Tag Archives: LFW

March 11, 2013 in Bright and Shiny

Lucy Siegle & Anne-Lise Kjaer – WHAT IS ENOUGH?

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Lucy Siegle, leading UK journalist, sustainable fashion expert and co-founder of the Green Carpet Challenge was one of the members of the panel at the Gudrun & Gudrun hosted discussion.

Lucy believes that one of the main problems with fashion is over-consumerism, which can be seen in the link between the spiraling levels of discarded fashion and the rising debts visible amongst women today. The message: We don’t need to buy all this crap that we can’t afford and don’t need.

Lucy Siegle & Anne-Lise Kjaer – WAS HEISST GENUG?

Lucy Siegle ist eine britische Journalistin, Expertin in nachhaltige Mode und Mitbegründer des Green Carpet Challenge – sie war eine der Teilnehmer der Gudrun & Gudrun Podiumsdiskussion.

Lucy glaubt Überverbrauch ist einer der Hauptproblemen von Mode, was man durch den Anstieg der weggeworfenen Mode Bekleidung beziehungsweise die häufigen und sichtbaren Schulden der heutigen Frau sieht.  Die Nachricht: Wir müssen die Scheisse, die wir uns nicht leisten können und nicht benötigen, gar nicht kaufen. 

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According to trend forecaster Anne-Lise Kjaer, economists predicted that by 2030 we would only be working 15 hours a week, as we would, “have enough to lead the good life.” Evidently this won’t happen, so the question today is, “Who sets the measure of what is enough?” The quest for Efficiency, Sustainability and Connectivity clearly collides with our pursuit of The Good Life. We see a situation where the ‘GOOD’ life is confused with a life full of ‘GOODS’. So how do we mend the imbalance caused by over-consumption to establish an ethical fashion business model?

“It is time to rethink our fashion business models to match people’s real expectations. What I am talking about is a holistic economic model that embraces a 4P bottom line: People, Planet, Purpose and then Profit. One thing is clear, governments and businesses need to adopt a 4P bottom line to create an engaging narrative and brand image that resonates with people’s values,” explained Kjaer.

Ethical Consumption is essential to tomorrow’s world, but to realise this vision the fashion industry must act as a facilitator and enable people to achieve ‘The Good Life’ through open dialogue about sound ethics and meaningful lifestyle choices.

Change in society influences our behaviour in different ways. People engage with contexts and values relevant to them and companies must respond by embracing diversity and developing strategies for both rational and emotional value chains.

Trend-Vorausseher, Anne-Lise Kjaer, meint die Volkswirtschafter prognostizierten, dass wir bis 2030 nur 15 Stunden die Woche arbeiten würden, weil wir “genug haben werden um ein gutes Leben zu führen”. Das wird offentsichtlich nicht passieren, also fragt man sich heute: “Wer misst was ‘genug’ ist?” Unsere Suche nach Effizienz, Nachhaltigkeit und Verbundenheit prallt gegen Das Gute Leben. Wir sehen eine Situation wobei das ‘Gute’ im Leben mit ‘Güter’ verwechselt wird. Wie also kann man die Gleichgewichtsstörung reparieren, was von Mehrverbrauch erzeugt wurde, um ein ethisches Modegeschäftsmodell zu etablieren?

“Es wird Zeit unsere Mode Geschäftsmodelle umzudenken, um sich mit den wahren Erwartungen von Menschen anzugleichen. Ich rede über ein holistisches ökonomiemodell was das ‘4P’ Denkmuster wahrnimmt: People, Planet, Purpose und Profit. (etwa: die Menschen, die Welt, die Absicht, und Profit) Etwas ist klar, die Regierung und die Gesellschaften müssen ein ‘4P’ Denkmuster annehmen, um eine verbindliche Erzählung und Marken Image herzustellen, die mit den Werten von Menschen nachhallen” so Kjaer

Ethischer Verbrauch ist entscheidend für die Zukunft. Aber um das wahrzunehmen, muss die Modeindustrie als Vermittler arbeiten und damit Menschen die Möglichkeit geben ‘Das Gute Leben’ zu erreichen  – durch offene Gespräche über die Ethik und eine sinnvolle Auswahl an Lebensgewohnheiten.

Veränderungen in der Gesellschaft beeinflusst unser Verhalten auf verschiedener Weise. Die meisten Menschen hören dann zu, wenn es um ihre Werte und ihr Leben geht, also müssen Firmen darauf reagieren und die Vielfalt annehmen und dazu Strategien für rationelle beziehungsweise für emotionelle Werte entwickeln. 

