FASHION IS

CHANGE AND
REINVENTION.
SUSTAINABILITY
IS JUST THE
NEXT STEP.
BREAK
THE RHYTHM
OF FASHION.
MARCH TO
A NEW DRUM.
EVER Manifesto 01

Modus Operandi
The tipping point is here. The one weve seen coming for a long time where
our consumer society has surpassed its compatibility with the finite resources
of the Earth. The truth is that weve been aware of the imbalance between
our demands on nature and natures ability to support us for more than half a
century now.
Thankfully, consumer attitudes are changing. Just as we have become
accustomed to asking the provenance of what we put in our bodies, today
the question of where and how the clothes we put on our bodies are made
is becoming just as familiar, and as important. Clothes, like art, music
and architecture, are a reflection of the time in which they are created.
Yet in comparison particularly with that other design discipline that
accommodates the body, architecture fashion trails way behind.
And as protagonists in one of the worlds largest industries, one with
reverberations that can be felt on every citys high street, we have not only a
responsibility to do something about it, but also the power to influence. The
very nature of fashion is one of an ever-changing cycle it has to reinvent itself
every six months. At first, that rapid turnaround, both ideologically and in terms
of production, might seem totally at odds with the concept of sustainability. But
thats missing the point.
Because, fashion, more than any other industry, is predisposed to overhauling
its system. Yes, sourcing material responsibly, ensuring manufacturing has a
low-impact on the environment and trading ethically all takes radical change
and vision. But that is what fashion does best. The industry needs to embrace it
as just another form of reinvention.
That said, eco-friendly is not a fad, and responsible trading is not a trend.
Instead, by looking to technological innovations and educating not only the
consumer, but also those with influence like designers and buyers as to

how their clothes are made, ethical production can be the next step in fashions
evolution. A step that is key to fashion remaining relevant as a design discipline
that not only reflects the times but also directs them.
It sounds like a Herculean task. But it is important to remember there are no
fixed solutions when dealing with sustainable, environmentally responsible
production. Like the constant flux of fashion and the Earth itself, it is an area
of constant change. Technological innovation in textiles and production offer
a brave new world of creative possibilities such as growing seamless clothes
onto the body (as discussed by the Gucci Groups Burak Cakmak later in
this publication) that might be more dynamic and exciting than what existed
before. Creativity be it from the specialist innovations of scientists or from
fashion designers, buyers, marketing teams and the media is crucial to not
only the survival of luxury as an industry, but also life on Earth as we know it.
Embrace the problem create the solution.
We are not unrealistic in what were asking of fashion. We understand there
is no such thing as a completely green fashion company. We are also fully
aware of the negative associations with ethical fashion, the phrase, and the
flaws chiefly in the design process of companies who brand themselves as
such. What we are asking is that the companies we know, the labels we love and
the people we respect try to become greener. And in doing so, green will
become desirable. Strengthening not only the attachment todays consumers
have with their favourite brands, but also that of the next generation for
whom sustainability will be second nature.
There are some brands and young designers already out there proving that
ethics neednt get in the way of aesthetics. But there is a long way to go. The
fashion industry is far from being sustainable. However, step-by-step, we can
all try lead, and others will follow. And besides, with the price points of most
high fashion, no one wants to be wearing 1500 of bad karma on their back.

EVER Manifesto
Founders: Alexia Niedzielski, Charlotte Casiraghi, Elizabeth von Guttman
Guest Editor: Franca Sozzani
Associate Editor: Xerxes Cook
Managing Editor: Ben Cobb
Art Direction: Saturday London
Editorial Co-ordinator: Raphael Castelmezzano
Contributors:
Derek Blasberg
Burak Cakmak
Laura Lazzaroni
Duro Olowu
Illustrators:
Tanya Ling
www.tanyaling.com
www.fashionillustrationgallery.com
Pierre Marie
www.pierremarie.fr
Photographer: Amira Fritz
Production: Renate Gallois Montbrun
First Assistant: Florent Brunel
Second Assistant: Mlina Vernant
Third Assistant: Lena Natus
Conception Flowers: Amira Fritz
Realisation Flowers: Sibylle Fritz
Stylist: Theresa Fritz
Models: Dana @ Slides, Roman @ MGM

Earlier this year, the Italian artist Michelangelo Pistoletto,

alongside Franca Sozzani, invited 11 fashion designers to the Cittadellarte
Fondazione and presented them with the challenge of producing one look from
a selection of ethically sourced Italian textiles. Here, Pistoletto elaborates
on his philosophy of the Third Paradise and the thinking behind the Cittadellarte
Fashion: Bio Ethical Sustainable Trend exhibition.
By Laura Lazzaroni

Website: www.wednesday-london.com
With the support of:
LAtelier Publimod for development and prints
Janvier for scans and colorimetry
Thank you:
Neige De Benedetti, Matteo Caraccia, Alessia Glaviano, Jens Grede,
Mila Serena Di Lapigio, Stella McCartney, Michelangelo Pistoletto,
Erik Torstensson, Mimma Viglezio, Oliver Walsh
With generous support from Loro Piana
EVER Manifesto
3rd Floor, Biscuit Building,
10 Redchurch Street,
London, England E2 7DD
www.evermanifesto.com
info@evermanifesto.com

EVER Manifesto is about evolution.

