Sozzani and the designers all sitting at a long table, covered in yarns and fabrics, its a deliberate iconographic choice reminiscent of The Last Supper. A composition suggesting that even an initiative based on ecology can lead to a spiritual dimension. Cittadellarte Fashion is a trinity of bio-sustainability, trends and the interior value of art. And today, the groups adventure reaches its zenith with the presentation of the designs in an exhibition that includes the raw materials, fabrics and finished clothes.

Cittadellarte Fashion: Bio Ethical Sustainable Trend runs until February 2010.www.cittadellarte.it

Earlier this year, the Italian artist Michelangelo Pistoletto, alongside Franca Sozzani, invited 11 fashion designers to the Cittadellarte

Fondazione and presented them with the challenge of producing one look from a selection of ethically sourced Italian textiles. Here, Pistoletto elaborates

on his philosophy of the Third Paradise and the thinking behind the Cittadellarte Fashion: Bio Ethical Sustainable Trend exhibition.

By Laura Lazzaroni

EVER Manifesto is about evolution.

EVER Manifesto aims to inspire positive transformations in how we live by generating sustainable solutions for both work and play that are aimed at protecting our planet for future generations.

Importantly, these are solutions that can start NOW.

EVER Manifesto intends to stimulate reflection, debate and action. When we have something to say, we will publish a manifesto, working with our supporters, researchers and experts to move people through the power of imagery and the written word. Each manifesto will focus on a specific theme, and support a specific project or event that brings the worlds of science and the arts together

through the issue of sustainability.

In the meantime, you can find EVER Manifesto on the Internet, interacting with individuals all across the world who share our principles to generate a collective voice that speaks louder than

any amount of individual efforts.

EVER Manifesto

Founders: Alexia Niedzielski, Charlotte Casiraghi, Elizabeth von GuttmanGuest Editor: Franca SozzaniAssociate Editor: Xerxes Cook

Managing Editor: Ben CobbArt Direction: Saturday London

Editorial Co-ordinator: Raphael Castelmezzano

Contributors:Derek BlasbergBurak Cakmak

Laura LazzaroniDuro Olowu

Illustrators:Tanya Ling

www.tanyaling.com www.fashionillustrationgallery.com

Pierre Mariewww.pierremarie.fr

Photographer: Amira FritzProduction: Renate Gallois Montbrun

First Assistant: Florent BrunelSecond Assistant: Mlina Vernant

Third Assistant: Lena NatusConception Flowers: Amira Fritz

Realisation Flowers: Sibylle FritzStylist: Theresa Fritz

Models: Dana @ Slides, Roman @ MGM

Website: www.wednesday-london.com

With the support of:LAtelier Publimod for development and prints

Janvier for scans and colorimetry

Thank you:Neige De Benedetti, Matteo Caraccia, Alessia Glaviano, Jens Grede,Mila Serena Di Lapigio, Stella McCartney, Michelangelo Pistoletto,

Erik Torstensson, Mimma Viglezio, Oliver Walsh

With generous support from Loro Piana

EVER Manifesto3rd Floor, Biscuit Building,

10 Redchurch Street,London, England E2 7DD

[email protected]

The tipping point is here. The one weve seen coming for a long time where our consumer society has surpassed its compatibility with the finite resources of the Earth. The truth is that weve been aware of the imbalance between our demands on nature and natures ability to support us for more than half a century now.

Thankfully, consumer attitudes are changing. Just as we have become accustomed to asking the provenance of what we put in our bodies, today the question of where and how the clothes we put on our bodies are made is becoming just as familiar, and as important. Clothes, like art, music and architecture, are a reflection of the time in which they are created. Yet in comparison particularly with that other design discipline that accommodates the body, architecture fashion trails way behind.

And as protagonists in one of the worlds largest industries, one with reverberations that can be felt on every citys high street, we have not only a responsibility to do something about it, but also the power to influence. The very nature of fashion is one of an ever-changing cycle it has to reinvent itself every six months. At first, that rapid turnaround, both ideologically and in terms of production, might seem totally at odds with the concept of sustainability. But thats missing the point.

Because, fashion, more than any other industry, is predisposed to overhauling its system. Yes, sourcing material responsibly, ensuring manufacturing has a low-impact on the environment and trading ethically all takes radical change and vision. But that is what fashion does best. The industry needs to embrace it as just another form of reinvention.

That said, eco-friendly is not a fad, and responsible trading is not a trend. Instead, by looking to technological innovations and educating not only the consumer, but also those with influence like designers and buyers as to

how their clothes are made, ethical production can be the next step in fashions evolution. A step that is key to fashion remaining relevant as a design discipline that not only reflects the times but also directs them.

