A new UK-based shoe company, Allbirds, wants you to know it cares about your carbon footprint. The clothing industry alone is estimated to contribute 4% of the global greenhouse gas emissions per year, meaning the industry has a lot of room for more efficient and sustainable practices. Allbirds was founded with the goal of making sustainable shoes and to inspire the entire clothing and fashion industry to be more ecologically sustainable.
Of course, the best thing you do when it comes to fashion is to not buy new clothes and repair the ones you already one.
Allbirds’ environmental goal is to eliminate carbon emissions from its products, from the raw materials it uses to the CO2 produced by shoes as they decompose in landfill sites. Its approach is to measure its emissions, reduce its environmental impact by including recycled or natural fabrics, and then offset anything that remains.
Measuring emissions is complex because there are several processes involved in producing goods, but the company estimates the carbon footprint of an average Allbirds product is 7.6 kg CO2e (carbon dioxide equivalent emissions). That equates to putting five loads of laundry through a dryer, it has calculated, and compares to 12.5 kg CO2e for the average standard sneaker, pera methodused by Allbirds based in part on anMIT studythat looked at how to reduce emissions in footwear production.
If you’re like me then you’ve stopped wearing nice clothes to work because you never leave your house for work. Us “office workers” don’t need to buy clothes because the social situation around us has changed. If you work in an environment where you physically have to be there you too can stop being clothes.
Mend!, new book by Kate Sekules explores the concept of repairing our clothes in fun ways. Yes you can fix your own clothes no matter your skills.
You love clothes, but do you know where yours came from? I don’t mean Uniqlo or “stolen from my sister,” but their fundamental origins and what it all means. Clothes can be complicated creatures. They are not inert, but become unique with wear, even from the first time we take them for a ride, and then they gain in individuality with each outing. Our collections become extensions of us (“That dress is so you!”), combining in their own special, comforting ways and routinely performing magic tricks. Many of us own a results dress or lucky socks for sports, or a coat that’s gorgeous on the hanger but ghastly when worn. Clothes “change our view of the world and the world’s view of us,” wrote Virginia Woolf. The “why” of visible mending is all about that personal nature of clothes. And, while extending their lives, it also acknowledges their origins.
What you wear can impinge the ability of people to look at you. That’s been true for centuries, but today your fashion choices can actually make it harder for governments or private entities to track you throughout the day. The mass surveillance in our current society should concern you as it erodes our freedoms. One fashion designer has had enough of her liberties being attacked that the designed some flashy gear to obfuscate who you are. The clothing designed by Kate Rose confuses algorithms to think that you are something you are not, for example by wearing certain patterns a computer may think you are a car.
Use of patterning and adversarial input techniques are on the rise as computer vision analysis of everything from our faces to our license plates becomes ubiquitous for everything from marketing to state surveillance. This talk will be a highly tactical guide to give an overview of the work in the area of confounding or intentionally triggering computer vision systems with fashion. This presentation will show you the same open source guides, libraries, and resources to build your own adversarial clothing, via the process used to develop ALPR-triggering fabrics. This talk will review not only the technical and aesthetic considerations, but also getting over the manufacturing hurdle from design to prototype so you can quickly deploy your fashion hacks to the people
Fast fashion relies on mass production and mass consumption in order to survive. The fashion industry as a whole requires a lot of energy, water, and logistics to function in its current form, which means the days of current fast fashion will have to come to an end. People are catching on that disposable clothing isn’t good for the environment or for your bank account. To circumvent fast fashion consumers are turning to vintage stores for clothing and some new styles that come out of combining old fabrics into new styles.
Clothes come and go at the Basingstoke home of Sarah Fewell, too. In fact, so many parcels come and go that she knows her postman by his first name (Jay). Fewell has always loved cutting up old clothes, sticking on studs, even at 14 when most of her friends were into Hollister. But now she has turned her passion for preloved clothes into a sustainable version of fast fashion. Fewell runs a shop called Identity Party on the website Depop, which since being established in 2011 has offered its 10 million users a blend of eBay-style trading with Instagram-style posting.Her brand is “a lot of 80s, 90s, quite bohemian, grungy”. She especially loves “selling things with animals on, a good old ugly jumper and anything by St Michael.”
The Rational Dress Society’s recent project called JUMPSUIT aims to make it so you never need to think about your clothing again. They propose that all you need is a single jumpsuit that you can wear everyday. It’s a revolutionary approach to the modern fast-fashion industry (which is horrible for you wallet, the environment, and labour conditions). You can download the pattern of the jumpsuit and make your own or order one made to your measurements.
The Rational Dress Society makes jumpsuits in two hundred forty-eight sizes culled from NASA data to fit almost any body type. Anyone can print the pattern for free from their website or, for a hundred and fifty dollars, order one that will arrive ready-made out of sustainable fabric and hand sewn by well-paid seamstresses. The design was inspired by patterns for work wear, and the finished garment looks like painters’ coveralls. But on the bodies of Maura and Abigail, both hip art-school grads with fashionable glasses and haircuts, the jumpsuits look simply chic, as though there is nothing more sensible or cool a person could wear.