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Relating this theory to personal fashion, Lucy Siegle believes that with your own wardrobe it’s about your own moral code, your own tolerance. You have to let people develop their own tolerance – present them with the facts and then allow them to make their own minds up as to how moral they want to be.

According to Lucy one of the problems behind the question of ethical fashion is its complexity. It is not about just one commodity or one issue, its about lots of different elements – and not everyone in fashion stands behind the same ethical issues or is fighting for the same cause.

 

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Gudrun & Gudrun aim to provide sustainability, responsible manufacturing, and organic materials. Addressing the issue of how fashion has become so disposable. Gudrun & Gudrun want to present a fresh outlook on fashion and its throwaway sensibility by using good quality natural fabrics that are made to last, and making garments that are durable, sustainable for the future and can be past down from generation to generation.

Lucy Siegle advises us to buy with longevity in mind – how long can you keep an item. This slows things down in the consumerist process. “Treat clothes better. Keep things in order and follow a structured approach to your wardrobe. Look at the fibre you are buying. Make sure it’s quality and worthy of time and effort. Crap fibre is not worth it. Use your hands to feel the garments. Look at what something is made of,” she explained.

Das Ziel von Gudrun & Gudrun ist Nachhaltigkeit, Bio-Stoffe und verantwortungsvolle Herstellmethoden  zu bieten. So befassen sie sich mit dem Thema: Wegwerfmode.  Gudrun & Gudrun wollen ausserdem mit Hilfe von natürlichen Stoffen eine neue Perspektive auf Mode und dessen Wegwerfkultur zeigen. Und sie wollen haltbare,nachhaltige Kleidung herstellen, die auch von Generation zu Generation herruntergereicht werden.

Der Rat von Lucy Siegle  ist: Langlebigkeit in kauf nehmen, wenn man einkauft – wie lange wird das Stück halten?  Verbraucher bremsen mit dieser Frage ab. “Geht sorgfältig mit Kleidung um. Schafft Ordnung und Struktur im Kleiderschrank. Achtet auf den Stoff den ihr kauft. Achtet auf die Qualität und Herstellungszeit. Schrott Stoff bringt nichts. Fasst die Kleidung an. Achtet aus was die Kleidung gemacht wurde.” erklärt sie. 

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Another ethical fashion topic that was discussed at the panel was the active issue of empowerment, especially amongst disadvantaged women. Gudrun & Gudrun have their own women’s empowerment projects because they believe that women’s empowerment all starts with the opportunity to earn your own money. The handmade production role is shared by both Faroese and Jordanian women, all of whom Gudrun & Gudrun know by name and all of who have perfected ancient Nordic knitwear techniques using two needles and no machinery.

“It’s all about time, the time you allow yourself not doing anything – or anything that is part of the daily duties. The Faroese women take the knitting into their hands, while knitting you can let your thoughts fly. You can watch TV. And you can have a chat. After a good and positive day the knit might be a little looser than after a tough day. You might very well be able to see those feelings in the finished garment. What mood was the starting point for the knitting session; you will always feel relaxed afterwards. You might call it therapy – we just call it knitting,” said Gudrun Rógvadóttir.

Ein weiteres, ethisches Mode-Thema mittels Podiumsdiskussion war das aktuelle Thema: Ermächtigung, besonders von benachteiligte Frauen. Gudrun & Gudrun haben ihre eigenen Ermächtigungsprojekte, weil sie glauben, dass Frauen Ermächtigung mit der Gelegenheit selbst Geld zu verdienen anfängt. Die selbstgemachte Produktionsrolle wird von Färöerinen und Jordanierinen geteilt. Gudrun & Gudrun kennen all diese Frauen mit Name; alle haben haben die altertümliche nordländische Strickmethode gelernt – mit zwei Stricknadeln und ohne Maschinen.

“Es geht um Zeit, die Zeit inder man sich erlaubt nichts zu tun – oder keine alltägliche, häusliche Aufgaben. Die Färöerinen stricken – währendessen kann man denken. Man kann Fernsehen gucken. Und man kann sich unterhalten. Nach einem guten beziehungsweise positiven Tag strickt man lockerer als nach einem schlechten Tag. Es ist gut möglich, dass man diese Gefühle im Kleidungsstück sehen kann. Wie auch immer die Laune am Anfang, man fühlt sich nachher entspannt. Vielleicht kann man es ja Therapie nennen – wir nennen es einfach stricken.” Sagt Gudrun Rógvadóttir.