It sounds like a Herculean task. But it is important to remember there are no fixed solutions when dealing with sustainable, environmentally responsible production. Like the constant flux of fashion and the Earth itself, it is an area of constant change. Technological innovation in textiles and production offer a brave new world of creative possibilities such as growing seamless clothes onto the body (as discussed by the Gucci Groups Burak Cakmak later in this publication) that might be more dynamic and exciting than what existed before. Creativity be it from the specialist innovations of scientists or from fashion designers, buyers, marketing teams and the media is crucial to not only the survival of luxury as an industry, but also life on Earth as we know it. Embrace the problem create the solution.

We are not unrealistic in what were asking of fashion. We understand there is no such thing as a completely green fashion company. We are also fully aware of the negative associations with ethical fashion, the phrase, and the flaws chiefly in the design process of companies who brand themselves as such. What we are asking is that the companies we know, the labels we love and the people we respect try to become greener. And in doing so, green will become desirable. Strengthening not only the attachment todays consumers have with their favourite brands, but also that of the next generation for whom sustainability will be second nature.

There are some brands and young designers already out there proving that ethics neednt get in the way of aesthetics. But there is a long way to go. The fashion industry is far from being sustainable. However, step-by-step, we can all try lead, and others will follow. And besides, with the price points of most high fashion, no one wants to be wearing 1500 of bad karma on their back.

Modus Operandi

EVER Manifesto EVER Manifesto

Born in Birmingham to Afghani parents, Osman Yousefzada combines elements of ethnic costume with draping and

traditional tailoring.

I WAS BROUGHT UP BY FRUGAL AND NON WASTEFUL PARENTS. THIS PROBABLY MADE ME INTO A HOARDER. BUT WE ALL NEED TO BECOME MORE

AWARE OF HOW WASTEFUL WE ARE. WE CAN ALL LIVE WITH LESS.

Known for his devilishly sexy cocktail dresses, this Canadian-born knitwear wizard fuses couture craftsmanship

with hi-tech materials.

THE QUESTION OF SUSTAINABILITY AND HOW IT APPLIES TO MY DESIGNS HAS BECOME A MAJOR THEME IN MY LIFE. MY GOAL NOW IS TO CREATE GARMENTS THAT ARE TIMELESS ARTEFACTS AS OPPOSED TO GENERATING

AN ENDLESS STREAM OF DISPOSABLE TREND-DRIVEN FASHION.


From her hometown of Milan, 28-year-old Central Saint Martins graduate Marta Forghieri underpins soft shapes with

architectural tailoring.

SIMPLE NUMBERS NO LONGER DETERMINE VALUE. IT IS THE DURABILITY, THE CRAFTSMANSHIP AND THE RAW MATERIALS OF A

GARMENT THAT MAKE IT DESIRABLE.

Having collaborated with Lacroix, Dior and Alaa, Venetian Roberta Furlanetto went solo in 2007, constructing seamless

designs directly to the body.

AT THE MOMENT ECO-SUSTAINABILITY IS ONLY PARTLY VIABLE BECAUSE THE VAST MAJORITY OF DYE COLOURS ARENT YET ACHIEVABLE WITH

BIOLOGICAL OR ORGANIC COMPONENTS. WE ARE STUCK WITH 30 - 40% OF THE OPTIONS. SO, LETS TRY HARDER, INVOLVE THE WHOLE INDUSTRY AND

ALL WORK TOWARDS REALISTIC AND TANGIBLE GOALS.


Based in London, this Swedish knitwear visionary creates sculptured objets dart for the female form.

WE HAVE ALWAYS BEEN CONSUMERS, WE ALWAYS WILL BE AND WE SHOULDNT WASTE OUR TIME TRYING TO FIGHT IT. WHAT WE HAVE TO DO

IS TRADE RESPONSIBLY.

Silvio Betterelli lends some dramatic flair from his Sardinia homeland to elegant, flowing evening dresses.

OUR BIGGEST ENEMY NOWADAYS IS HASTE. THE RECKLESS PACE OF LIFE, WHICH FEEDS ON US. IT ERODES THE WORLD WE LIVE IN AND ITS

RESOURCES. WE NEED TO SLOW DOWN FOR A MOMENT.


After balancing studies at IED Madrid with stints working for Sybilla, this 29-year-old Portuguese designer embarked on his own

line of couture party frocks.

TO GENERATE WEALTH IS FINE. BUT IF THE WORLD IS TO CHANGE FOR THE BETTER, WHAT REALLY MATTERS ISNT TO SEEK PROFIT ALONE. WE

HAVE TO PAY ATTENTION TO HOW THE MONEY IS MADE.

