When did you last spot someone on the street wearing the same dress; the very dress which you thought was so unique when you saw it on the hanger?

The trouble with mass production is that a ‘look’ is made to be universal – the chances are that everyone in the universe has one – and that some poor soul in a not too far away place was paid almost nothing to make it are pretty high. We talk a lot about ‘sustainability’ but what does it mean, and why does it matter? 

Our choices and how we spend our money have a ripple effect. Nowadays, trusting a brand to leave a kind ‘footprint’ on our planet is a big factor in our decision to buy. We want to know who made it and were they treated fairly? We want to be sure that the materials used and the way it is made means that it is a true bargain, both for the customer and for the community who produced it. But despite all this, no one wants to look boring! And no one wants to feel guilty every time they go shopping!

So how do you balance all this and still manage to find that perfect outfit? Maybe the answer is to think small! Small brands are more likely to have close working relationships with their suppliers were there’s greater transparency both in sourcing materials and manufacturing. At AlphaOmega, we not only think about the materials we use, and the impact they have on the environment but our original designs, colours and emphasis on creativity let you make a splash in your world. Creating products with you!- as the customer in mind. Giving our customers both peace of mind and creations that are unique in self expression.

So next time you get that fast fashion fever, shop small, as making a big statement doesn’t have to harm our environment.

Lorenzo Belli, an incredibly talented still life and portrait photographer hails from the ancient city of Rome, Italy.

Sustainability

(from ‘sustain’ and ‘ability’) is the process of change, in which the exploitation of resources, the direction of investments, the orientation of technological development and institutional change are all in harmony and enhance both current and future potential to meet human needs and aspirations’.

Sustainability is fast becoming the biggest single issue facing business and commerce around the globe. Whether one is sceptical of the science behind climate change or not, the impact of human industry on the environment is becoming more difficult to ignore. The depletion of fossil fuels and natural resources, the erosion of wild habitats and the depopulation of species cannot surely be a seen as in anyway beneficial to ourselves or our planet

Fashion may not be the first industry that springs to mind as a major contributor to environmental destruction but it has hardly been immune from the negative side-effects of intensive production methods and mass consumption culture. Its exponential growth in the last few hundred years, has left fashion with a very large carbon footprint indeed. A visit to the V&A’s ‘Fashioned from Nature’ exhibition provided a sobering insight into this often ecologically unsound history.

What began as a voyage of discovery, a fascination and desire to document, showcase and harness the visual aesthetics and the innate practical qualities of the natural world, is now a billion dollar industry that has turned rare, exotic specimens into high-fashion products. With that follows the consumption of vast amounts of water to produce even the most natural of fibres, not to mention the use of harmful chemical processes, which have all  been created in the pursuit of cheaper, synthetic alternatives.

The promotion of mass consumption through the availability of cheaper and cheaper items has also given rise to an abundance of waste clothing and materials as well as sanctioning the unethical treatment of a number of its global workforce. In short, fashion is no small player when it comes to the imbalance between material gain vs. environmental cost.

From this assessment it would seem that the modern fashion industry is long overdue a rethink of its sourcing, production and manufacturing processes as well as the way in which it promotes buying culture. In some quarters, from independent labels to big name designers such as Stella McCartney, Vivienne Westwood and Christopher Raeburn, are making the utilisation of the latest technological advances, cutting waste, upcycling, recycling and supporting not-for-profit organisations and global charities the new-norm.

These practices are gradually becoming more common but in order to make them commonplace it will be up to the high-street companies and fast-fashion retailers to adopt a similar ethos up and down their supply chains.

Any root and branch overhaul of industry processes along with the standardisation of ecologically sound methods, while having a significant effect in cleaning up the industry, will no doubt require considerable investment. Despite the bulk of these costs being absorbed by the consumer, profit margins will inevitably be hit. In this regard full sustainability is an unattractive proposition for many large commercial fashion enterprises. As such  token gestures, heavily promoted and disguised as corporate responsibility will run the danger of becoming insubstantial. Though the end-user is perhaps the most powerful proponent for industry change, they are currently finding themselves faced with a barrage of terms such as ‘conscious’, ‘ethically sourced’, ‘eco-friendly’ or ‘recycled’, with little information as to what they actually mean. Leading to fears that ‘sustainability fatigue’ will set in even amongst the most ethically aware and educated consumer.

What is the ratio of recycled material in each product? Has the ethically grown cotton t-shirt been stitched by an under-paid worker in order to bring the costs down? The complexity and multifaceted nature of the fashion production process and a lack of transparency at every level means that consumers can be left feeling that shopping truly ethically is an almost impossible task and therefore not worth the bother. Perhaps this is what the industry is relying on to stall the progress of sustainability, the reality of consumers voting with their wallets would offer little option but to follow a more sustainable business model and swing the pendulum vastly in sustainability’s favour.

In future, fashion may find itself with no choice other than to adopt wholesale sustainability. Government legislation, or in the worst case scenario, difficulty in obtaining and maintaining current resource requirements, may force the hand of it and other industries altogether.