EVER Manifesto aims to inspire positive transformations in how we live by generating sustainable
solutions for both work and play that are aimed at protecting our planet for future generations.
Importantly, these are solutions that can start NOW.
EVER Manifesto intends to stimulate reflection, debate and action. When we have something to say,
we will publish a manifesto, working with our supporters, researchers and experts to move people
through the power of imagery and the written word. Each manifesto will focus on a specific theme,
and support a specific project or event that brings the worlds of science and the arts together
through the issue of sustainability.

Some time ago, Michelangelo Pistoletto traced a wavy line that closed in on
itself to form three connecting circles one large central circle flanked by
two smaller ones. This is the symbol of the Third Paradise, the theoretical
and aesthetic essence that has driven Pistolettos practice in recent years. A
symbol of a place where the first, Earthly paradise meets and makes its peace
with the second one, an artificial paradise of the manmade resulting in a third,
harmonious utopia of compromise and responsibility. A Third Paradise that
Pistoletto describes as a new civilisation model in which each of us contributes
to the survival of the collective by assuming personal responsibility. The two
outer circles are like the father and the mother. In the centre is a pregnant
womb that will give birth to our new life. Today, he pushes his symbol another
step forward and adds a continuous motif of arrows as used in the recycle
sign around its perimeter. This renewed symbol was created in association
with his latest project, Cittadellarte Fashion: Bio Ethical Sustainable
Trend, a new sustainable-fashion development centre inaugurating today
at Cittadellarte, the social art workshop he set up in Biella ten years ago.
I dont think the expression ethical fashion is an oxymoron. The idea of
change has always been inherent in fashion and that change isnt necessarily
just exterior, superficial. Change happens on the level of renewable ethics,
not just renewable aesthetics, states Pistoletto. A pioneer of the Arte Povera
movement, Pistolettos long career and diverse creative traits have led him to
experiment with self-portraiture, mirrors, Plexiglas, waste materials, chalk and
interactive installations. Now its time to start the engines of what Pistoletto
calls a lunar module (Because I hope it goes into orbit and opens the way to
new worlds) i.e. the Cittadellarte Fashion project created in collaboration with
Vogue Italia Editor-in-Chief Franca Sozzani, and a team of 11 up-and-coming

fashion designers from across the world who have designed a look using only
eco-friendly fibres. And this lunar module comes just at the right time
2009, the year the Food and Agriculture Organisation of the United Nations
[FAO] have declared the International Year of Natural Fibres.
During the intensive two-day workshop in June of this year, the designers
were assisted by a number of Italian textile manufacturers in their research
into organic yarns. This is comforting and important because it summarises
perfectly the two cultural spirits of our adventure, says Pistoletto. On the one
hand Biella, an ancient, widely-acknowledged centre of textile-manufacturing
excellence. And on the other, young people of different nationalities gathered
together at Cittadellarte, a multicultural, artistic setting where there is
harmony in diversity, where an individual is encouraged to develop his or her
creative talent.
A new mirror work, Prima Scena-La Presentazione by Pistoletto shall also
be unveiled at the same time. Featuring the artist alongside Franca Sozzani
and the designers all sitting at a long table, covered in yarns and fabrics,
its a deliberate iconographic choice reminiscent of The Last Supper. A
composition suggesting that even an initiative based on ecology can lead
to a spiritual dimension. Cittadellarte Fashion is a trinity of bio-sustainability,
trends and the interior value of art. And today, the groups adventure reaches
its zenith with the presentation of the designs in an exhibition that includes the
raw materials, fabrics and finished clothes.
Cittadellarte Fashion: Bio Ethical Sustainable Trend runs until February 2010.
www.cittadellarte.it

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

Born in Birmingham to Afghani parents, Osman Yousefzada

combines elements of ethnic costume with draping and
traditional tailoring.

Known for his devilishly sexy cocktail dresses, this

Canadian-born knitwear wizard fuses couture craftsmanship
with hi-tech materials.

I WAS BROUGHT UP BY FRUGAL AND NON WASTEFUL PARENTS. THIS

PROBABLY MADE ME INTO A HOARDER. BUT WE ALL NEED TO BECOME MORE
AWARE OF HOW WASTEFUL WE ARE. WE CAN ALL LIVE WITH LESS.

THE QUESTION OF SUSTAINABILITY AND HOW IT APPLIES TO MY DESIGNS

HAS BECOME A MAJOR THEME IN MY LIFE. MY GOAL NOW IS TO CREATE
GARMENTS THAT ARE TIMELESS ARTEFACTS AS OPPOSED TO GENERATING
AN ENDLESS STREAM OF DISPOSABLE TREND-DRIVEN FASHION.