31-year-old Italian Marco De Vincenzo blends Margielas high-concept approach with Versaces hip-hugging swagger.

THE QUEST FOR PROGRESS IS THE MOST NATURAL HUMAN QUALITY. BUT IT CANT BE AT THE EXPENSE OF THE PLANET, WHICH WAS HERE A LONG TIME

BEFORE WE WERE. EVOLUTION MUST ALSO BE CONSERVATION.


Working out of Brooklyn, Matthew Ames brings a modernist sensibility to rigorously tailored yet voluminous silhouettes.

SUSTAINABILITY IS NOT ONLY ABOUT THE MATERIALS AND PROCESSES WE USE. ITS ALSO ABOUT ENDURING DESIGN. ITS IMPORTANT THAT MY IDEAS

ARENT ONLY GOOD FOR NOW, BUT ALSO OVER THE COURSE OF TIME.

A graduate of Londons Royal College of Art, NorwegianSiri Johansen reinvents traditional menswear staples with a

frenzy of prints and patterns.

WHEN PURCHASING A GARMENT, YOU ARE NOT ONLY INVESTING IN A PIECE TO TREASURE FOR YEARS. YOU ARE INVESTING IN THE INTEGRITY

OF THE PROCESS IT TOOK TO MAKE THAT GARMENT.


CHARLOTTE CASIRAGHI: How did the Cittadellarte Fashion project come about? And is this the first time you have been involved in a project that deals with environmental issues in fashion?FRANCA SOZZANI: The original idea came from Michelangelo Pistoletto who personally believes that in fashion, sustainability, as in any other field, has to be as important as creativity. In his Cittadellarte Fondazione, Michelangelo invites young and talented people whose main achievement is to be creative and respectful of the environment. Its the first time that Ive been personally involved in this kind of project, even if two years ago I made an entire issue of LUomo Vogue dedicated to the environment, but not exclusively related to the fashion industry. In a way it was my first approach to this problem and it was probably the first moment in which I realized how far fashion still has to go to be green.

CC: Was there a particular turning point in your attitudes towards how fashion is produced?FS: I love nature and I respect it, but Ive honestly never connected fashion and the environment in the choice of my own clothes or in the choices of the magazine. Still, there are very few people in the fashion world who are really concerned about ethical issues. When we look at the fashion shows, we cannot know if the materials and the production processes the designers choose are compatible with sustainable methods. Thats why I think its very important to educate young fashion designers of the environmental impact their creations have, and thats why Im happy to be part of this project with Michelangelo Pistoletto. I consider it the first step of a big change.

CC: How did you select the 11 designers for the project?FS: The 11 designers were chosen by a small jury including Michelangelo and myself, and the criteria of our selection was based simply on creativity. The entire idea was to select talented people, ask them to use only organic fabrics to make an outfit for the presentation, and for them to then become ambassadors of a new beauty that makes women attractive and glamorous without destroying the planet.

CC: Fashion designers and buyers have a considerable influence in the choice of materials used in their designs and how they affect the environment how can you influence them to produce in a more environmentally responsible manner?FS: We need to change the approach to find a solution. As far as fashion is concerned, if brands adopt an eco-friendly image purely as a cynical marketing ploy, or to impress the media, then it will be very difficult to make a real change. The truth is that every collection is judged on its aesthetic appearance. Today, in this economic crisis, the whole system is based on price and costs, and sustainability is not

the first priority because its expensive to change production or to use only environmentally friendly materials. Its not necessarily about making massive changes but step-by-step we can find a good compromise between aesthetics and ethics. I guess if a big name in the fashion world launches eco-friendly as the way to be in fashion today, then success in sustainability will be much quicker.

CC: A lot of young designers and small brands are adopting sustainable approaches to fashion, but how do the established designers and luxury brands feel about these issues? FS: Its true that some young designers are trying to have an ethical approach to the environment, but its still a niche. The big designers are thinking about it, and some of them are already producing part of their collections in this way. But, again, everything is still at the beginning. I think that in the future, approaching fashion in an ethically responsible manner will be the way to behave, but it will take time. The problem anyway is not only for the designers but also for the consumers. It will take time to teach them how to recognize and to choose a sustainable item.

CC: As the Editor-in-Chief of Vogue Italia, what role do you think the media can play in influencing designers and consumers to become more environmentally responsible?FS: We all have to move forward and that includes my magazines. Unfortunately, in a picture you cannot recognize what is sustainable or not so we have to write, to interview people who are reliable, to ask designers to create something special, to teach students in the fashion schools, and to spend time and energy in participating in great projects such as the one we are doing at the Cittadellarte Fondazione. A magazine, I believe, has a mission and Vogue, as the fashion magazine also has a responsibility to help the readers understand not only the ephemeral side of fashion, but also the ethical side.