For one that prides itself on its ability to be a forerunner of innovation and invention this would be a poor demonstration of its powers and as some designers are already proving, sustainability is achievable. The pre-emption and future-proofing of the industry for such events is not just financially prudent in the longer term but could ultimately prevent fashion finding itself on the endangered species list.

The Sustainable Angle are advocates for projects contributing towards the fight against the negative environmental impact on both the fashion industry and society. They are a not for profit organisation who aim to encourage and improve the visibility of innovative textiles that boast a reduced environmental impact. The Sustainable Angle host ‘The Future Fabric Expo’ which stands as a platform to discover, connect and learn more about the sustainable textiles within the current and future fashion industry globally.

The Common Objective’s goal is simply to ‘Do Fashion Better’ through learning, connecting and collaborating. They have named themselves a matching engine, linking individuals, leaders, pioneers and influencers. Their objective is to encourage business that is better for people, better for profits and better for the planet. Through sharing knowledge and resources success across the field of fashion can be increased, without compromise. A vision the Common Objective is putting into fruition.

Piñatex is a innovative sustainable leather alternative crafted from pineapple leaf fibres, founded by Dr. Carmen Hijosa. Inspired by the cradle to cradle approach, the brand promotes low environmental impact, alongside high social responsibility. Thus paying attention to each aspect of the textile process by supporting ecological, intelligent design policies.

WHO: Beauford Delaney

Above: Photo of Beauford Delaney

WHY WE ARE INSPIRED:

Thomas Daniel Howitt is an up and coming filmmaker from West Wales. He specialises in a diverse range of genres including commercial/promotional video, music video, experimental and documentary.

What we love about Thomas is his approach to new projects, he thrives on the ones that take him out of his comfort zone.

“For me, it’s all about making stories come to life. There’s nothing more satisfying than taking an idea and creating from it, something real, that people can appreciate.”

WHO: Patrick Kelly

Above: Photo of Patrick Kelly

WHY WE ARE INSPIRED: When you hear the word Mississippi, there are probably a few things that come to mind before ‘ haute couture’. However this great southern delta state managed to produce arguably one of the greatest designers that fashion has seen, whose larger than life outlook and boundary pushing instincts rocked the industry.

Playful, fun and glamorous, it’s easy to understand why Patrick Kelly’s designs became such a hit of the day. But as with anything that garners widespread appeal, they were also sprinkled with the glitter of controversy and sly undertones.

Above: SS89 Collection. Photograph by Oliviero Toscani.Images courtesy of the Philadelphia Museum of Art

Kelly’s clever use of iconoclastic racist imagery amplified his political standing on the subject matter at the time. The logo on his boutique bags, which divided opinions, cleverly featured a playful yet powerful image of a smiling golliwog, an effort by Kelly to reclaim the racist stereotype that once depicted black people in America.

Above: Left, Patrick Kelly brooch. Centre, Patrick Kelly shopping bags. Right, Patrick Kelly 1989 magazine feature

With his mother’s helping hand he even produced racist pickaninny doll pins, which he handed out at the end of his shows as souvenirs as well as famously designing a watermelon hat to subtly subvert and undermine racist imagery which were prevalent symbols that he grew up with in the south.

Above: The famous watermelon hat worn by catwalk model

Even when he hit the big time Kelly always remained true to his roots. Though he was inspired by the world of success and beautiful people around him, it was the women in his life at the start that spurred on his passion for fashion.

Above: Left, photo taken with Patrick Kelly, Iman, Grace jones Naomi Campbell. Right, Patrick Kelly and his grandmother

Above: Patrick Kelly and Janet Chandler 

He never forgot the unrepresented black women who filled the church pews in his home town every Sunday and used them as an impetus to begin his ascent into the world of fashion.

Kelly’s universal imprint became more diverse as he designed for all types of women across America and beyond who had seen glimpses of the glamorous world of fashion. His message was simple, women of all diverse backgrounds should be celebrated, ladies that attend the ‘Baptist church on a Sunday, are just as fierce as the ladies at Yves Saint Laurent’s haute couture shows.’

Kelly’s playfulness so admired then and now is underpinned by something more intense today. As much as the designer was appreciated then (illustrated by his induction in Paris’ Chambre Syndicale) with the bittersweet lense of hindsight, the world can see what a rarity he truly was. His fashion house had five years of exuberance, fanning the flames of change before the designer died suddenly. Although Kelly had a signature look with the use heart shapes he sewed onto black tube dresses, using bright coloured buttons he had so much more to offer in the style stakes.

Above: Left, Patrick Kelly AW88. Right Photo of Bette Davis wearing Patrick Kelly

His designs provided a glimpse of what the future would have held for the brand and indeed what is possible for the world of fashion and design as a whole. We at AO London will always remember a true creative who was bold enough to cleverly depict political/social issues through the use of sartorial brilliance.

Marco has worked with some amazing people over the years, he values originality and people who aren’t afraid to think creatively.
Previously he worked as a lighting assistant, photographer,  lead retoucher and associate lecturer making a career in the photography. Currently Marco manages a retouching department at Spring Studios.

