Goodlifer » Sustainable Style

Mindful Retailing Beyond Urban Zones: Part 2

Abigail Doan — Fri, 27 Aug 2010 16:32:11 +0000

As continuation of our exploration of mindful retailing and sustainable fashion enterprises on Main Street USA, we head up the coast to Cape Cod, MA, and Portland, Maine for a chat with the owners of two locally grown and globally minded businesses. With SHIFT boutique and Chellis Wilson at the helm, the good life seems totally within reach, despite the occasional challenges of recessionary headwinds.

SHIFT Boutique in Hyannis, MA

Night-time event at Shift boutique in Hyannis, MA.

Hyannis, MA, is driven by a tourist economy and SHIFT’s founders and owners, Amy DuFault and Amanda Converse are hardly strangers to the seasonal shopper dynamic. As EcoSalon’s Fashion Editor, Amy, is a national mover and shaker on the eco fashion scene, and coupled with Amanda’s background in Environmental Studies and Policy, they are a rather invincible team. Both are Cape Cod natives, and understand the value of bringing sustainable initiatives to their local community.

GL: How did you get involved with eco fashion retailing?

Amy for Shift: Amanda and I first started working together at a time when I was helping out a bevy of designers who were experiencing major setbacks from the recession. Boutiques were closing, buyers were refusing orders simply because they could not pay, and designers were struggling even more than usual. I told several to send me whatever pieces they could, and I offered to have a traveling “sample sale” where I would sell off their items and forward the checks. Amanda had the first sale with me and never left my side for the next seventeen events. One of our last sales was right next door to where Shift is today. We found the space together and fell in love with it. I have now worked as a marketer, coach, and writer for sustainable designer labels exclusively, so the switch to retail just feels like another layer of supporting designers while doing something I love. Friends surround me every time I walk into Shift.

Shift sustainably chic designer goods.

GL: How has your local community been an ideal and/or challenging locale to set up shop?

Amanda for Shift: One big challenge is that our concept is new to the Cape, and people may have preconceived notions as to what eco-friendly clothing is. We also struggle with a pretty seasonal economy. Although Hyannis has a fairly substantial year-round population, the Cape, in general, slows down considerably after the summer season. However, both Amy and I grew up on Cape Cod, and in this place that carries a lot of weight — the natives tend to support fellow Cape Codders more so than wash-a-shores! We are also both very involved in the community — serving on committees and boards, volunteering for local non-profits and getting involved with business organizations. We have found that as we show our community that we care about it, our fellow members of the community care more about us. Our local customers are loyal and very supportive.

Shift boutique's eco inspired interior.

GL: How do you select the designers/product that you feature at Shift?

Amanda for Shift: We look for designers who share our same value system — people who want to make beautiful clothing while also limiting their impact on the environment. This means looking at their process holistically from seed to sewn, and being conscious of how each step affects our entire ecosystem. These designers are authentic, thoughtful, creative, humble, and passionate about making sustainable designs appealing and available to anyone who is interested.

GL: Do you ever feel that there is resistance to what you are trying to do in your community?

Amy for Shift: The only resistance I think we feel from customers is to spending the amount of money our clothing is priced at, which is ironic seeing as we work REALLY hard to have a selection of clothing at all different price points. That’s a whole other educational process. People need to be made much more aware of how their clothing got to them, on an environmental as well as an ethical level.

Handmade knits and sustainable goods at Shift boutique.

GL: How do you connect your business to the green community beyond?

Amanda for Shift: Amy and I organize Green Drinks Cape Cod (a networking group for people interested in environmental issues), which helps connect us to people in our eco-community. Otherwise, we really depend on social media to connect with the eco-community elsewhere. This isn’t as hard as one might think. Amy is a Facebook and Twitter fanatic, and she has made a lot of contacts through that. And right now the community is so open and willing to help and support others working in the field.

GL: Are there any anecdotes that help illustrate what you and your business partner face as Goodlifers in your region?

Amy for Shift: Amanda and I have both taken long stretches of time away from Cape Cod and can now appreciate where we live with its texture and quality. We also have really great friends and family supporting us. I think about Natalie Chanin sometimes and her journey working for design houses in Europe and one day realizing she needed to go back home to Florence, Alabama to start her own label, Alabama Chanin. The fact that she now employs local women for her very unique “Americana Couture”, is a testimony to the fact that one can make money and still live a beautiful (sustainable) life in the community where they grew up.

Chellis Wilson in Portland, Maine

Chellis Wilson featured art and fashion installation. Photo by Maria Alexandra Vettes.

And as polish to this rather extensive survey on community oriented approaches to retailing, one cannot overlook exquisitely curated Chellis Wilson in Portland, Maine. Nestled in a revitalized smaller city, this oasis for sustainable and artisan-crafted labels is also internationally recognized for its fine offerings. The DownEast Maine mindset celebrates all things well made and timeless, and Chellis Wilson speaks directly to this very spirit.

Chellis Wilson art fashion installation tabletop. Photo by Maria Alexandra Vettes.

GL: How has Portland been an ideal and/or challenging locale to set up shop? You also do quite a few in-store art installations and events. Does this satisfy an aesthetic desire as well?

CW:In many ways people who gravitate towards a place like Maine have an ingrained appreciation for goods made with integrity. Part of that mindset is an appreciation for hard work and individuality, and designer/makers certainly embody those traits. Because of its natural beauty, Maine also cultivates in people a sense of stewardship towards the land. However, customers with an equal appreciation for both aesthetics and the ethics of sustainability are more difficult to find. In more rural areas, someone in my position really has to be willing to educate the local consumer about why price is not the only consideration. Thanks to social media and the Internet, I have as many supportive customers and blog readers in other parts of the country (and the world!) as I have in Portland and environs. This fact alone makes it easier to not have to dilute one’s concept for the sake of financial stability.

Chellis Wilson boutique installation detail. Photo by Maria Alexandra Vettes.

GL: Chellis Wilson looks to not only feature some stunning designer labels but also the work of very talented artists and thinkers. How do you select the designers/products/installations that you decide to showcase?