CC: What are the obstacles and challenges the fashion industry faces?FS: I guess the real obstacles are in organizing the production processes. Meaning that we have to make the industry compatible with the limits of the Earths resources. It isnt easy, but its necessary! The challenge is to succeed in this change and to convince the consumers how important it is to be part of this change. Another big challenge will be to demonstrate how creativity can be as strong as ever and still be respectful of nature.

CC: On a more personal level, what is it you look for when you are shopping for clothes?FS: The truth? That I feel well, sure and satisfied that I am only following my own style! Sustainability shall be my next step!

Franca Sozzani has been the Editor-in-Chief of Vogue Italia since 1988 and is one of fashions most influential figures. As co-director of the Cittadellarte Fashion project, here she discusses with Charlotte Casiraghi the role the media can play in educating and influencing consumers, and the importance of finding

a compromise between aesthetics and ethics.

Relocating from Athens to Central Saint Martins, the 25-year-old has made bold, hyper-real prints her design signature.

AS A PRINT DESIGNER, I HAVE ABANDONED TRADITIONAL SCREEN-PRINTING AND REPLACED IT WITH DIGITAL PRINTING. THE CHEMICALS

ARE MUCH LESS TOXIC AND THERE IS MINIMUM WASTAGE.


While it is certainly an entertaining couple of hours, The Devil Wears Prada wasnt exactly an accurate portrayal of a top fashion magazine. My very first job was at American Vogue, the publication on which the film is based, making Anna Wintour the high priestess in the film played by Meryl Streep my first editor. So, I consider myself a bit of an authority on this topic.

For one, Ms. Wintour would never deign to model the silver rimmed, mirrored wraparound Versace glasses Streeps Miranda Priestly wields in the film (she prefers chic round Chanel frames, thanks). Secondly, you can rest assured that meager assistants dont accompany their higher-ups to the Paris haute couture shows twice a year, and pick up goodie bags of designer freebies, as Annie Hathaway comically complained about in the film. And third, no one at Vogue wears the ethnic, oversized man-jewellery Stanley Tucci did in the film even Andre Leon Talley, who is widely believed to be one of the men at the magazine that were pieced together to create Tuccis character.

But the saving grace of the film, the part that gave it a sense of gravitas and provided a glimpse into a world so many long to understand, was easily missed by some. The heart of the story, for me at least, takes place in the scene just after Hathaway has started working as Priestleys assistant this is before the Chanel over-the-knee boots and new fringe makeover when she clomps into Priestleys office in a pair of rubber clogs and sniggers when she hears a lively debate over one blue belt being the same blue as another blue belt. For the record, it wasnt turquoise, nor lapis; it was cerulean.

Streep, in character, launches into a venomous speech that is in equal parts nasty and accurate. She acknowledges Hathaways arrogance in judgment noting how she thought she was above the superficial process of fashion but then points out that after Oscar de la Renta, then Yves Saint Laurent, eight more designers showcased a blue similar to the very sweater Hathaway was wearing. The color cerulean trickled on down into some tragic casual corner where you, no doubt, fished it out of some clearance bin, pronounces Priestly. However, that blue represents millions of dollars and countless jobs and so its sort of comical how you think that youve made a choice that exempts you from the fashion industry when, in fact, youre wearing the sweater that was selected for you by the people in this room. From a pile of stuff.

After the films commercial success, many paid attention to parts I didnt count as integral. I would be asked, Is it really that cut throat to work in fashion? Do you have to be skinny to work at magazines? Can you really get advance Harry Potter galleys from sexy book editors if you flirt with them at SoHo store parties? Blah blah blah! Whether or not these sorts of things were true are irrelevant; for me, it was all about Streeps monologue about cerulean. Right there for me, for my parents, for my cousins in Arkansas who think shopping at Gap is investment dressing, for rich people, for poor people, for Wintour, for you, for all to see in just a few minutes of cinematic snideness, there it was: the scope of how far-reaching this business about dresses and hemlines truly is.

The poignant parts of that monologue how the choices of a few at the top of an enormous fashion pyramid filter to its giant base are still a foremost factor in modern culture. Fashions tentacles have worked into nearly every single nook and cranny of modern society. Im not referring to a we-all-put-clothes-on, we-all-put-pants-on-one-leg-at-a-time simplicity here, either. Yes, its true that everyone gets dressed, but the modern relationship between fashion and the rest of the world has only become more complex and interwoven.