EVER Manifesto

EVER Manifesto

From her hometown of Milan, 28-year-old Central Saint Martins

graduate Marta Forghieri underpins soft shapes with
architectural tailoring.

Having collaborated with Lacroix, Dior and Alaa, Venetian

Roberta Furlanetto went solo in 2007, constructing seamless
designs directly to the body.

SIMPLE NUMBERS NO LONGER DETERMINE VALUE. IT IS THE

DURABILITY, THE CRAFTSMANSHIP AND THE RAW MATERIALS OF A
GARMENT THAT MAKE IT DESIRABLE.

AT THE MOMENT ECO-SUSTAINABILITY IS ONLY PARTLY VIABLE BECAUSE

THE VAST MAJORITY OF DYE COLOURS ARENT YET ACHIEVABLE WITH
BIOLOGICAL OR ORGANIC COMPONENTS. WE ARE STUCK WITH 30 - 40% OF
THE OPTIONS. SO, LETS TRY HARDER, INVOLVE THE WHOLE INDUSTRY AND
ALL WORK TOWARDS REALISTIC AND TANGIBLE GOALS.

EVER Manifesto

EVER Manifesto

Based in London, this Swedish knitwear visionary creates

sculptured objets dart for the female form.

Silvio Betterelli lends some dramatic flair from his Sardinia

homeland to elegant, flowing evening dresses.

WE HAVE ALWAYS BEEN CONSUMERS, WE ALWAYS WILL BE AND WE

SHOULDNT WASTE OUR TIME TRYING TO FIGHT IT. WHAT WE HAVE TO DO
IS TRADE RESPONSIBLY.

OUR BIGGEST ENEMY NOWADAYS IS HASTE. THE RECKLESS PACE OF

LIFE, WHICH FEEDS ON US. IT ERODES THE WORLD WE LIVE IN AND ITS
RESOURCES. WE NEED TO SLOW DOWN FOR A MOMENT.

EVER Manifesto

EVER Manifesto

After balancing studies at IED Madrid with stints working for

Sybilla, this 29-year-old Portuguese designer embarked on his own
line of couture party frocks.
TO GENERATE WEALTH IS FINE. BUT IF THE WORLD IS TO CHANGE FOR
THE BETTER, WHAT REALLY MATTERS ISNT TO SEEK PROFIT ALONE. WE
HAVE TO PAY ATTENTION TO HOW THE MONEY IS MADE.

EVER Manifesto

31-year-old Italian Marco De Vincenzo blends Margielas highconcept approach with Versaces hip-hugging swagger.
THE QUEST FOR PROGRESS IS THE MOST NATURAL HUMAN QUALITY. BUT IT
CANT BE AT THE EXPENSE OF THE PLANET, WHICH WAS HERE A LONG TIME
BEFORE WE WERE. EVOLUTION MUST ALSO BE CONSERVATION.

EVER Manifesto

Working out of Brooklyn, Matthew Ames brings a modernist

sensibility to rigorously tailored yet voluminous silhouettes.
SUSTAINABILITY IS NOT ONLY ABOUT THE MATERIALS AND PROCESSES WE
USE. ITS ALSO ABOUT ENDURING DESIGN. ITS IMPORTANT THAT MY IDEAS
ARENT ONLY GOOD FOR NOW, BUT ALSO OVER THE COURSE OF TIME.

EVER Manifesto

A graduate of Londons Royal College of Art, Norwegian

Siri Johansen reinvents traditional menswear staples with a
frenzy of prints and patterns.
WHEN PURCHASING A GARMENT, YOU ARE NOT ONLY INVESTING IN A
PIECE TO TREASURE FOR YEARS. YOU ARE INVESTING IN THE INTEGRITY
OF THE PROCESS IT TOOK TO MAKE THAT GARMENT.

EVER Manifesto

Franca Sozzani has been the Editor-in-Chief of Vogue Italia since 1988
and is one of fashions most influential figures. As co-director of the Cittadellarte
Fashion project, here she discusses with Charlotte Casiraghi the role the media
can play in educating and influencing consumers, and the importance of finding
a compromise between aesthetics and ethics.
CHARLOTTE CASIRAGHI: How did the Cittadellarte Fashion project
come about? And is this the first time you have been involved in a project that
deals with environmental issues in fashion?
FRANCA SOZZANI: The original idea came from Michelangelo Pistoletto
who personally believes that in fashion, sustainability, as in any other
field, has to be as important as creativity. In his Cittadellarte Fondazione,
Michelangelo invites young and talented people whose main achievement
is to be creative and respectful of the environment. Its the first time that
Ive been personally involved in this kind of project, even if two years ago I
made an entire issue of LUomo Vogue dedicated to the environment, but not
exclusively related to the fashion industry. In a way it was my first approach
to this problem and it was probably the first moment in which I realized how
far fashion still has to go to be green.
CC: Was there a particular turning point in your attitudes towards how
fashion is produced?
FS: I love nature and I respect it, but Ive honestly never connected fashion
and the environment in the choice of my own clothes or in the choices of
the magazine. Still, there are very few people in the fashion world who are
really concerned about ethical issues. When we look at the fashion shows,
we cannot know if the materials and the production processes the designers
choose are compatible with sustainable methods. Thats why I think its very
important to educate young fashion designers of the environmental impact
their creations have, and thats why Im happy to be part of this project with
Michelangelo Pistoletto. I consider it the first step of a big change.
CC: How did you select the 11 designers for the project?
FS: The 11 designers were chosen by a small jury including Michelangelo
and myself, and the criteria of our selection was based simply on creativity.
The entire idea was to select talented people, ask them to use only organic
fabrics to make an outfit for the presentation, and for them to then become
ambassadors of a new beauty that makes women attractive and glamorous
without destroying the planet.