CW: I am, by nature, an intrepid researcher. Over the years, I have amassed an exhaustive list of talented individuals who, surprisingly, were not often represented in retail settings. I do not attend trade shows because, as a customer, I was often bored with this as so many shops carry similar lines due to trade show sourcing repeats. That said, I have often wished that I could attend certain shows in Paris, Milan, and Tokyo. I want customers to visit and feel as if they have not only found something truly lovely, but also know that they are supporting the fine and honorable work of an individual. At the moment, the vast majority of lines I carry are the work of women who, first and foremost, are motivated by the desire to create articles and objects of beauty. Concepts of sustainability, sane and fair work practices, and the desire to carve out a life’s work in an independent, value-driven way seem to come naturally to all the collections at Chellis Wilson.

If you missed Part 1 of this series, find it here.

Top photo by Maria Alexandra Vettes. Interior of Chellis Wilson.

Mindful Retailing Beyond Urban Zones: Part 1

Abigail Doan — Tue, 24 Aug 2010 22:11:27 +0000

The wonder of the Internet is no doubt linked to the freedom it affords us as we search and connect with like-minded organizations and individuals, and it probably goes without saying that forays in the online retail realm are bolstered by this activity. I am not a big shopper myself, so I am thankful that the e-boutiques of the web allow me to thoughtfully browse at my own discretion and comparison shop in ways that I have never before been able to.

As some one who grew up in small town America, I also know how vital it is to cultivate a connection with brick-and-mortar retailers on Main Street as a means to insure economic vitality and sustainable zoning options within local communities. With this in mind, I decided to reach out to several eco fashion retailers who have consciously set up shop in locales that are a bit off the beaten track as sources for sustainable style offerings. Each is an outpost of smart curation, Goodlifer attitude, and inspiration for personal activism.

What do Charleston, WV, Chatham, NY, Hyannis, MA, and Portland, ME all have in common as Northeastern U.S. locales? They all are hosts to beautifully curated shops that feature state-of-the-art fashion collections and artisan-made labels. These businesses are also run by amazing women who have become leaders in their communities as outspoken advocates for green living, fair trade practices, animal rights, and what one even might call, ‘mindful retailing’. Each of the following parties also view themselves as being educators in the dissemination of information that is vital for decoding sustainability issues and style that leads to change.

Cow Jones Industrials in Chatham, NY

Cow Jones Industrials, Chatham NY.

Cow Jones Industrials is located approximately two and a half hours north of NYC, and as a store that could potentially be the most influenced by an urban center, it thrives as a uniquely rural boutique nestled in the world-famous Hudson River Valley. Donna Oakes, the founder and creative force behind Cow Jones’ vegan clothing and accessories offerings, is committed to highlighting the best names in this niche, and her following is a devoted one. I am particularly in awe of Donna’s bold vision of bringing sustainable brands to Chatham, NY as I recall just how slim the pickings were while growing up on my family’s farm just one county south.

DeNada cowl web scarf, handmade in Peru using vegan-friendly acrylic yarn.

GL: How did you get involved with eco fashion retailing? Tell us more about the “mission” of Cow Jones Industrials.

CJ: When I first opened my shop close to three years ago, I did not really think of myself as an eco fashion retailer. At that point in time, I had been a vegan for almost 20 years, and I knew first hand how difficult it was to find beautiful, quality vegan shoes, handbags, coats, etc. I do not have a background in fashion, but I love the idea of clothing as a form of body art. I strongly believe that what we opt to wear is not at all trivial.

My “mission” is still evolving. First and foremost, it would be that I aim to show that veganism is not about deprivation – that is, the choice to not wear products from animals does not doom you to a dull life of canvas shoes and shapeless clothing. I really enjoy educating my customers about sustainable fashion, and I am especially thrilled to be able to support ethical, independent designers who use eco-friendly materials and are committed to fair labor practices.

GG2G Fortune Cookie Clutch, made out of recycled vinyl from restaurants.

GL: Who is your typical customer? How do they typically find out about Cow Jones? Do you also sell to tourists/out-of-towners? If so, what sorts of comments do they make when they come across your boutique?

CJ: It’s hard to pinpoint who my typical customer is. There are women who love my shop strictly for the aesthetics of the products. For them, the ethics are secondary, or in some cases, not even a factor. I have a number of customers who visit regularly because they are vegan/vegetarian and are so appreciative of having a shop where they do not have to inspect the labels. These are the customers who will travel distances to get here.

Tourists and out-of-towners are often surprised to find my shop in Chatham, NY, and they occasionally comment that it is something that they would expect to find in NYC. A number of customers come in and talk about how some one in their family is vegan and how much that person would like my boutique. Sometimes it is this visitor’s first up-close look at vegan products, and they are genuinely amazed by what they discover – especially when they learn about Cri de Coeur and olsen Haus footwear.

Cow Jones vegan shoe designers, olsen Haus and Cri de Coeur.

GL: Do you ever feel that there is resistance to what you are trying to do in your community?

CJ: I have received comments about the prices, but this gives me the opportunity to explain why the products cost what they do. When people hear that many of the products are made in the U.S., it makes them quite happy. They also especially like it when the materials used are from recycled sources.

The most expensive styles that I have had to date were the winter coats from Vaute Couture’s first collection. The price tag was higher than most people were used to seeing for a winter coat, but when they heard the story behind it, they loved it, i.e. the contest that Leanne Mai-ly Hilgart set up for the designs, the voting, the search for warm and sustainable fabrics, the manufacturing in Chicago at a living wage, the portions of proceeds going to Farm Sanctuary. Even if the customers could not afford them, they really enjoyed learning the back story. It is one thing that differentiates an eco-shop from just another store. We are full of stories about wonderful people doing wonderful things in the fashion world.

Vegan winter coats from Vaute Couture.

GL: How do you connect your business to the eco-activist and/or animal rights community beyond the walls of Cow Jones Industrials?

CJ: I frequently donate products for silent auctions at fundraising events sponsored by organizations such as Equine Advocates, Woodstock Farm Animal Sanctuary, Mercy for Animals, and Vegan Outreach. This year I am one of the sponsors for the vegan fashion show at the Albany Vegetarian Expo in October. I also maintain a table of brochures from various animal sanctuaries, along with a mini “library” of books (such as Jonathan Safran Foer’s Eating Animals) that customers can freely borrow.

Mission Savvy in Charleston, WV

Sustainable fashion on the racks at Mission Savvy.

One cannot discuss vegan fashion retailing and animal rights activism without checking in with Jennifer Miller of Mission Savvy in Charleston, WV. Though less than a year old, Mission Savvy has done a national trunk show tour with their eco fashion offerings and just recently set up shop in downtown Charleston. Jennifer had some very interesting things to say about the challenges she faces as an independent retailer with a rather compassionate outreach mission.