Ms. Wintour, in a not-so-devilish role as fashion doyenne, was acutely aware of this newly redefined relationship last September, when she hosted a city-wide initiative (and later worldwide, as the initiative spread to as far away as China) called Fashions Night Out. It was a night when nearly every single store in New York City even in Queens, where Ms. Wintour herself was signing t-shirts at a Macys stayed open till 11pm, hosted parties and made attempts to stimulate the citys retail market.

For a reminder of how important the fashion industry is to New York City specifically, look at the facts: more than 175,000 New Yorkers work in the industry, and more than $10billion is traded in New York City per year alone. While its easy to write off the entire fashion industry as a couple of vain, materialistic people playing dress-up because they have nothing better to do, the numbers are irrefutable. Heres the other thing about fashion its everywhere. It cannot be defined as merely seamstresses, or photographers, or make-up artists. Its much bigger, more complicated, and way deeper than that.For one, its a mirror of other cultures. Like how John Galliano high tails it to India, stocks up on bright fabrics and shiny bits, and devotes a whole collection

to that far off land. (Mr. Galliano loves a research trip.) Not that it stops with John in the Far East. Fashion dabbles in art, whether its Stella McCartney asking an artist to design a pattern she will put in a dress, or Marc Jacobs doing something more literal at Louis Vuitton, when he asked the likes of Murakami and Richard Prince to spice up the brands age-old monogram. Fashion is in art and music too, and not just as giant logos on the back of rappers or designers; last year Karl Lagerfeld designed the costumes of The Dying Swan at the English National Ballet.

Following the well-worn path of Jacqueline Kennedy and even Marie Antoinette, fashion plays a role in politics too. Wasnt it amusing when the tabloids tried to pit Michelle Obama and Carla Bruni against each other in some sort of First Lady fashion off ? Yes, it was ridiculous both women have looked chic and beautiful at all of their public appearances, no rank needed but few could have anticipated, when Hilary Clinton was in the White House, the global focus that could be placed on a First Ladys wardrobe again. Michelle Obama is largely responsible for shoving the likes of Thakoon, Jason Wu and Isabel Toledo onto a global stage, not to mention what she has done for J. Crews cash registers since working the campaign trail in a sensible yellow ensemble.

Then theres the entertainment industry. Beyond creating costumes for films which isnt a new gig for designers, lest we forget that Coco Chanel herself jaunted to Hollywood to make wares for films in the 1950s there is the completely new and all-powerful world of celebrity dressing. An entirely new world, with power stylists and under-the-table deals for famous people to wear certain things, it can be startling. Angelina Jolie wore a Michael Kors black strapless dress to a movie premiere with her husband and within hours YES, HOURS the $3,295 dress was sold out on all online retailers. Fashion overlapping with other industries is hardly a new phenomenon. Going back to the wonderful world of art, Elsa Schiaparelli put a giant Salvador Dali lobster on the crotch of a dress she designed in 1937 (which Wallis Simpson famously wore), and collaborated with Dali again on hats that were made to look like everything from lamb chops to ladies gloves. Those pairings are still inspirational one Schiaparelli dress, on which she collaborated with Jean Cocteau in 1937, just sold for 175,000 at an auction at the Drouot-Richelieu auction house, where forty other similar works all sold too.

The fashion industrys omniscient presence doesnt look like its going to delay anytime soon. Look at Autumn: big shoulders (Dolce & Gabbana), 1940s seductress (Lanvin), bright lights (Balmain), rolled up sleeves (Marc Jacobs), biker jackets (Donna Karan), big colours (Prada) and big strict belts (Gucci). The modern girl isnt messing around with her wardrobe shes dressing fiercely for the lean times ahead. With the recession, things have got harder for these girls, and theyve responded with even harder looks. Kate and Laura Mulleavy from Rodarte told me earlier this year that their Autumn inspiration was Frankenstein!

Beyond trends or It bags or a shoe of the season, however, the purchasing power that the recession has given the fashion costumer is now greater than ever before. Theres a whole new dimension to shopping, one that previous generations neednt debate an ethical one. In the course of fashion history, garments be they loin cloths on Native Americans or Botoxed ladies who lunch in couture gowns have filled a variety of needs. Early humanitys clothes just needed to maintain modesty and warmth. Only much later in the history of man did clothes start to fulfill more roles. As humanity became more diverse, fashions morphed into specific styles, social indicators and a matter of taste. The big current discussion is the morality of fashion, namely articles of clothing that come from living creatures. And boy, do people take it seriously.

