‘‘There is too much
fashion’’ declared fashion’s king of exclusivity, Dries Van Noten, in a recent
interview with The Independent. With the international fashion shows lasting an
entire month, pre-collections, endless collaborations, and the increase of
‘disposable’ clothes in shops such as Primark, I’m inclined to agree with him.
Fuel sources are
destined to peak (and then go into rapid decline) around 2030, and with the
textiles industry accused of both polluting landscapes and contributing to climate
change through environmentally unfriendly production methods, it can be argued
that the fashion industry is on a one way highway to self- combustion. However,
a backlash against the unrelentingly greedy consumerism that created the cycle
of production, consumption and waste has begun to emerge from the more
conscientious and creative divisions of the fashion industry. The reaction to
unethical and disposable ‘fast’ fashion can be viewed through three things: the
rejection of globalisation by international fashion houses, the rising
popularity of the’ arts and crafts’ movement, and the increased number of
ethical, eco- friendly fashion labels.
With a shocking
estimated 60% of Western clothes being made in Eastern sweatshops, combined
with the high street’s unchecked plagiarism of catwalk looks, historic British
brands such Burberry and Mackintosh are leading the way in returning to local
craftsmanship, through small factories located in the UK. Burberry has made its
classic trench coats in the same factory in Castleford since the garment’s
creation, and is in the process of building another factory for British
production in Pontefract, Yorkshire. Mackintosh were on the verge of closure in
the 1990s when staff bought the company, based in Cumbernauld, Scotland, and
began establishing the classic coats as an upmarket brand; collaborations with
Liberty, Louis Vuitton and Gucci followed. The Mackintosh and Burberry brands
have since reached cult status within the UK, with customers celebrating the
unique and artisanal nature of production in the British factories; thus, the
backlash against the homogenisation of the high street began, through ensuring
the quality and individuality of the designer collections.
This reaction
to sweat shops and ‘fast’ fashion can additionally be seen in Birmingham’s
growing independent ‘arts and crafts movement’, which sees a collection of
like- minded types encouraging and developing creativity and original design in
response to the waste and unethical attitudes of high street shops. The
Birmingham- based website ‘Teahab.co.uk’ is at the forefront of the movement,
pushing for a ‘celebration’ of handmade and individual clothes and accessories
as well as a diminishing dependence on high street fashion.
Furthermore, combined
with this growing passion for artisanal and individualistic fashion is the
increased international awareness of the ethical and ecological issues
surrounding the industry. The best
collaboration between high end and high street has to be the upcoming Sophia
Kokosalaki for ASOS line. London’s brightest new designer is launching an
affordable, cutting edge and ethically produced collection, made in Sri Lanka
by a women’s cooperative. Furthermore, online retailers have popped up such as
Prophetik, People Tree and made.uk.com, a website which is exemplified by its
motto: ‘by the people for the people’. The site sells Fairtrade jewellery and
accessories from African cooperatives, and also features designs from
celebrities such as Laura Bailey, Peaches Geldof and Pippa Small. Such high profile
endorsement points to a growing market for sustainable and ethical designs
within the UK, a market that is being embraced by Birmingham, from the eco and
ethically friendly printers ‘Get A Grip’, based in the Custard Factory, to
craft magazines such as ‘Folksy’ and the ‘Creative Open Workshops’ (C.O.W.), located in the Jewellery Quarter.
A product of
Birmingham’s Creative Open Workshops
As well as in
Birmingham, the crafty movement has exploded across the international fashion
scene, hopefully paving a way to a more creative and unique perspective on
fashion. Burberry Prorsum’s S/S ’12 show featured a close focus on
craftsmanship and innovative fabrics and prints, with tribal motifs woven in
raffia and fabric dyed with rich, exotic colours using the ancient batik
method. In Paris the atelier used by couturiers for decades, Lesage, was
inundated with requests for individually crafted pieces for the A/W ’12 catwalk
shows, from Mary Katrantzou’s embellished ‘HB pencil’ skirts, to the strangely
compelling glittery eyebrows at Chanel.
Mary
Katrantzou A/W ’12
Through all of this we can see another
trend rising up through the fashion industry: one for craftsmanship, local
design and production, and ethical manufacturing. Will we see Primark and co. decrease
in popularity and profits, commit themselves to producing smaller, more
ecologically and ethically friendly clothing and, dare we say it, more
expensive clothes any time soon? Unlikely, but at least now the discerning
customer has an alternative to the wasteful world of ‘fast’ high street
fashion. As for ‘too much fashion’? It
seems that now we have even more choice. Poor Dries.
Burberry
Prorsum S/S ‘12
Want to get involved?
Love, Amy Rose
Images from:
http://tinyurl.com/c5pcv2v
http://tinyurl.com/cf5vpjb
Image for C.O.W:
http://tinyurl.com/6rbnffl
