Eco Chic: The Slow Fashion Movement

What does it take to get consumers to transition from buying disposable "fast fashion" to heritage pieces? How about transparency in the supply chain? Does knowing the history of a piece make it more compelling and special? How about quality textiles? When something costs more, does it make it more precious — something to cherish? Or maybe it doesn't have to cost more. Can innovation create textiles that are both sustainable and mass-market affordable?

These were just some of the topics the speakers at last night's symposium addressed as part of the ongoing exhibit on Eco Chic—Towards Sustainable Swedish Fashion at the Scandinavia House.

Karin Stenmar of the Swedish-based Dem Collective called for more transparency in the production chain. Before establishing operations in Sri Lanka, the Collective researched the living wage for the country to determine the pay scale, and found that it was two to three times the minimum wage. They made the choice to pay the living wage—an amount that affords rent, childrens' educations, and more. Their actions beg the question why aren't more companies taking responsibility for what they pay their workers?

Marcus Bergman, the managing director of The Ecocotton Co., one of the pioneers in organic cotton production, lamented the lack of innovation in textiles. In his opinion, higher quality materials fed directly into a higher quality product, which he summed up perfectly with the remark that, "It's difficult to make a a poor garment out of good cotton." And while pricing should be relative to quality and the market, high cost was an "insubstantial argument." Even though his cotton may be more innovative and cost twice as much, in the end, the garment really only cost two to four dollars more.

Sass Brown, an FIT professor elaborated on the idea of transparency. Knowing the stories of the artisans, farmers, producers, and sellers made products more compelling to hold on to. And spurred on by the dearth of information on models to aspire to, she has unearthed several and writes about companies that upcycle or use recycled textiles, offer fair trade, community development, and ecological fabrication. Sass, herself, collaborates with women's cooperatives in Latin America to help them leverage existing skills like beading or crocheting into desirable commodities with both high-end and mass-market appeal. The co-ops also offer trainings in life skills like health education, money management and again offer a living wage versus a minimum wage.

Eviana Harman, founder and designer of Bodkin, discussed her approach to design from the perspective of utility. She argued for toning down the wildly varying approaches of "high fashion" from season to season and called for changes that were more subtle and lasting. With the idea that diminishing the desire to constantly buy the latest fashions, we  could cultivate a new culture that cherished heritage brands over fast fashion.

The symposium was moderated by Dr. Hazel Clark, Dean of the School of Art and Design History and Theory at Parsons: The New School for Design.

The exhibit opens May 5, 2010 and is on view until August 21, 2010 at the Scandinavia House. Designers featured include: Anja Hynynen, Bergman's, Camilla Norrback, Dem Collective, Johanna Hofring, Julian Red, Nudie, Pia Anjou, Reflective Circle, Righteous Fashion, Swedish Hasbeens, and Zion.

Images courtesy Pia Anjou and Zion.