The topic of sustainable fashion is an engaging conversation that will be discussed for generations to come. The passion on both sides is something I find fascinating, and, indeed, I think future generations will re-evaluate where and how they cull their materials. Let us all remember that it wasnt that long ago that a lady had to wear a corset, and that the chicest, most masculine of men would wear tights and a single pearl earring. Will realistic fake leather and artificial fur one day be the sort of topic that cerulean blue was in The Devil Wears Prada? Will the day come when Miranda Priestley can back track the trajectory of sustainable fashions to a single decision made in her office with her fashion team? Probably. One day. Because, in the words of that fictional character, what we wear will never, ever be just a pile of stuff.IL

LUSTRATION BY PIERRE MARIEFashion is more than just clothes, its a global force that

unites us all. Derek Blasberg explores the butterfly-like effect the actions made by the chosen few at the top

of the industrys chain have on the world and the way we live our lives.


Today, the luxury industry is under increasing pressure to evolve in order to adapt to the new concerns of our times. Traditionally, the ways in which luxury items have been produced using natural, high quality and often locally sourced materials that are then transformed by the precise craftsmanship of skilled artisans have had a relatively low impact on the environment in comparison to the mass market. As high fashion expands into new territories, the importance of using innovation to create new and dynamic ways of consuming is becoming clearer for an industry that is bigger than ever before.

A result of the economic downturn has been a marked change in consumer habits and non-essential items have been hit hardest. As much as we may hate to admit it, luxury isnt a necessity for most. In order to compensate, the industry has to offer deeper value to satisfy the demands of would-be customers who increasingly expect their luxury purchases to be manufactured in an environmentally responsible manner.

Fashion designers can play a big role in influencing the way their creations affect the environment. The future of design has to move beyond the traditional characteristics of luxury beauty, desire and exclusivity. Luxury, in essence, has to respect a wider sphere of impact that includes the environment and the people involved through the journey of its creation. Advances in cutting-edge design, science and material research and development are all key to generating new methods and processes to assist in defining the future of craft and manufacturing. Only this kind of innovation can help ensure that the luxury industry takes into account ecological concerns and climate change.

When the prized vision of designers is combined with the technological advances of expert researchers and scientists, the potential outcome offers a new definition of beauty that can delight and be appreciated by all. Sustainability isnt necessarily achieved by using only organic or natural fibres. Even today, cutting edge technology provides innovative options to foster creativity beyond its previous limits. A first step that has been taken by many environmentally aware fashion designers is to use recycled textiles. A good example is Yves Saint Laurents New Vintage collection, designed by Stefano Pilati.

But in terms of technological advancements, we have recently seen the new Sergio Rossi Eco Pump stiletto designed by Francesco Russo, which launched on June 5th, the UNs World Environment Day. To create this visionary shoe, Sergio Rossi collaborated with the German Fraunhofer Institute, a leader in research of alternative materials, and more specifically,

its division dedicated to environmental solutions. The partnership resulted in the formulation of a fully biodegradable shoe using plant oils and liquid wood derived from wood pulp a by-product of producing paper in the creation of the sole and the under-heel. This is the first time liquid wood has been used to create a fashion product.

Biomimicry an ancient design and engineering principle that takes its inspiration from the forms of nature is also a relevant area of exploration. Recently, biomimicry has attracted the attention of architects and engineers who have partnered up with biologists to explore new approaches to solving man-made problems in a sustainable way. Their research has resulted in new breakthroughs such as manufacturing fibres in the same manner as the Golden Orb weaver spiders, self-cleaning surfaces inspired by the Lotus plant and a fabric that emulates shark skin. It wont take long for fashion to tap back into nature to innovate, and the results will be designs that transcend the sustainability conundrum and inspire wonder in the consumer.

We are also seeing key luxury houses supporting innovation through new partnerships. For example, acknowledging the value of investing in the future of luxury, the Gucci Group will sponsor a new Ph.D. Scholarship at Central Saint Martins College in London, aimed at promoting creativity and innovation in sustainable textiles. Launching in September 2010, the trans-disciplinary research carried out by the Ph.D candidates will explore the technological potentials and creation of sustainable textiles and thus the future of the fashion industry. Principles such as biocouture (growing fabrics from lab cultured bacterial cellulose), upcycling synthetic materials and smart textiles that have the potential to change their colour to adapt to the various conditions of the wearer shall be central to the candidates research. And, of course, we hope, other areas that have yet to be discovered.

With consumers demands for sustainably sourced products pushing the fashion industry, the business finds itself pulled in the direction of supporting innovation. The effect is the creation of a perfect Petri dish for sustainability to be the new paradigm of design rather than merely an afterthought and thus at the centre of what the luxury industry has to offer. At the end of the day, true luxury can only be credible and desirable when its creations are supported by positive values. These positive values create a stronger attachment to the brand and the product. Values that not only include beauty, creativity and exclusivity, but also a sense of innovation and respect for our surroundings throughout the entirety of its creation.