Sexy Scoop top by SUST & Alder Dress by Eco Skin.

GL: Tell me more about the “mission” in Mission Savvy.

MS: Mission Savvy pairs a range of eco fashion designs with pressing issues in animal welfare/rights to create an “expressive style” where consumers can feel comfortable and stylish about their clothing choices as well as confident as advocates.

Our featured designer collections each represent a different animals rights issue: Dream, Compassion, Freedom, Instinct, and Voice.

My personal goal for Mission Savvy is to try very hard to be an out spoken, though approachable, encouraging, honest, and a realistic representative for animal welfare issues. (And when I say try, I really mean it, because it does not take a lot to get my blood boiling if I sense an ounce of disrespect for the lives of animals.)

Alaya Halter Top by Alchem1st & Leslie top by Toggery.

One of the reasons I chose to operate in a small town like Charleston, WV, is because of the pressing need for improved legislation, lobbying, and education surrounding these issues. The local community currently has no available resources for increased protection. I basically decided to create a store that would provide me with the platform (and pay) to be an active community leader, lobbyist, and on-call “wildlife expert.”

I have a personal relationship with all of the designers I offer, and this is very important to me. I need to feel like we are working together and can have open dialogue about joint challenges and successes. Environmental awareness and animal welfare do not always go hand in hand, so the fact that all of the designers I buy from are excited about the idea of Mission Savvy using their designs to represent issues in animal welfare is HUGE for me.

Mission Savvy's in-store fiber and textile display.

GL: Do you ever feel that there is resistance to what you are trying to do on Main Street Charleston and beyond?

MS: I have a large, growing network of support here in Charleston. The community loves local, new ideas that bring inventiveness into the State and fosters an environment for creative ideas that can help the community catch up with the rest of the nation.

West Virginians are very proud of their State, which makes it very difficult to move away from traditional notions. There is a strong working class here, and a growing young professional group that wants to improve the way we do things, i.e. the way downtown looks (bring in more artists, loft living spaces, green roofs, etc.) as well as recycling initiatives, but there is very little support for the funding of these new ideas.

Mission Savvy designer trunkshow.

And we don’t get tourists here, so I really must generate a local following as well as cultivate relationships with like-minded individuals in the eco fashion community at large. What I love about being here, though, is connecting with the everyday person who is doing amazing things for the environment and for animal advocacy, and encouraging them to continue with their efforts and activism.

Continue reading part 2 of our survey of Mindful Retailing Beyond Urban Zones here.

Top photo: Leanne Mai-ly Hilgart of Vaute Couture, racks at Mission Savvy & shoes by Cri de Coeur.

H Fredriksson: Sustainable Swedish Fashion in NYC

Johanna Björk — Tue, 17 Aug 2010 03:22:06 +0000

Stockholm Fashion Week is fully under way, and for those of us who can’t be there, I decided to find out what Swedish design in New York City looks like. I caught up with Helena Fredriksson, an accomplished fashion designer known for her photographic, expressive patterns and modern yet timeless silhouettes. Since she starting her line H Fredriksson in 2004, she has worked out of her studio in Williamsburg, Brooklyn. For years, she showed at every New York Fashion Week, but has now decided to focus her energy on other parts of her craft. Besides two collections per year, she also creates costumes for stage performers, and has even designed uniforms for a Japanese Sweet Shop.

Designer Helena Fredriksson.

What brought you to New York?
A curiosity for the intensity and cultural mix of the city and the search for a new perspective.

What is your background?
I went to art school in both Sweden and NYC for a short while. I never studied fashion, instead I studied photography, painting printmaking etc., which I think is why those elements are still a big part of the H Fredriksson aesthetic.

H Fredriksson F/W 10

Do you see a difference between European and American design?
Yes and no, I think that European design historically has been more conceptual and darker in its aesthetics, while American fashion was sporty and more conventional in the past. I think the last decade has blurred the line and there is now a spectrum of design identities without a clear connection to place.

You state that your line is “inspired by the dark psychology of Bergman films and contemporary European painting” and that it has “an air of melancholic beauty, drawn from the austere silhouettes of the Nordic landscape.” A great description that I feel is very fitting. Do you think there is something to the “dark Swede” mythology that influences all Swedish design?
I am sure that the climate and the partially constrained culture creates a kind of darkness and edge in the expression, whether it is in design, art, music or film.

H Fredriksson F/W 10

A lot of great design that comes out of Scandinavia is simple in both cut as well as color, why do you think that is? Are we just practical?
I think Scandinavian culture and people have a love for simplicity and pared down design, where the form, idea and subtleness speak stronger than something excessive. I think this idea exists in the culture on several different levels.

I agree. Your line is very sustainable minded, when did you first decide that would be an important part of your design?
I grew up in Sweden, which I think brought me awareness about the world at a very early age. That consciousness is part of my being, and I think, as a designer, the choice to work sustainably was only an extension of my view of the world in general.

H Fredriksson F/W 10

All your clothing is manufactured in New York City, was that a conscious choice on your part? Why?
I like to know that my garments are made by craftsmen and women that are working under fair conditions and earning what they deserve. I like to know that by producing local I am helping save an industry and craftsmanship that has been an important part of New York for centuries, and is now under threat to not survive the tendency to move all production overseas to save money and lower prices. I think that creating something well made, under fair conditions and without unnecessary shipping emissions is worth paying a few more dollars for. Maybe we buy fewer things to make up the difference? The funny thing is that there are many brands that produce in China while still pricing their garments at more than twice of most sustainable brands. So, the logic is kind of off.

Many designers claim they cannot afford to move their production from overseas, but on the other hand, like you say, most people are willing to pay more for sustainable produced clothing, how can we bridge that divide?
I think that every designer and consumer makes a choice in how we spend our money, not always with the most noble reasons. Unfortunately, this choice is often made by picking the cheapest option, with no thought of who is really paying for our savings. I hope this is changing with a rising awareness and that more designers and consumers realize what that choice entails in the big picture.

H Fredriksson F/W 10

Many of your prints are created from your own drawings and photographs, right?
Yes, I Create all my fabric prints from photographs and drawings that I make, I see the prints as the identity and personal story of the collection. Many of the photographs are collected on my journeys around the world and they each have their own story.