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All fashion images by Nyla Sammons from the Estethica showcase at LFW

March 7, 2013 in Fashion

Gudrun & Gudrun – Scandinavian Sustainability

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It’s always great when you stumble upon that rare breed of designer, you know the one who has both the talent to create stylish, wearable and lust-worthy pieces, but also the moral compass to ensure their production, materials and conscience is ethical and sustainable.

Rare, and yet the ethical fashion industry seems to be growing, with last week’s London Fashion Week demonstrating that more and more people, brands and organizations are jumping on the ‘Fashion-for-a-good-cause bandwagon’ as our collective conscience shifts.

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One such company is Faroese luxury knitwear label Gudrun & Gudrun who were taking part in the special Scandinavian exhibition in Somerset House over London Fashion Week. Not only are the chunky hand-knit sweaters (inspired by the old Faroese fisherman’s sweaters and adapted with a tighter fit for women) envy-inducingly gorgeous, but the brand also happens to be committed to sustainable or ethical production incorporating the concept of using sustainable, natural resources whilst still ascertaining the aesthetic of luxurious and stylish knitwear.

As the host of the panel Guðrun Rógvadóttir spoke to the rapt audience about how she founded the brand after witnessing the colossal waste of local sheep farmers burning unused wool and destroying sheep’s skins. The idea was to change the way fashion is perceived and make people think about the bottom line and how we approach sustainable production.

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“The Faroese yarn and lambskins used in the G&G production are all waste products. The sheep are kept for the mutton, so no animals are used for production only. Gudrun & Gudrun use all natural resources, including fish leather, which is also considered a useless waste product taken from fish caught for eating,” said Rógvadóttir.

Gudrun & Gudrun believes in the virtues of natural beauty, nature and as such do not use models or studios to market their product, but real people and our interaction with nature and the environment – to underline that nakedness in all forms tells the real story about their clothing.

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The Gudrun & Gudrun vision is to make a very simple, yet very ambitious difference. They want to make clothes that live up to the standards of conscious consumers who want to be stylish but who also care about each other, the environment and our common natural resources.

Naturally, talk soon turned to ethical consumption, an issue at the heart of the ethical fashion community and one that is all too often overlooked in favour of ‘overconsumption’ and a concerted dedication to living ‘The Good Life’.

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According to Guðrun Rógvadóttir, “The fashion industry should be thinking about the processes it uses to colour, print and process fabrics in order to use less energy, create less pollution and consume less natural resources, the resources that are so incredibly limited in today’s world.”

The brand believes in the idea that we don’t need more “stuff” we just need to create better choices, by consciously thinking about using the smaller suppliers in order to protect our invaluable and limited natural resources.

February 27, 2013 in Fashion

SONATA – Oozing with femininity

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Patience was definitely a virtue needed in abundance for the audience at the Sonata Lingerie catwalk show at the Westbury Hotel over London Fashion Week. The main event itself – the presentation of the latest collection of drool-worthy Sonata Lingerie – was well worth the wait, BUT the pre-show warm up consisted of a rather strange and eclectic amalgamation of, in cases, dubiously skilled alternative designers.

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The best of the pre-show talent was Charlene Edwards, who launched her brand in 2012 and aims to develop an intriguing style that epitomises the strong, professional woman. Her collection was characterized by a predominance of neutral earthly colours.

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But now on to the true star of the show: Sonata Lingerie fuses beautiful and technically unique design forms with hyper-luxurious silk and lace, creating garments that contour and deify the female form.

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The pieces are so delicate in their femininity and yet manage to ooze with an incredible and envy-inducing sex appeal.

“I use only the best”, says Lithuanian born founder, Sonata Rapalyte. “100% pure silk chiffon and silk satin, incorporating lace and crystals in almost all of my designs”. Her passion for lingerie shows in her lovingly handcrafted lace bodies, which are quite simply beautiful.

Looking to become an irresistible temptress for a night? Invest in one of these pieces…now!

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February 26, 2013 in Fashion

Leutton Postle – the success of the PLEATED trouser

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Breaking from the runway norm, luxury knitwear duo Sam Leutton and Jenny Postle used the medium of film for the first time to showcase their AW13 collection, exclusively at London Fashion Week.