Eco-friendly doesnt necessarily mean organic. New technological innovations now offer us creative alternatives that are not only ethically sound but also

more exciting, than ever. Here, Burak Cakmak the Gucci Groups Director of Corporate Social Responsibility describes how the luxury sector has a vested

interest in the environment and the possibilities afforded to us by science. The customer is, after all, always right.

DURO OLOWU: What does sustainability mean to the fashion industry? JULIE GILHART: I feel its about being more conscious of how clothes and accessories are made. Trying to ensure wherever possible that theyre made using organic or sustainable fabrics and supporting crafts people. The main thing is that high fashion is in a position to have less of an adverse impact on the planet than most kinds of mass production.

DO: I remember early on in their careers, people like Margiela, Xuly Bet and other underground labels used recycling techniques as a means of expressing their avant-garde vision of fashion and how clothes could be worn. Is sustainability now what recycling was to the 1990s? JG: Yes, to some degree. Designers like that were concerned with showing how fashion items could be worked and reworked, used and reused. It was about defining individual personal style by designing collections using recycled fabrics and garments, and making a strong statement against mass production. Hardly ever did the words sustainable or organic show up in the descriptions of these designers and their work. And yet, because these labels grew slowly but surely, it showed buyers, retailers and the fashion press that this kind of production though limited in quantity avoided a lot of the waste going on elsewhere in the industry.

DO: Why has the fashion industry been so slow to catch up with others in embracing sustainable or organic products?JG: The fastest awareness was with organic food and cosmetics. When I was growing up in Texas, buying organic meant shopping at a little market in town frequented by few. But, by the mid 1990s, the food and cosmetics industry were way ahead of fashion in embracing organic products and sustainable production methods. The main reason being that theirs was a more specific story that invited people to eat organic foods and use organic cosmetics. People became more aware of their health and wellbeing, and as such more conscious about what they put into their bodies and how these products were made. All by simply reading labels and content descriptions. Taste and feel were also very important.

DO: How has this new knowledge and behaviour impacted on the current luxury goods industry?JG: Luxury is changing and the whole 1990s expensive thing is no longer seen as luxurious. Consumption cannot be stopped. However, in the current economic climate, the limited number of real customers for this industry must be made to feel good about their purchases, expensive or not. This conscious consumption is not a trend. It is a movement, one that has forced smart designers and brands alike to become much more transparent about where things are made, what they are made from and under what conditions they are produced. Issues of sustainability and fair trade are now part of the appeal of fashion and luxury goods.

DO: And yet, rather than sacrificing aesthetics for sustainability, design remains at the forefront of this new consumer movement.JG: Extremely so. It is still about having beautifully designed things that

fit well and feel good. What is new is that people are now aware that these things can be made in a sustainable way without compromising the result. And high-end fashion in limited numbers adds to the cache of the brand. Like with your work, which has always incorporated mixing unused vintage and rare couture fabrics with your own prints and other contemporary fabrics that you produce locally.

DO: Absolutely. For me, beautiful fabrics and limited production are the keys to creating special pieces that are desirable to the client. Production conditions are also crucial. JG: For sure. Approved factory strategy is a major thing now. American companies manufacturing in countries like China are now stipulating the manufacture of fewer goods in better working conditions.

DO: But doesnt this conflict with the bottom line, cost efficient needs of these big companies?JG: Yes and no. As these companies become more aware of the disaster that the human race is creating on the Earth, they are seeking a new way of continuing to manufacture and sell more cost effectively without abusing the planet and its workforce. They realise that they can do this in a sustainable manner, one that requires pioneering programmes and legislation. In this regard, the conscious consumers awareness of the efforts put in by these brands saves these companies huge amounts of money as less advertising is required. Any thing that saves these companies large amounts of money in this dire economic climate is a big plus. For them, the new sustainability is about sustaining a business!

DO: Barneys New York has always supported and sponsored organic and sustainable projects and products in fashion. For example, the Future Fashion Project in 2008, which invited major fashion brands to participate in a runway show using only sustainable fabrics. How successful was this and what does the future hold?JG: The event was a huge success covered by all the major fashion magazines and press. Over thirty designers, including Bottega Venetta, Yves Saint Laurent, Isabel Toledo, Proenza Schouler, Margiela, Versace, Calvin Klein, Donna Karan and yourself all donated total looks and showed the power of the message of sustainability while maintaining fashion credibility. More recently, we have collaborated on the New Vintage collection with Yves Saint Laurent a limited collection of classic YSL pieces, all made from material left over from past collections. We are also embarking on a loomsgate project featuring prints and patterns of endangered animals and all the proceeds are going to the Defenders of Wildlife organisation.