You also make custom pieces for performers, tell me about that.
I love to collaborate with other artists and I’ve created costumes for several performers and artists over the past few years, among others: Wangechi Mutu & Imani Uzuri for Performa, Ana Matronic for the Scissor Sisters, Olof Persson for me-everybody, and Nancy Garcia for The Kitchen, just to name a few.

H Fredriksson F/W 10

One of Fredriksson's photographs.

What advice do you have for people who want to start their own fashion line?
Make a strategy, be focused in your design concept, find a team that has shares your vision and heart, start small, promote, be patient and get ready to work hard and be poor for a while.

What gives you hope for the future?
An increased awareness about our planet, where sustainable solutions is on the agenda for the world leaders in a whole new way and where the idea to consume less and be thoughtful in our choices is more central in our society than before.

One of Fredriksson's sketches.

What does the Good Life mean to you?
The Good Life means to live with knowledge and pleasure in life, to share your experiences with people you love and to be curious about the world and never stop learning from others. I believe that living in the moment, sharing and not judging is what makes us truly happy.

Ditto that. Find H Fredriksson at select shops in New York, California, Denver, Miami, Tokyo, and online.

Shadowplay: The Right Kind of Statement Jewelry

Johanna Björk — Thu, 05 Aug 2010 17:03:32 +0000

I could imagine wearing the same outfit every day, as long as I could accessorize it with amazing jewelry. Shadowplay by designer Heather Goldberg certainly fits that bill. No two pieces are alike, and all are hand-crafted using 100% natural fibers such as bamboo, cotton, silk, cashmere, mohair and organic and naturally dyed merino wool. Closures are certified fairtrade black silver and crystallized Swarowski elements add some bling.

Shadowplay designer Heather Goldberg. Portrait by Ye Rin Mok.

Goldberg is a former intern of New York design collective ThreeasFour and LA-based label Band of Outsiders. Shadowplay was launched in November of 2009 and is based in LA (the name comes from a Joy Division song). I recently had the opportunity to ask Heather Goldberg a few questions about her philosophies and how she got where she is today.

What is your background?
I grew up in Miami and went to a high school that had a visual and performing arts program. It was almost like doing an undergrad in fine art, but in high school. There, I studied 2-D and 3-D art; painting, photography, and sculpture. It was really an amazing education and experience. From there, I decided I wanted to come to art school in Los Angeles, to study Fashion Design at Otis College of Art and Design. So, with my bags packed I drove the bright yellow Ford Focus that my dad gave me when I was sixteen across the country and landed in Los Angeles. I received my BFA last year, having majored in Fashion Design with a huge focus on Art History and Theory.

What were some of the biggest challenges you faced along the way?
The pressures of wanting to grow and expand, but still wanting it to remain small and very personal.

What advice can you give people looking to start their own jewelry company?
Do it your way.

Where do you find inspiration?
Mostly from feelings, moods, experiences, words, music. I like to translate those very psychological things into a visual language.

Why was it important to you to use organic and fairtrade materials?
It really just came as a natural and obvious thing to me. The way I eat and live my life definitely has a direct connection with wanting the materials I use in my work to also be very conscious.

Five Quickies for Heather:

City or Country? City for the daily, country for breaks.
Rainbow Colors or Monochrome? Rainbow colors in my aura, monochrome in my mind.
Early Morning Yoga or Dance All Night? Early morning yoga to start my day after I’ve danced all night.
Minimalism or Opulence? Minimalism in my life, opulence in my work.
Summer Rain or Winter Sun? Summer rain reminds me of home, winter sun reminds me of here. For me, it all relies on the context…

Shadowplay’s necklaces truly are statement pieces. But it’s right kind of statement. You’re showing that you care not only about style, but the story and ethics behind it. I’m sure it would be very hard to wear one of these gorgeous pieces to a party and not get compliments and comments. What a great way to start a conversation about the importance and beauty of sustainable choices!

Bright Young Things Need But One LBD

Johanna Björk — Thu, 29 Jul 2010 15:50:41 +0000

Sometimes restrictions breed incredible creativity. Such was the case with the Uniform Project (which I wrote about last year), where Sheena Matheiken wore the same dress every day for a whole year, and used only vintage accessories to style it. The designer behind the now famous little black dress is Eliza Starbuck, who recently decided to make the dress available to everyone, under the name Bright Young Things.

The Bright Young Things Premier Edition is $185. Made-to-order in a high-quality 97% Cotton, 3% Lycra blend piqué weave fabric. Comfortable year-round, and for any occasion.

Starbuck herself is a true inspiration, part classic beauty and part fairy-tale fairy, she is an avid thrift store shopper and stone collector. “When I first met Sheena Matheiken of The Uniform Project in 2008, I had come to the conclusion that fashion made a better creative outlet than a meaningful career.” She had decided to walk away from the fashion industry and seek out something different that the mass consumer culture it perpetuates. “So when Sheena told me she was looking for someone who could make her a dress, I was hesitant. But after she explained the concept behind the Uniform Project, I was excited at the prospect of using my skills as a fashion designer for a charitable cause that would also promote sustainable culture.”

Bright Young Things designer Eliza Starbuck thrift shopping.

As the Uniform Project gained in popularity, people started asking where they could buy one of the dresses for themselves. Starbuck was, again, reluctant. “At first I shrugged off the request. I still did not want to get into the business of making or selling clothing and I was wary of taking on production on a commercial level. But the inquiries kept coming, along with amazing stories from U.P fans that had started their own Little Black Dress challenges and who wanted to wear my dress for their own causes. In general, there seemed to be growing demand for my dress design as women made the shift to save their money and get creative with what they already had. That was the epiphany: if I could offer women a dress that functions as a versatile base palette for their personal style and creativity while giving them the opportunity to support a good cause or a positive change in their lifestyles, then maybe looking into production wasn’t such a bad idea… If by buying my one dress, women would forego buying five cheap and trendy dresses this year, that would be a big feat. Keeping that much junk out of the landfills alone would make production worthwhile to me.”

Production is something that more designers need to pay attention to. It is often done overseas by workers that are underpaid and treated badly. Child labor is also not uncommon. There has been much attention paid to this in the press in recent years, but few people still manufacture locally. Says Starbuck: “As a designer in the fashion industry, there were always certain disconnects between the process of design and the process of production. I would submit my sketches and then, as if by magic, sample garments would arrive 2-3 weeks later from China. This never sat well with me. A process so fast had to be cutting corners and taking major short cuts, and from the other side of the world I could never see or know what was really going on. With the launch of Bright Young Things, I decided that I wanted to be a part of my production process. The best way to do that, I figured, was to produce locally in New York City. By doing so, I not only help to support the local economy – I can also visit the factory anytime.”