Relocating from Athens to Central Saint Martins, the 25-yearold has made bold, hyper-real prints her design signature.
AS A PRINT DESIGNER, I HAVE ABANDONED TRADITIONAL SCREENPRINTING AND REPLACED IT WITH DIGITAL PRINTING. THE CHEMICALS
ARE MUCH LESS TOXIC AND THERE IS MINIMUM WASTAGE.

EVER Manifesto

CC: Fashion designers and buyers have a considerable influence in

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

the first priority because its expensive to change production or to use

only environmentally friendly materials. Its not necessarily about
making massive changes but step-by-step we can find a good compromise
between aesthetics and ethics. I guess if a big name in the fashion
world launches eco-friendly as the way to be in fashion today, then success
in sustainability will be much quicker.
CC: A lot of young designers and small brands are adopting sustainable
approaches to fashion, but how do the established designers and luxury
brands feel about these issues?
FS: Its true that some young designers are trying to have an ethical
approach to the environment, but its still a niche. The big designers are
thinking about it, and some of them are already producing part of their
collections in this way. But, again, everything is still at the beginning.
I think that in the future, approaching fashion in an ethically responsible
manner will be the way to behave, but it will take time. The problem anyway
is not only for the designers but also for the consumers. It will take time to
teach them how to recognize and to choose a sustainable item.
CC: As the Editor-in-Chief of Vogue Italia, what role do you think the
media can play in influencing designers and consumers to become more
environmentally responsible?
FS: We all have to move forward and that includes my magazines.
Unfortunately, in a picture you cannot recognize what is sustainable or not
so we have to write, to interview people who are reliable, to ask designers
to create something special, to teach students in the fashion schools, and
to spend time and energy in participating in great projects such as the
one we are doing at the Cittadellarte Fondazione. A magazine, I believe,
has a mission and Vogue, as the fashion magazine also has a responsibility
to help the readers understand not only the ephemeral side of fashion, but
also the ethical side.
CC: What are the obstacles and challenges the fashion industry faces?
FS: I guess the real obstacles are in organizing the production processes.
Meaning that we have to make the industry compatible with the limits of the
Earths resources. It isnt easy, but its necessary! The challenge is to succeed
in this change and to convince the consumers how important it is to be part of
this change. Another big challenge will be to demonstrate how creativity can
be as strong as ever and still be respectful of nature.
CC: On a more personal level, what is it you look for when you are shopping
for clothes?
FS: The truth? That I feel well, sure and satisfied that I am only following my
own style! Sustainability shall be my next step!

EVER Manifesto

While it is certainly an entertaining couple of hours, The Devil Wears Prada

wasnt exactly an accurate portrayal of a top fashion magazine. My very first
job was at American Vogue, the publication on which the film is based, making
Anna Wintour the high priestess in the film played by Meryl Streep my first
editor. So, I consider myself a bit of an authority on this topic.
For one, Ms. Wintour would never deign to model the silver rimmed, mirrored
wraparound Versace glasses Streeps Miranda Priestly wields in the film (she
prefers chic round Chanel frames, thanks). Secondly, you can rest assured that
meager assistants dont accompany their higher-ups to the Paris haute couture
shows twice a year, and pick up goodie bags of designer freebies, as Annie
Hathaway comically complained about in the film. And third, no one at Vogue
wears the ethnic, oversized man-jewellery Stanley Tucci did in the film even
Andre Leon Talley, who is widely believed to be one of the men at the magazine
that were pieced together to create Tuccis character.
But the saving grace of the film, the part that gave it a sense of gravitas and
provided a glimpse into a world so many long to understand, was easily missed
by some. The heart of the story, for me at least, takes place in the scene just
after Hathaway has started working as Priestleys assistant this is before the
Chanel over-the-knee boots and new fringe makeover when she clomps into
Priestleys office in a pair of rubber clogs and sniggers when she hears a lively
debate over one blue belt being the same blue as another blue belt. For the
record, it wasnt turquoise, nor lapis; it was cerulean.
Streep, in character, launches into a venomous speech that is in equal parts
nasty and accurate. She acknowledges Hathaways arrogance in judgment
noting how she thought she was above the superficial process of fashion but
then points out that after Oscar de la Renta, then Yves Saint Laurent, eight
more designers showcased a blue similar to the very sweater Hathaway was
wearing. The color cerulean trickled on down into some tragic casual corner
where you, no doubt, fished it out of some clearance bin, pronounces Priestly.
However, that blue represents millions of dollars and countless jobs and so its
sort of comical how you think that youve made a choice that exempts you from
the fashion industry when, in fact, youre wearing the sweater that was selected
for you by the people in this room. From a pile of stuff.
After the films commercial success, many paid attention to parts I didnt count
as integral. I would be asked, Is it really that cut throat to work in fashion?
Do you have to be skinny to work at magazines? Can you really get advance
Harry Potter galleys from sexy book editors if you flirt with them at SoHo store
parties? Blah blah blah! Whether or not these sorts of things were true are
irrelevant; for me, it was all about Streeps monologue about cerulean. Right
there for me, for my parents, for my cousins in Arkansas who think shopping
at Gap is investment dressing, for rich people, for poor people, for Wintour, for
you, for all to see in just a few minutes of cinematic snideness, there it was:
the scope of how far-reaching this business about dresses and hemlines truly is.