Part of FASH/On Film – a project that sees the British Fashion Council teaming up with River Island on an initiative to promote the relationship between fashion and film – the energetic and whimsically fun-filled short allows for a more dynamic and engaging presentation, fully absorbing the viewer in the world of Leutton Postle.

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Directed by Amy Gwatkin, the light-hearted yet fast-paced film is an explosion of colour and texture and reflects the playful, humorous, surreal and vaguely ironic mood of the collection.

Viewers are presented with a mish-mash collection of close ups of the collection, interspersed with clips of a carefree young model dancing and moving in way that echoes the playful and childlike nature of the patterning of the knits.

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“Our AW13 collection began by experimenting with painting and collage, which we then crudely digitalised into pleated knits. Spreading the pattern only on the pleated surface we created pattern which broke when moved. Pleats are also manipulated on the body to form a sophisticated silhouette to balance out with a playful, iridescent colour palette.”

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Harnessing the use of black in a first for the label, Leutton Postle has created a collection that brings together their signature clashing block colour, mixed with the refinement and strength of silhouette that black provides. An overall more grown-up look with a focus on wearability.

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Pleats have been pushed to the extreme by combining them with pattern and then allowing the structures to be manipulated to inform the shape of a garment. Waistlines are created by bringing together pleats in bands in a process that is as structurally complex as it is beautifully simple. Where not joined, patterns are broken with the movement of the pleats.

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AS FOR THE PLEATED TROUSER, if you’re cursed with ‘bean pole’ or ‘straight, straight legs’, these are the TROUSERS for you!

So G O R G E O U S!

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February 25, 2013 in Bright and Shiny

A Sci-fi universe at Bloody Gray

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Definitely not one for limited, inner-box thinking, innovative PR company Bloody Gray put on a tradition-challenging exhibition in the Portico Rooms at Somerset House to showcase the AW13 collections of its talented British and international designers.

Die innovative PR Firma Bloody Gray  organisierte eine traditionsausweichende Ausstellung, in den Portico Rooms im Somerset House, für die Herbst Winter 2013 Kollektionen von ihren talentierten, britischen und internationalen Designer. Und es war keineswegs etwas für das limitierte Denken. 

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Martina Spetlova, Jane Bowler, Jayne Pierson, Tom Van Der Borght, Bas Kosters and Barbara Alan all presented their collections in an interactive digital environment using live performances, installations and film presentations.

Martina Spetlova, Jane Bowler, Jayne Pierson, Tom Van Der Borght, Bas Kosters und Barbara haben alle ihre Kollektionen vorgestellt und das in einer interaktiven, digitalen Atmosphäre mit:  live Aufführungen, Installationen und Filmdarstellung. 

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All the talented designers displayed high-octane energy and vibrancy throughout their collections. The unique use of striking textures and colours for which Martina Spetlova has become famous are evident in her AW13 collection, which was presented with a fashion film showcase. Combining elements that would usually clash, Spetlova uses lace-like knits, laser cutting, hand-pleated soft polyesters and leather interwoven with satin to create structured garments that give a feel of individuality to each and every piece. On an ethical note, Spetlova works closely with Icelandic company Atlantic Leather – a sustainable producer of high quality fish skins.

Alle stellten hyper-dynamische Energie und Lebendigkeit in ihren Kollektionen dar. Die einzigartig und bemerkenswerte Texturen und Farben, für die Martina Spetlova bekannt geworden ist, sind in ihrer Herbst Winter 2013 Kollektion, was sie mit einer Fashion Film Showcase präsentierte, deutlich sichtbar.

Spetlova benutzt Elemente, die normalerweise nicht zusammenpassen, so wie Spitzen-ähnliche Strickwaren, Laser Cutting, handgefälteltes, weiches Polyester und Leder mit Satin zusammengewoben um strukturierte Kleidung herzustellen, und für jedes Stück gibt es ein Gefühl des Individualismus.  Ethisch gesehen arbeitet Spetlova eng mit der isländischer Firma, Atlantic Leder, zusammen – ein umweltverträglicher Hersteller von Fishhäuten. 

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Gent-based new kid on the fashion block, Tom Van Der Borght chose to present his vivid AW13 collection with an installation of models posing amongst neon strip lights. As playful and eccentrically unconventional as ever, Van Der Borght’s highly personal aesthetic is clearly discernible in the bold combinations of bright colors, psychedelic graphics and textures. These garments serve as street-wear armor for strong super humans in an urban setting.