Even though the factory is in America, nearly all of the workers are immigrants who need the work to maintain their life in America and to support their families back home.

Care labels are carefully printed directly onto the pockets.

How does one cut the pattern pieces for 365 dresses at once? With a special fabric-cutting gig-saw, of course!

The name is as clever as the dress (which is reversible and infinitely convertible), so what is a Bright Young Thing? “A Bright Young Thing is defined as someone who is open minded, optimistic, playful, appreciates beauty and still is conscious about their actions effects on the world around them. A conscious Joy-maker. It has nothing to do with your age, it has everything to do with being nimble, inventive, and enginuitive within the social, physical and environmental constructs of our times,” says Starbuck.

The Style Challengers: Leah Chernikoff or Fashionista, Yuka Yoneda of Ecouterre, Emma Grady of Treehugger, Roberta Correia of It's Only Fashion, Pamela Castillo of Market Publique, Tiffany of Triskaidekaphobia & Six Six Sick, eco model Summer Rayne Oakes, yours truly and Felicia Walker Benson of ThisThatBeauty. Which look is your favorite look? Photo collage via kaightnyc.blogspot.com.

The Style Challenge is a fun new project, where Starbuck invited some of her favorite Bright Young Things (I am honored to be one of them) from NYC to vintage store Cobblestones on the Lower East Side. She gave us one of her LBDs and let us loose amongst the racks to come up with two looks each. I can assure you it was lots of fun (visit BYT’s Facebook page and vote by “liking” the daily post of the Style Challenger you like the best). The Challengers came up with looks that were as creative and innovative as they were different — all using the very same dress.

One of my looks in the Style Challenge.

So how often does Starbuck herself wear her LBD? “I’ve worn my LBD for a month straight, during my wear-a-thon, but now that is over and I’d say I wear it at least two days of the week. It really is the go to dress in my closet, and I always feel really put together when I put it on. It is the answer to the ‘I don’t have anything to wear’ conundrum.” Her favorite way to style it depends on the weather. “My wear-a-thon was one of the hottest June-July months I’ve ever seen, so I was really enjoying wearing it open. But my default way to wear it is with a belt. I think it’s really flattering when you accentuate the waistline that way.”

: Starbuck on Day 19 of hear wear-a-thon.

The Uniform Project and the Bright Young Things Style Challenge are both excellent examples of how much one can do with one single garment. The takeaway? We can make do with less, as long as we make sure the pieces we have are well-made, timeless, durable and versatile — the basic tenets of slow fashion. But is the mainstream ready to adopt this way of thinking about fashion?

“Absolutely,” says Starbuck, “it’s already happening. If not for environmental reasons, then surely for economic reasons. The thing about sustainable fashion is that it doesn’t actually have to be this selfless reprieval of fashion. Being sustainable is as easy as flipping a switch in your consumer habits and being more conscious of your waste. It’s a matter of buying fewer items, for more money, that are fully functioning and well made. Or buying second-hand, or not buying anything at all and just getting creative with what you have through styling or DIY refashioning. As more bloggers take on these kinds of challenges and causes, I think it will seep into the mainstream until it is mainstream. Really it seems to be everywhere I look in New York, so if that’s any gauge, it’s already in the water.” Drink up.

Empowering Africa Through Fashion: EDUN’s Grow to Sew

Johanna Björk — Thu, 10 Jun 2010 04:14:46 +0000

Launched in 2005 by husband and wife Bono and Ali Hewson, sustainably-minded fashion label EDUN has launched its first collection since being acquired by luxury group LVMH last year. The Pre-Fall Collection, created in honor of the 2010 World Cup in South Africa, introduces a Special Edition “Grow to Sew” African produced tee shirt series, featuring bold black and white graphics inspired by the vibrancy of the continent.

All proceeds will go to the Conservation Cotton Initiative (CCI) in Uganda, an organic farming program created by EDUN and the Wildlife Conservation Society that aims to build sustainable, organic farming communities and offer farmers a fair trade market for their cotton.

Since the LVMH acquisition, EDUN has parted ways with former designer Rogan Gregory and brought on a new creative director, Paris-based, Irish born Sharon Wauchob. Hewson says Edun took some time to “ramp up the team, get the new collection out and start fresh” after signing on with LVMH. Of the new menswear collection, she said she particularly likes the hemp suits and jackets for summer. “We’ve had some beautiful styles before but we’ve struggled with the fit. With the sourcing that we have now, the clothes are coming in fitting and just looking great.”

CCI have teamed up with Invisible Children to execute the program in Gulu, a district in Northern Uganda that is recovering from a violent Civil War, which lasted over 20 years. Almost two million people were displaced, tens of thousands were killed by the LRA and children were forced to fight in their army. It is estimated that more than 90% of the troops that make up the LRA were kidnapped children, leaving an entire generation who have never known peace. Things have calmed down over the past 2 years, and Northern Ugandans are slowly returning back to their land. Gulu is an area where agriculture once thrived, in particular, cotton growing. By joining the CCI program farmers are given the funding and tools necessary to get back on their feet by growing organic cotton.

A philanthropically fun part of the collection is the Kenya Kids Tees, bringing to life hand drawings made by children from the Bidii School in Kibera, Kenya. The designs feature interpretations of everyday life in Kenya as seen through the eyes of the children. One hundred percent of the proceeds from the sale of these tees will go back to the school.

EDUN's Kenya Kids Tees, featuring artwork designed by school children.

The designs feature interpretations of everyday life in Kenya as seen through the eyes of the children.

The project is done in collaboration with Made Africa, an independent charity that partners with various NGOs in Africa. They believe that by creating training and educational opportunities, they can build trade and ultimately help relieve poverty in Africa. The Bidii School, which the organization helped double the size of since 2009, is just one of their many projects, but Made Africa has provided everything from hot meals and vaccinations to reading materials and school supplies, in addition to overall financial support to keep it running.

EDUN's Pre-Fall Collection at Barneys featured muted earth tones and simple silhouettes.

Pre-Fall Collection + Grow to Sew Tees.

I attended the launch of the Pre-Fall collection and the Grow to Sew women’s collection at Barneys earlier tonight, where designers were on hand to customize T-shirts on the spot. Some turned out quite spectacular.