EVER Manifesto

ILLUSTRATION

Fashion is more than just clothes, its a global force that

unites us all. Derek Blasberg explores the butterfly-like
effect the actions made by the chosen few at the top
of the industrys chain have on the world and the
way we live our lives.

BY PIERRE MARIE

The poignant parts of that monologue how the choices of a few at the top of an
enormous fashion pyramid filter to its giant base are still a foremost factor in
modern culture. Fashions tentacles have worked into nearly every single nook
and cranny of modern society. Im not referring to a we-all-put-clothes-on,
we-all-put-pants-on-one-leg-at-a-time simplicity here, either. Yes, its true
that everyone gets dressed, but the modern relationship between fashion and
the rest of the world has only become more complex and interwoven.
Ms. Wintour, in a not-so-devilish role as fashion doyenne, was acutely aware of
this newly redefined relationship last September, when she hosted a city-wide
initiative (and later worldwide, as the initiative spread to as far away as China)
called Fashions Night Out. It was a night when nearly every single store in New
York City even in Queens, where Ms. Wintour herself was signing t-shirts at a
Macys stayed open till 11pm, hosted parties and made attempts to stimulate
the citys retail market.
For a reminder of how important the fashion industry is to New York City
specifically, look at the facts: more than 175,000 New Yorkers work in the
industry, and more than $10billion is traded in New York City per year
alone. While its easy to write off the entire fashion industry as a couple of
vain, materialistic people playing dress-up because they have nothing better
to do, the numbers are irrefutable. Heres the other thing about fashion its
everywhere. It cannot be defined as merely seamstresses, or photographers, or
make-up artists. Its much bigger, more complicated, and way deeper than that.
For one, its a mirror of other cultures. Like how John Galliano high tails it to
India, stocks up on bright fabrics and shiny bits, and devotes a whole collection