Der in Gent lebender ‘New Kid on the Fashion Block’ Tom Van Der Borght hat entschlossen seine lebendige Herbst Winter 2013 Kollektion mit Modellen vor Neon Röhrenlampen vorzustellen. Die Kollektion von Van der Borght ist spielerisch und ausgefallen unkonventionell wie immer, und erkennbar an seiner persönlichen Aesthetik mit starken Farbenkombinationen von leuchtenden Farben, und psychedelische Graphik und Texturen. Diese Kleidung dient als Street-Wear Rüstung für starke, super Menschen in Städten. 

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More boundaries were being tested across the hall with Bas Koster’s ‘The Rebellious Shadow’ collection. Not one for subtlety, Koster’s team of strobe-lit models was presented to guests wearing a collection of statement pieces combining bold graphics with repeat digital prints. Combining black with an opulent use of multi-colours the collection questions our way of looking at contemporary youth culture and the aesthetics of protest.

Weitere Grenzen wurden mit der ‘The Rebellious Shadow’ Kollektion von Bas Koster getestet. Er ist nicht bekannt für Feinsinnigkeit und das Team von Blinkleuchten beleuchteten Models, mit Statement Stücken von Gold Graphik und widerholten Digitalprints, wurden den Gästen vorgeführt. Die Kombination von Schwarz mit opulent-benutzten, gemischten Farben stellt in Frage wie man jetzt die moderne Jugend Kultur wohl sieht und dazu die Aesthetik des Widerspruchs. 

According to Kosters, “this collection is more alarming and uplifting with a new identity for black, the fashion army colour.”

Laut Kosters: “diese Kollektion is alarmierender und erhebend, mit einer neuen Identität für Schwarz, die Farbe der Fashion Army”

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Minimalist innovator Barbara Alan’s fashion instillation showcased the designer’s modernist approach to producing garments using an advanced ultrasound technology to bind the fabrics together and cut them out using lasers. Without stitching, the pieces are all about clean silhouettes, soft seamless shapes and extreme attention to detail. Describing the collection, the designer said: “We are very dark and black and minimal in what we do.”

Der Fashion Aufbau von der minimalist Innovatorin , Barbara Alan, zeigte wie der Modernist Stoffe mit Laser ausschneidet und mit fortgeschrittener Ultraschall Technologie die Stoffe zusammenflechtet, und sie dann in Kleidung wandelt. Ohne Näherei heisst es, die Stücke sind saubere Silhouetten, weiche Nahtfreie Formen, mit haargenauer Aufmerksamkeit fürs Detail.  Die Designerin beschreibt die Kollektion: “Was wir machen ist sehr Dunkel und Schwarz und Minimalist”

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Bringing futuristic to a whole new level, Jane Bowlers’ AW13 designs were almost sculptural in their innovative quest to find new wearable textiles. Ever passionate about transforming unconventional inexpensive and mundane materials such as acrylic, into sophisticated, luxurious and unique fashion statements, the collection features chainmail-style, glittering warrior armour gowns and plastic geometric footwear, all in a simple palette of black and silver.

Continuing her penchant for fusing fashion with ballet, Jayne Pierson used performing ballerinas to showcase her collection, reflecting the theatrical nature of her line. A line which is reminiscent of a bygone era with its silk taffeta, caged corset skirts, beehive wig-like hair styles and puffed sleeves.

Die Designs von Jane Bowlers Herbst Winter 2013  brachten futuristisch auf ein neues Niveau und waren fast skulpturell.  Die Designerin ist weiterhin leidenschaftlich unkonventionelle, preisgünstige und alltägliche Stoffe, wie Acryl, in anspruchsvolle, luxus und einzigartige Mode Statements umzuwandeln. Die Kollektion bringt mit sich Ketten-artige, glitzernde Kriegsrüstungsroben und geometrische, Kunststoffschuhe, alle in einfachem Schwarz und Silber.

Jayne Pierson benutzte aufführende Ballerinas für ihre Kollektion, was das theatralische ihrer Linie widerspiegelte und ihre weitere Interesse an der Fusion von Mode und Ballet zeigte. Die Kollektion erinnert an eine vergangenen Ära, mit Seidentaft, Käfig Korsett Röcke, Beehive Perückenartige Frisuren und Puffärmel.