At the Barneys launch, one-the-spot customized Tees.

Ali Hewson, second from right, at the Grow to Sew launch.

EDUN was founded on the premise of trade FOR aid as a means to create jobs and alleviate poverty. It’s a for-profit fashion company that aims to raise awareness of the possibilities in Africa, encourage the fashion community to do business there, and empower local workers who are able to earn a fair wage. The company is investing in the development of a community-based value chain in Uganda, beginning with organic cotton. It’s grown to be sewn to be shown.

Available on the soon-to-relaunch edun.com and at Barneys New York.

Label Gazer: Helping You Find the Best of Sustainable Style

Johanna Björk — Thu, 03 Jun 2010 12:48:50 +0000

I’ve often found myself drooling over a piece of clothing, wishing there was an easy way to find an eco-friendly alternative. Enter Label Gazer, a site based on showcasing outstanding eco-friendly & ethical fashion. The interface is simple and purely visual — it feels almost like window shopping.

Label Gazer states that “While eco-fashion’s image has improved over the years, many people still shudder at the thought of it, and exclude the possibility of incorporating it into their own closets because of the assumption that it just isn’t fashionable enough. There is so much innovation happening within eco and ethical fashion, both in fabric and design, and we want to showcase that.”

Tencel 5-in-1 dress and tencel jersey jumpsuit by Thieves.

“For the time being, Label Gazer is a labour of love through which I plan to learn as much as possible about the eco and ethical fashion,” says founder Leigh Thompson. “I am fascinated by social entrepreneurs, and already in Label Gazer’s short existence I’ve had the privilege of making contact with so many people doing remarkable things in the field. We are not running referral programs. There is no payment received for any of the product listings. In the future, there might be opportunities to bring in some revenue through advertising, but it is definitely not the objective with this project.”

Deconstructed shirt and organic cotton tunic by Bodkin.

Eco denim chambray dress by Elroy & tencel dress by Thieves.

Featured designers include Thieves, Fin, Julia Smith, Bodkin, Jai, Samantha Pleet, Satara, Vilde Svaner, Study by Tara St James, Camilla Norrback, Osborn and Elroy. Anyone can submit an item — designers, store owners and consumers. When you click on something you like, that will call up a listing with more information and a link to where you can buy it.

Fair trade footwear by Where & mosaic cork sandal by Coclico.

Organic wool dress by Jai & organic bamboo dress by Fin.

Thompson has worked in fashion for over ten years, first as a boutique owner and now as a retail consultant and blogger. “I would like to think that I am well versed in the world of fashion. We’re looking for fashion-forward content for Label Gazer — items that stand alone as truly well designed products first and foremost. We will not be including items just because they’re eco-friendly or ethical — so no plain organic cotton tees or bamboo jersey yoga pants for Label Gazer.”

Expedition dress by Samantha Pleet & organic tee dress by Erin Kleinberg.

Backless bamboo dress by Elroy & black dress by Osei Duro + Women's Co-Op.

Fashion-forward, ethical, eco-friendly fashion — supremely curated — it’s just what we have all been waiting for. Now, what’s your excuse for not shopping sustainably?

Top photo, clothing by, from left, Vilda Svaner, Satara & Valerie Dumaine.

Eco Chic – Towards Sustainable Swedish Fashion

Johanna Björk — Wed, 05 May 2010 19:56:15 +0000

Opening today, May 5, at NYC’s Scandinavia House, Eco Chic – Towards Sustainable Swedish Fashion showcases Swedish fashion designers who take an environmentally-friendly and ethical approach to their work, without sacrificing style. The show, on view through August 21 (admission is free), kicked off with a symposium, where international eco fashion luminaries discussed the challenges and possibilities (lots of possibilites!) in this new world of slow, conscious fashion.

Camilla Norrback. Photos by Tear-n Tan.

Designers featured in the exhibition, produced by The Swedish Institute and curated by Karin Gräns, include: Anja Hynynen, Bergman’s, Camilla Norrback, Dem Collective, Johanna Hofring (of Ekovaruhuset), Julian Red, Nudie, Pia Anjou, Reflective Circle, Righteous Fashion, Swedish Hasbeens and Zion. I’m a big fan of the exhibition format, versus a runway show, mainly because details are so important in eco fashion. For example, Johanna Hofring’s amazing crochet detailing would simply get lost if it swooshed by on a runway. Here, we can admire and study it from all angles, for as long as we wish.

Johanna Hofring. Photos by Tear-n Tan.

Johanna Hofring's lovely crochet details & gorgeous clogs from Swedish Hasbeens. Photos by Tear-n Tan.

The panel, left to right: Eviana Hartman, Sass Brown, Hazel Clark, Marcus Bergman & Karin Stenmar.

The panel was moderated by Dr. Hazel Clark, Dean of the School of Art and Design History at Parsons, included Marcus Bergman of organic cotton producer Ecocotton and Bergman’s, Karin Stenmar, cofounder of fairtrade supplier Dem Collective, Sass Brown, professor at FIT, and Eviana Hartman, designer of Bodkin and former fashion features editor at NYLON.

Righteous Fashion.

Julian Red.

Pia Anjou.

They discussed the challenges of sustainable material sourcing and how conscious global trade (like buying fairtrade fabrics from India) can sometimes outweigh buying materials domestically, since many of those may originally be sourced from not-very-sustainable places like China. (Something I experienced recently when ordering custom items for a client. They were “made in the U.S.,” which apparently meant “printed in the U.S. but sourced from China” as there was a “Made in China” sticker on every item. It was both enraging and embarrassing.)

One of the big issues is our culture of fast fashion, and how we have become so used to buying cheap throwaway things, something Marcus Bergman referred to as “the party top phenomenon.” We impulse-buy something on a Friday afternoon, wear it that night for a few hours and may never look at the garment again. As Bergman puts it: “Few of us think about the fact that it took someone nine months to grow that garment. It’s considered disposable so why not make it from disposable materials.” Clearly, we are buying too many clothes; Bergman cites a statistic that 4 Billion of the people in the world (those who can afford to buy clothes) consume 25o Billion garments per year. There is no way we can sustain that unless we turn the tide and start valuing quality, craftsmanship and durability over trends and fads.

Anja Hynynen. Photos by Tear-n Tan.

Dem Collective. Photos by Tear-n Tan.