to that far off land. (Mr. Galliano loves a research trip.) Not that it stops with
John in the Far East. Fashion dabbles in art, whether its Stella McCartney
asking an artist to design a pattern she will put in a dress, or Marc Jacobs doing
something more literal at Louis Vuitton, when he asked the likes of Murakami
and Richard Prince to spice up the brands age-old monogram. Fashion is in art
and music too, and not just as giant logos on the back of rappers or designers;
last year Karl Lagerfeld designed the costumes of The Dying Swan at the
English National Ballet.
Following the well-worn path of Jacqueline Kennedy and even Marie
Antoinette, fashion plays a role in politics too. Wasnt it amusing when the
tabloids tried to pit Michelle Obama and Carla Bruni against each other in
some sort of First Lady fashion off ? Yes, it was ridiculous both women have
looked chic and beautiful at all of their public appearances, no rank needed
but few could have anticipated, when Hilary Clinton was in the White
House, the global focus that could be placed on a First Ladys wardrobe again.
Michelle Obama is largely responsible for shoving the likes of Thakoon,
Jason Wu and Isabel Toledo onto a global stage, not to mention what she
has done for J. Crews cash registers since working the campaign trail in a
sensible yellow ensemble.
Then theres the entertainment industry. Beyond creating costumes for films
which isnt a new gig for designers, lest we forget that Coco Chanel herself
jaunted to Hollywood to make wares for films in the 1950s there is
the completely new and all-powerful world of celebrity dressing. An
entirely new world, with power stylists and under-the-table deals for
famous people to wear certain things, it can be startling. Angelina Jolie
wore a Michael Kors black strapless dress to a movie premiere with
her husband and within hours YES, HOURS the $3,295 dress was sold out
on all online retailers.
Fashion overlapping with other industries is hardly a new phenomenon. Going
back to the wonderful world of art, Elsa Schiaparelli put a giant Salvador Dali
lobster on the crotch of a dress she designed in 1937 (which Wallis Simpson
famously wore), and collaborated with Dali again on hats that were made to
look like everything from lamb chops to ladies gloves. Those pairings are still
inspirational one Schiaparelli dress, on which she collaborated with Jean
Cocteau in 1937, just sold for 175,000 at an auction at the Drouot-Richelieu
auction house, where forty other similar works all sold too.
The fashion industrys omniscient presence doesnt look like its going to delay
anytime soon. Look at Autumn: big shoulders (Dolce & Gabbana), 1940s
seductress (Lanvin), bright lights (Balmain), rolled up sleeves (Marc Jacobs),
biker jackets (Donna Karan), big colours (Prada) and big strict belts (Gucci).
The modern girl isnt messing around with her wardrobe shes dressing
fiercely for the lean times ahead. With the recession, things have got harder
for these girls, and theyve responded with even harder looks. Kate and Laura
Mulleavy from Rodarte told me earlier this year that their Autumn inspiration
was Frankenstein!
Beyond trends or It bags or a shoe of the season, however, the purchasing
power that the recession has given the fashion costumer is now greater than
ever before. Theres a whole new dimension to shopping, one that previous
generations neednt debate an ethical one. In the course of fashion history,
garments be they loin cloths on Native Americans or Botoxed ladies who
lunch in couture gowns have filled a variety of needs. Early humanitys
clothes just needed to maintain modesty and warmth. Only much later in the
history of man did clothes start to fulfill more roles. As humanity became more
diverse, fashions morphed into specific styles, social indicators and a matter of
taste. The big current discussion is the morality of fashion, namely articles of
clothing that come from living creatures. And boy, do people take it seriously.
The topic of sustainable fashion is an engaging conversation that will be
discussed for generations to come. The passion on both sides is something
I find fascinating, and, indeed, I think future generations will re-evaluate
where and how they cull their materials. Let us all remember that it wasnt
that long ago that a lady had to wear a corset, and that the chicest, most
masculine of men would wear tights and a single pearl earring. Will realistic
fake leather and artificial fur one day be the sort of topic that cerulean blue
was in The Devil Wears Prada? Will the day come when Miranda Priestley
can back track the trajectory of sustainable fashions to a single decision
made in her office with her fashion team? Probably. One day. Because, in
the words of that fictional character, what we wear will never, ever be just
a pile of stuff.

EVER Manifesto

Julie Gilhart, Senior Vice-President and Fashion Director of Barneys New York
has long championed sustainable projects in high fashion. Here, with London
based designer Duro Olowu a man who knows a thing or two about producing
beautiful clothes with alternative means she discusses the influence the fashion
buyer has on consumer choices and why sustainability is to be considered a
movement and not a trend.
DURO OLOWU: What does sustainability mean to the fashion industry?
JULIE GILHART: I feel its about being more conscious of how clothes
and accessories are made. Trying to ensure wherever possible that theyre
made using organic or sustainable fabrics and supporting crafts people.
The main thing is that high fashion is in a position to have less of an adverse
impact on the planet than most kinds of mass production.

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

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

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

DO: Why has the fashion industry been so slow to catch up with others in
embracing sustainable or organic products?
JG: The fastest awareness was with organic food and cosmetics. When I
was growing up in Texas, buying organic meant shopping at a little market
in town frequented by few. But, by the mid 1990s, the food and cosmetics
industry were way ahead of fashion in embracing organic products
and sustainable production methods. The main reason being that theirs
was a more specific story that invited people to eat organic foods and use
organic cosmetics. People became more aware of their health and
wellbeing, and as such more conscious about what they put into their
bodies and how these products were made. All by simply reading labels
and content descriptions. Taste and feel were also very important.
DO: How has this new knowledge and behaviour impacted on the current
luxury goods industry?
JG: Luxury is changing and the whole 1990s expensive thing is no longer
seen as luxurious. Consumption cannot be stopped. However, in the
current economic climate, the limited number of real customers for this
industry must be made to feel good about their purchases, expensive or not.
This conscious consumption is not a trend. It is a movement, one that has
forced smart designers and brands alike to become much more transparent
about where things are made, what they are made from and under what
conditions they are produced. Issues of sustainability and fair trade are now
part of the appeal of fashion and luxury goods.
DO: And yet, rather than sacrificing aesthetics for sustainability, design
remains at the forefront of this new consumer movement.
JG: Extremely so. It is still about having beautifully designed things that