Adrian Burke is a London based photographer specialising in distinctive still life and animals. Working for a variety of clients from advertising to design and editorial, his recent commissions have included The Sunday Times, Tesco, Barclays, Waitrose, Shell, Wired and Sainsbury’s magazine.

Over the past 20 years working on both commercial projects and self-initiated collaborations, Adrian has developed a distinctive photographic look, fostering long-term relationships with creatives and specialists, to achieve his idiosyncratic signature style.

BLOW continually maintains levels of creativity, innovation and excellence without parallel for the diverse range of brands we represent.In-depth knowledge of the industry combined with a comprehensive repertoire, contacts and insider knowledge enables us to offer a service which consciously positions each brand perfectly within the ever-changing world of fashion.

We pride ourselves on building brands and maintaining them at the highest level. However unlike other corporate agencies that provide a typical service, we believe our individual approach and boutique environment are key to attaining outstanding results, ensuring we never miss an opportunity.Established in 2003, BLOW has become one of London’s leading PR agencies with an impressive portfolio of clients and well developed relationships with fashion journalists and stylists, influencers and tastemakers.

Aesthetica combines dynamic content with compelling critical debate, exploring the best in contemporary art and culture.

Kate Hart is a trend forecaster and writer based in London. She studied Design, Marketing and Product Development (Footwear and Accessories) at Cordwainers’ College and specialises in footwear and accessories trend analysis.

NOT JUST A LABEL (NJAL) is the world’s leading designer platform for showcasing and nurturing today’s pioneers in contemporary fashion.

Set up in 2008 to infuse new life into fashion, NJAL was quick to become an indispensable tool for the industry; helping designers gain exposure and finance their progression independently by providing an easily accessible retailing forum via its online shop. NJAL is a creative hub with a red carpet following setting trends and perpetuating innovation, an infinitely expanding destination devoted to facilitating growth in the fashion industry.

Magdalena Skoczylas was born in Poland and attended the Mat-studio art school in Gdynia, one of the most prestigious art schools in Poland. During her studies Magdelena developed a keen interest in make up and costume styling for both film and theatre. Which gave her the opportunity to undertake apprenticeships in theatre productions such as Mother, Chicago and the Polish-Russian war under the white-red flag. The school exposed Magdalena to creatives with artistic and fashion backgrounds, it was this that fuelled her appetite to focus within this area. After graduating Magdalena set her sights on London, where she felt she could further develop her career and is currently working for Inglot Cosmetics.

Phoebe Wilson is a young, emerging, charismatic and an extraordinarily creative fashion stylist based in London.
Her passion revolves around womenswear, menswear and still life styling.

Karolina Amberville is a brilliantly creative portrait and fashion photographer based in London. A Gdańsk native, she studied Fashion & Street Fashion Photography at the London College of Fashion; Artistic Photography in Warsztaty Fotografii Artystycznej, Poland; Boudoir with Joe Cogliandro at SWPP, London.

Double Decker is a curating agency based in London that facilitates the generation of a wide range of art and design projects, spanning both the commercial and museum worlds. Created by Wilhelm Finger and Melita Skamnaki, both with over a decade’s experience within the creative industry, Double Decker has managed and curated exhibitions, spaces, talks, publications, and events internationally. With clients from Brazil to Greece to North America, the international focus and aims of the company are evident. With interest in the applied arts and design along with film, photography, fashion, industrial, product, illustration, animation and graphic design, Double Decker’s approach to contemporary curating celebrates curiosity, concept and narrative, engaging visitors through the creation of experiences that stimulate all senses.

Elsa Quarsell is a Swedish photographer who was based in London for 13 years and has now relocated to Berlin. She graduated from The Surrey Institute of Art & Design in 2003 with a BA (Hons) and a portfolio that won her the Metro Imaging student bursary. She immediately began to make a name for herself on the London photography scene and her work has appeared in numerous publications including The Sunday Times, The Guardian, The Independent, Arena, Vogue and The Face.

Michael James O’Brien is a world class photographer. He received the M.F.A from Yale University where he studied in the 1970’s with Walker Evans. He was the associate professor of photography at Kenyon College in Ohio and taught at the New School in New York City in the mid-80’s.

His work has been commissioned by magazines such as The New Yorker, Departures, Rolling Stone, Financial Times, Donna, Elle Décor, The New York Times, L’Uomo Vogue, Travel&Leisure, Zoo, CondeNast Traveler and by advertising clients including Illy Caffe, Penhaligon’s London, L’Artisan Parfumeur, Longchamp, Piazza Sempione, Bergdorf Goodman, Thierry Mugler, Polo Ralph Lauren, Saks Fifth Avenue and Nautica.

He is currently Contributing Editor of Departures.

MacCarthy & Sons Ltd, established in 1880, is a prestigious UK based family run business specialising in high end, bespoke custom made cardboard packaging.

With over 125 years experience, MacCarthy & Sons have built customer relations with some of the worlds biggest brands. Producing high quality presentation packaging, storage boxes, flat pack and mailing cartons to suit all needs.

MacCarthy & Sons adopt an ethical approach by only using environmentally friendly, recyclable cardboard and materials as well utilising production methods that are kind to the environment.