Eviana Hartman thinks that consumers — and designers — are starting to favor a more subtle approach that is based on utility, not trends. She says blogs like The Sartorialist have been influential in cultivating our appreciation for classic style that transcends fashion’s fads.

All the panelists agreed that knockoffs are a serious problem, not only for the fashion industry but for the environment as well. All were also extremely hopeful about the future. Consumers are becoming more aware, thanks to blogs and other forms of instant information-sharing. Hartman thinks that consumers want sustainable fashion, the problem is often finding it.

Bergman's.

Zion & Nudie. Photos by Tear-n Tan.

Designers are challenging the traditionally secretive culture of the fashion world and are employing different forms of collaboration and resource-sharing to further the common goal of establishing a culture of sustainable fashion. The ecological and ethical production of clothing begins with the design of a garment, and continues right through to the finished product, including the transparency of fashion companies about their production processes and materials.

Eco Chic is on view at Scandinavia House until August 21. Photo by Tear-n Tan.

We are moving from a culture of appearances to a culture of values, and everything we do, wear and eat will reflect that. To me, true fashion has to be both stylish and sustainable, and the designers featured in this show certainly proves that point.

This touring exhibition from The Swedish Institute (SI), which premiered in Belgrade in the winter of 2008, has visited major international cities including Minsk, Kiev, Riga, Istanbul, and most recently Berlin. The installation at Scandinavia House in New York marks the first American stop on this tour.

Top: Julian Red, photo by Mikael Schultz. Some photos (where indicated) via Tear-n Tan.

Kirsten Muenster Jewelry: Ethically Precious

Johanna Björk — Tue, 20 Apr 2010 17:45:53 +0000

We wear jewelry because it is beautiful and makes a statement about who we are. But did you ever think about where that silver ring on your finger came from, who made it and whether the materials used are sustainable or put a strain on the world’s already exhausted supplies? I caught up with Kirsten Muenster, a California-based jewelry designer who makes beautiful pieces that often incorporate ethically sourced, recycled and vintage objects, to talk about how jewelry can be made sustainably.

When did you decide to take up jewelry design as a profession and what kind of education/training do you have?
My mother was an antiques dealer and I started collecting vintage jewelry at a very early age. I was intrigued by the history of the pieces as well as the tools, skills and techniques that shaped them into precious objects. The mystery, beauty and craftsmanship of these old pieces inspired me to learn how to make jewelry myself. With a little help from my father, I started making rings in the garage when I was about thirteen.

Kirsten Muenster in her studio.

When I was 14 and 15 I took a few adult jewelry classes (my parents said I was 18 on the enrollment form). One teacher knew I wasn’t old enough to be in the class, but seeing the passion I had for it, introduced me to another (legal) option. I interviewed with a retired jeweler who opened up his extensive private studio to a small group of other retired jewelers where they would meet, work and keep their craft and creativity alive. They welcomed me into the group, shared their tools, techniques and life experiences. I worked in this studio after school a few times a week for over a year. That experience was incredibly valuable. I understood how rewarding a profession like jewelry making could be; I wanted to be in that community. I went on to art school and continued learning about design and metal. I graduated from the University of the Arts in Philadelphia, after studying various craft techniques with a primary focus on jewelry fabrication, casting, welding and metalworking.

A few of Muenster's beautiful necklaces.

I was taught the art of stone cutting after I moved to California. At a gem show I overheard some women talking about a great adult lapidary class offered at a nearby high school and decided to check it out. The group consisted of mostly older, retired “rock hounds” from the local gem and mineral club. A lot of them had done the actual prospecting, hunting and collecting of stone over the course of fifty or more years. They had stories, tips and slabs of stone I had never seen before and were happy to have an interested “young person” to share them with. That’s when I developed my love of petrified wood, fossilized dinosaur bone, jaspers and agate — materials you’ll see throughout my work.

A few of Muenster's tools.

I also come from a line of Austrian metalworkers — Grandfather, Great-Grandfather and Great-Great-Grandfather — and I love the notion that somehow it was “in my blood” and that I carry on these ancient techniques and traditions that make up my family’s history. (Read about this in more detail on Kirsten’s blog, where she also shares wonderful old images.)

Kirsten's Great-Grandfather, Rudolph Muenster (standing on the far right), in the coppersmith shop in Newark, NJ 1939.

Do you have any advice for people who want to pursue this path?
I believe you can pursue jewelry/metalworking at any stage in life. I’ve taught kids basic jewelry making techniques, and educated adults about arc and tig welding. Your age or skill level matters little — if the desire is there your options are many. I suggest first taking some intro courses, summer programs or workshops to really get a sense of the various tools, techniques and directions. You may think you want to be a jeweler, and then find the excitement of welding furniture to be more fulfilling, so definitely be open.

Ask questions, share information, engage with the jewelry/craft/design community, teachers, old rockhounds…

More of Muenster's necklaces.

Is it hard to become successful? What was your first big break?
Success involves hard work, everyday, but you get to do what you love! I’m lucky to have found something that makes me so happy. I’m excited and passionate about my materials, the creative process and the physical act of making something with my hands — and I believe this comes through in my work. The key is having a point of view, and communicating it honestly.

The only thing I can think of as my “big break” was when I launched my website in 2005 and started sharing my work and ideas with the world. Having an online presence helped me connect and start a dialog with other like-minded people in the industry who were asking the same questions I was; like how do we make our studios safer and healthier, how do we find more ethical materials and sources, and what does “ethical” actually mean!

My site has helped me connect and build strong relationships with leaders in the craft/art/green/fashion/design community and to me that was a big break.

Inspiration from Muenster's studio.

Have you always used ethical and sustainable materials? Are they harder to come by than “standard” options? All the precious metals you use are recycled, where do they come from?
Incorporating recycled and vintage objects into my work was always a natural part of my construction process. Having a considerable collection of stones, shells, buttons and vintage pieces to cultivate from early on definitely informed my work.

Muenster collects stones, shells, buttons and vintage pieces that serve as inspiration for her collections.