DO: But doesnt this conflict with the bottom line, cost efficient needs of
these big companies?
JG: Yes and no. As these companies become more aware of the disaster
that the human race is creating on the Earth, they are seeking a new way of
continuing to manufacture and sell more cost effectively without abusing the
planet and its workforce. They realise that they can do this in a sustainable
manner, one that requires pioneering programmes and legislation. In this
regard, the conscious consumers awareness of the efforts put in by these
brands saves these companies huge amounts of money as less advertising is
required. Any thing that saves these companies large amounts of money in
this dire economic climate is a big plus. For them, the new sustainability is
about sustaining a business!
DO: Barneys New York has always supported and sponsored organic and
sustainable projects and products in fashion. For example, the Future
Fashion Project in 2008, which invited major fashion brands to participate
in a runway show using only sustainable fabrics. How successful was this and
what does the future hold?
JG: The event was a huge success covered by all the major fashion
magazines and press. Over thirty designers, including Bottega Venetta,
Yves Saint Laurent, Isabel Toledo, Proenza Schouler, Margiela, Versace,
Calvin Klein, Donna Karan and yourself all donated total looks and showed
the power of the message of sustainability while maintaining
fashion credibility. More recently, we have collaborated on the New
Vintage collection with Yves Saint Laurent a limited collection of classic
YSL pieces, all made from material left over from past collections. We are
also embarking on a loomsgate project featuring prints and patterns
of endangered animals and all the proceeds are going to the Defenders of
Wildlife organisation.
DO: Whats the easiest way for the average consumer to start becoming
more aware?
JG: Start with being conscious of how you buy denim. Each pair of
conventionally produced jeans contains, on average, enough pesticides to fill
one zip lock bag. Read the label to see where and how it was made. Its good
for you and even better for the planet.

EVER Manifesto

Eco-friendly doesnt necessarily mean organic. New technological innovations

now offer us creative alternatives that are not only ethically sound but also
more exciting, than ever. Here, Burak Cakmak the Gucci Groups Director of
Corporate Social Responsibility describes how the luxury sector has a vested
interest in the environment and the possibilities afforded to us by science.
The customer is, after all, always right.
Today, the luxury industry is under increasing pressure to evolve in order
to adapt to the new concerns of our times. Traditionally, the ways in
which luxury items have been produced using natural, high quality and
often locally sourced materials that are then transformed by the precise
craftsmanship of skilled artisans have had a relatively low impact on the
environment in comparison to the mass market. As high fashion expands
into new territories, the importance of using innovation to create new and
dynamic ways of consuming is becoming clearer for an industry that is bigger
than ever before.
A result of the economic downturn has been a marked change in consumer
habits and non-essential items have been hit hardest. As much as we may
hate to admit it, luxury isnt a necessity for most. In order to compensate,
the industry has to offer deeper value to satisfy the demands of wouldbe customers who increasingly expect their luxury purchases to be
manufactured in an environmentally responsible manner.
Fashion designers can play a big role in influencing the way their creations
affect the environment. The future of design has to move beyond the
traditional characteristics of luxury beauty, desire and exclusivity.
Luxury, in essence, has to respect a wider sphere of impact that includes the
environment and the people involved through the journey of its creation.
Advances in cutting-edge design, science and material research and
development are all key to generating new methods and processes to assist in
defining the future of craft and manufacturing. Only this kind of innovation
can help ensure that the luxury industry takes into account ecological
concerns and climate change.
When the prized vision of designers is combined with the technological
advances of expert researchers and scientists, the potential outcome
offers a new definition of beauty that can delight and be appreciated by all.
Sustainability isnt necessarily achieved by using only organic or natural
fibres. Even today, cutting edge technology provides innovative options to
foster creativity beyond its previous limits. A first step that has been taken
by many environmentally aware fashion designers is to use recycled textiles.
A good example is Yves Saint Laurents New Vintage collection, designed by
Stefano Pilati.
But in terms of technological advancements, we have recently seen the
new Sergio Rossi Eco Pump stiletto designed by Francesco Russo, which
launched on June 5th, the UNs World Environment Day. To create this
visionary shoe, Sergio Rossi collaborated with the German Fraunhofer
Institute, a leader in research of alternative materials, and more specifically,

its division dedicated to environmental solutions. The partnership resulted

in the formulation of a fully biodegradable shoe using plant oils and liquid
wood derived from wood pulp a by-product of producing paper in the
creation of the sole and the under-heel. This is the first time liquid wood
has been used to create a fashion product.
Biomimicry an ancient design and engineering principle that takes its
inspiration from the forms of nature is also a relevant area of exploration.
Recently, biomimicry has attracted the attention of architects and
engineers who have partnered up with biologists to explore new approaches
to solving man-made problems in a sustainable way. Their research has
resulted in new breakthroughs such as manufacturing fibres in the same
manner as the Golden Orb weaver spiders, self-cleaning surfaces inspired
by the Lotus plant and a fabric that emulates shark skin. It wont take
long for fashion to tap back into nature to innovate, and the results will be
designs that transcend the sustainability conundrum and inspire wonder in
the consumer.
We are also seeing key luxury houses supporting innovation through new
partnerships. For example, acknowledging the value of investing in the
future of luxury, the Gucci Group will sponsor a new Ph.D. Scholarship at
Central Saint Martins College in London, aimed at promoting creativity
and innovation in sustainable textiles. Launching in September 2010, the
trans-disciplinary research carried out by the Ph.D candidates will explore
the technological potentials and creation of sustainable textiles and
thus the future of the fashion industry. Principles such as biocouture
(growing fabrics from lab cultured bacterial cellulose), upcycling
synthetic materials and smart textiles that have the potential to change
their colour to adapt to the various conditions of the wearer shall be central
to the candidates research. And, of course, we hope, other areas that have yet
to be discovered.
With consumers demands for sustainably sourced products pushing
the fashion industry, the business finds itself pulled in the direction of
supporting innovation. The effect is the creation of a perfect Petri dish for
sustainability to be the new paradigm of design rather than merely an
afterthought and thus at the centre of what the luxury industry has to
offer. At the end of the day, true luxury can only be credible and desirable
when its creations are supported by positive values. These positive
values create a stronger attachment to the brand and the product. Values
that not only include beauty, creativity and exclusivity, but also a sense
of innovation and respect for our surroundings throughout the entirety of
its creation.