DO: Whats the easiest way for the average consumer to start becoming more aware?JG: Start with being conscious of how you buy denim. Each pair of conventionally produced jeans contains, on average, enough pesticides to fill one zip lock bag. Read the label to see where and how it was made. Its good for you and even better for the planet.

Julie Gilhart, Senior Vice-President and Fashion Director of Barneys New York has long championed sustainable projects in high fashion. Here, with London

based designer Duro Olowu a man who knows a thing or two about producing beautiful clothes with alternative means she discusses the influence the fashion

buyer has on consumer choices and why sustainability is to be considered a movement and not a trend.

EVERLUTIONS FASHION MANIFESTO WOULD

NOT HAVE BEEN POSSIBLE WITHOUT THE SUPPORT

OF LORO PIANA.

EVER Manifesto 01

Founded in 1924, for generations Loro Piana has been a paradigm of high quality, innovation and luxury in the field of cashmere and rare wools. Based in Valsesia in northern Italy, the family owned fashion label has also long been committed to the environment. In a way, we embarked on this road [of an ecologically conscious business model] almost by sheer chance, since we work with raw materials such as cashmere, wool, linen, cotton all 100% natural yarns, Piana says. At the same time, weve been incredibly committed towards the highest quality since day one, opting to focus on the most beautiful and precious amongst natural materials. Contrary to what one may believe, even the world of natural fibres has a high and low end. Ultimately the consumers have proved us right our policy has taken roots and has been rewarded over time.

Loro Pianas commitment to the environment is spread throughout the entire manufacturing chain, ranging from the selection of farms to the dyeing process, from energy procurement for factories to solid waste and wastewater management. We deal with non-dyed fibres, alpaca, wool, angora, all in a variety of neutral colours, and turn them into products that become fashion statements, he explains. Its imperative not to neglect the aesthetic element, but our garments and textiles must also be a cut above. A few years back, we used New Zealand merino wool from the fleeces of dark coloured sheep, or pecora nera. The result was an extremely lovely yarn in four different

hues. And a similar philosophy is applied to cashmere from the South American vicua. Once nearly exctinct, the fortunes of the vicua a camelid related to the alpaca and renowned for its incredibly soft and breathable fur turned in 1976 when Loro Piana first established private reserves on the Peruvian plateau to preserve this unique breed. It is a strategy of responsibility that has elicited a positive market reaction up to a point.

Right now, in the highest spheres of the fashion industry, a great deal of attention is being paid to environmental issues. However, its in the mass market that selling a natural product becomes difficult. As Piana puts it, for a long time, it was a great deal easier, even for us, to sell the colour of the season rather than a natural one. The problem being that a certain obsession with appearance, fuelled by the trend of the moment, seems to prevail over the products eco-sustainability. Certainly, money matters wool is costlier than nylon and, in some ways, does not perform as well. But we also need to assess the social consequences of a similar choice. A woollen, alpaca or cashmere coat has a defined life and death cycle.

The environmental issue is a daunting macroscopic emergency that threatens to overwhelm even the most dedicated. Yet Piana believes that every step is a leap ahead. Manufacturers need to double their efforts if, on the one hand, we keep pushing the envelope trying to respond to clients needs, on the other

we must generate a culture of awareness. An awareness that starts right from the shop floor. The importance of traceability has already sunk deep into the food sector its about time those rules are applied strictly and fast in our field too. He continues, details concerning product composition are necessary and sufficient as of now. However, its important, and under the sellers responsibility, to place the label where it can be easily seen and to use a clear and simple description. Its also useful to have official agencies checking upon the honesty of a labels contents. Such boards exist and their functions should be implemented and respected. Further steps ahead will come with the availability of in-depth information regarding the products origins.

Piana urges customers to enquire about product composition 100% dark sheep? Great, as dark wool reduces the impact of dyeing the fabric. 50% nylon and 50% wool? Were getting there its a mix, but at least we are on the right path. Amidst a strategy of growth and social accountability with a business like Loro Piana, there are also initiatives regarding tomorrows talents such as the Cittadellarte Fashion event headed by Michelangelo Pistoletto and Franca Sozzani. Shes taken it upon herself to convey a positive message to the youth, with regard to ecological issues, he says of Sozzani. Its imperative that they understand how even a decision about the use of a specific material can affect the emissions problem.

Here, Pier Luigi Loro Piana, the companys CEO elaborates upon the ways in which they have demonstrated their commitment to sustainable sources

of fabric even if it means saving a species from extinction and why the customer should demand more.

By Laura Lazzaroni

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