In 2001 I read an article in the Wall Street Journal that raised questions about whether tanzanite sales were aiding/funding the al Qaeda terrorist organization. The claim was later dismissed for lack of evidence linking the money to a direct act — but still, it was definitely a wake up call for me (and the industry). I started doing more research about the gem and gold industries and the link some of the materials have to abetting political corruption, human rights abuses, environmental devastation, child slavery and war. That’s when I made the decision to be more conscious about my material choices — to find out where they come from and learn how they affect the environment, community and individuals associated with them. For me, ethical sourcing involves a transparent supply chain not unlike the slow food movement (which seeks to build consumer awareness and appreciation of food and its connection to community and the environment — creating a visible link from seed to table). The stones that I work with must have a clear and trackable mine to market custody chain. In order to achieve this, I work with stones from small, family owned mines, as well as individual rockhounds that hand collect, cut and polish the materials themselves. I also do a lot of my own stone cutting from rock found in the 1940s, 50s and 60s.

Rings made from Fordite (recycled car paint!) and recycled sterling silver.

It takes time to do the research, find sources and develop relationships with dealers, but it is getting easier because the demand for ethical materials is growing. Positive changes are happening in the jewelry industry and a great example of this is my metal supplier, Hoover & Strong. All precious metals at Hoover & Strong are recycled from the Earth’s existing metal supply. The sources include reclaimed jewelry, silverware, coins, electronics scrap, eyeglass frames, dental scrap, etc. They do not buy metals from mining companies. In 2009, Scientific Certification Systems (SCS), a globally-recognized independent third-party certifier and sustainability expert, certified the recycled metal content in their HARMONY Metals™ line.

Clam ring and necklace.

Most people today are aware of “blood diamonds” and know to avoid them, is there something else about the jewelry industry that consumers should know about?
Consumers have a crucial role to play. When looking to acquire a new piece of jewelry they can start by asking the jeweler one simple question: Can you trace all the components of this piece from mine, through production, to market? Right now there is no universal standard in place for labeling “ethical” gems, so asking questions is critical. Find out if their sources are working within the guidelines of fair trade. Is anything recycled, made locally, sustainable? Ultimately you need to decide if the answers you get are aligned with your personal value system.

Facets and Arcs rings.

Do you take custom orders?
Yes. Perhaps my favorite role as an artist is working with my clients on custom design projects. They can select stones and objects from my diverse collection of materials and we can also consider any special or vintage components they already own but don’t wear. I can turn a treasured but dated heirloom into a new piece with a more modern design. The collaborative process is a unique and rewarding experience that I look forward to sharing with clients.

In top photo: Limpet Ring, Wave Ring & Limpet Necklace.

Clothing Libraries – a shift from Wasteful to Resourceful.

Johanna Björk — Wed, 31 Mar 2010 18:01:46 +0000

Looking good sits high on most people’s agendas, and we spend enough money on clothing and accoutrements to prove it. Although there is nothing wrong with wanting to express ourselves by the way we dress, the way that we consume clothing is extremely unsustainable. We buy something new and may only wear it a few times before disposing of it (responsibly, I hope). What if there is a better way to do this?

During Stockholm Fashion Week, a group of ecofashionistas set up shop inside Kulturhuset and opened Sweden’s first clothing library: Lånegarderoben. It works just like a regular library — you sign a lending agreement and agree to return the item in the same condition you got it — except instead of bookshelves there are racks filled with fantastic, fun, responsible fashion. Participating designers included Myrorna, Ekovaruhuset, Revery, Julian Red, Lovisa Burfitt, Slowmotion, Indiska, Lager 157, Dream and Awake, Goodness, Righteous and Ekolådan. About 500 people an hour were said to have visited the clothing library, a tremendous success for the experiment.

The opening of Lånegarderoben was celebrated with a sustainable fashion show at Kulturhuset in Stockholm.

It’s hard to imagine how a profit could be made on this business model — Lånegarderoben was funded by several cultural and educational institutions —but did anyone ever require regular libraries to generate a profit from lending books?

The purpose of the clothing library is to create a platform where more people can share a piece of clothing. It is returned after being used and then lent out again. This way, people have the opportunity to constantly change their wardrobes and save money and the environment at the same time. This is definitely a smarter way of consuming, any way you look at it. Ever-changing fashion trends have resulted in escalated consumption (surprise!); for example, the average Swede now buys 24kg of textiles every year (an increase of 9kg since 1994). The clothing library is an expression of how fashion and sustainability can unite.

This dress from Lager 157's basic collection, made locally from organic cotton, was up for borrow at Lånebiblioteket.

“This may not be good for basic clothing like everyday jeans, but for party clothes and special occasion-wear this is is a perfect fit,” says Emelie Dahlström, Project Manager of Föreningen Medveten Konsumtion (The Association for Conscious Consumption). Pernilla Rozenberg, seamstress for Stockholms Stadsmission’s reworked vintage brand Remake, agrees that borrowing clothes may get people to step out of their usual comfort zone.“The clothes we chose to bring were a bit crazier than what we have in the stores. Pieces that you may rather borrow than buy since you won’t want to use them every day, but for a special occasion.”

Stockholms Stadsmission was one of the stores that donated clothing for the library. If all second hand stores looked this good, why would you ever buy new?

There are clothing libraries in place throughout the world. A great example is the Maternity Clothes Library run by the La Leche League in the UK. For a fee of about £2, expecting mothers can borrow maternity clothes for the duration of the pregnancy. The albright NYC Fashion Library is at the high end of the spectrum, lending the latest designer fashion to editors, stylists and celebrities, for a fee. The website Bag Borrow or Steal — where you can rent designer bags — have been very popular for quite some time (a mention in the last Sex and the City movie certainly may have helped there).

Clothing libraries can feature clothing that is new, vintage or both.

Lånegarderoben is also getting a permanent home, they expect to open the doors to a library located in Midsommarkransen outside Stockholm at the end of this summer. The founders, Lina Lundin, Hanna Nyberg, Ida Palmgren and Kim Jüllig Sedvall say there are still many details that need to be worked out. They will charge a membership fee, undecided as of yet but it will be affordable as they do not expect to make a profit. The rules will be just like those of a regular library, including late fees. They do not want you to wash the clothes before returning them, since they want to take care of that on their end to assure that it is done right and as efficiently as possible.

The team behind the first clothing library in Sweden, soon to have a permanent home outside the city. Photo by Mikael Eriksson.

Who knows, maybe twenty years from now we will find it very funny that people used to buy special occasion clothing and spend all that time and money on caring for and storing it. We will never completely give up owning stuff, but we definitely do not need so much of it. The lending economy is here to stay, your wardrobe should welcome it.

“Only people who are moderately interested in fashion do a lot of clothes shopping,” said clothing professor Matilda Tham at the opening of Lånegarderoben, “those who really know fashion can create an interesting expression with very limited means.”