EVER Manifesto

EVERLUTIONS FASHION
MANIFESTO WOULD
NOT HAVE BEEN POSSIBLE
WITHOUT THE SUPPORT
OF LORO PIANA.

Here, Pier Luigi Loro Piana, the companys CEO elaborates upon the ways
in which they have demonstrated their commitment to sustainable sources
of fabric even if it means saving a species from extinction and why the
customer should demand more.
By Laura Lazzaroni
Founded in 1924, for generations Loro Piana
has been a paradigm of high quality, innovation
and luxury in the field of cashmere and rare
wools. Based in Valsesia in northern Italy,
the family owned fashion label has also long
been committed to the environment. In a way,
we embarked on this road [of an ecologically
conscious business model] almost by sheer
chance, since we work with raw materials such
as cashmere, wool, linen, cotton all 100%
natural yarns, Piana says. At the same time,
weve been incredibly committed towards the
highest quality since day one, opting to focus
on the most beautiful and precious amongst
natural materials. Contrary to what one may
believe, even the world of natural fibres has a
high and low end. Ultimately the consumers have
proved us right our policy has taken roots and
has been rewarded over time.
Loro Pianas commitment to the environment is
spread throughout the entire manufacturing chain,
ranging from the selection of farms to the dyeing
process, from energy procurement for factories
to solid waste and wastewater management. We
deal with non-dyed fibres, alpaca, wool, angora,
all in a variety of neutral colours, and turn them
into products that become fashion statements,
he explains. Its imperative not to neglect the
aesthetic element, but our garments and textiles
must also be a cut above. A few years back, we
used New Zealand merino wool from the fleeces
of dark coloured sheep, or pecora nera. The result
was an extremely lovely yarn in four different

hues. And a similar philosophy is applied to

cashmere from the South American vicua. Once
nearly exctinct, the fortunes of the vicua a
camelid related to the alpaca and renowned for its
incredibly soft and breathable fur turned in 1976
when Loro Piana first established private reserves
on the Peruvian plateau to preserve this unique
breed. It is a strategy of responsibility that has
elicited a positive market reaction up to a point.
Right now, in the highest spheres of the fashion
industry, a great deal of attention is being paid to
environmental issues. However, its in the mass
market that selling a natural product becomes
difficult. As Piana puts it, for a long time, it was
a great deal easier, even for us, to sell the colour
of the season rather than a natural one. The
problem being that a certain obsession with
appearance, fuelled by the trend of the moment,
seems to prevail over the products ecosustainability. Certainly, money matters wool
is costlier than nylon and, in some ways, does
not perform as well. But we also need to assess
the social consequences of a similar choice. A
woollen, alpaca or cashmere coat has a defined life
and death cycle.
The environmental issue is a daunting
macroscopic emergency that threatens to
overwhelm even the most dedicated. Yet
Piana believes that every step is a leap ahead.
Manufacturers need to double their efforts if,
on the one hand, we keep pushing the envelope
trying to respond to clients needs, on the other

EVER Manifesto 01

we must generate a culture of awareness. An

awareness that starts right from the shop floor.
The importance of traceability has already sunk
deep into the food sector its about time those
rules are applied strictly and fast in our field
too. He continues, details concerning product
composition are necessary and sufficient as of
now. However, its important, and under the
sellers responsibility, to place the label where it
can be easily seen and to use a clear and simple
description. Its also useful to have official
agencies
checking
upon
the
honesty
of
a
labels
contents.
Such
boards
exist and their functions should be
implemented and respected. Further steps
ahead will come with the availability of in-depth
information regarding the products origins.
Piana urges customers to enquire about product
composition 100% dark sheep? Great, as
dark wool reduces the impact of dyeing the
fabric. 50% nylon and 50% wool? Were
getting there its a mix, but at least we are on
the right path. Amidst a strategy of growth
and social accountability with a business like
Loro Piana, there are also initiatives regarding
tomorrows talents such as the Cittadellarte
Fashion event headed by Michelangelo Pistoletto
and Franca Sozzani. Shes taken it upon herself
to convey a positive message to the youth, with
regard to ecological issues, he says of Sozzani.
Its imperative that they understand how
even a decision about the use of a specific
material can affect the emissions problem.