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in generale la settimana linguistica l'abbiamo sempre organizzata con questa idea

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approfondire le conoscenze del termine sostenibilità 

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approfondire le conoscenze del termine sostenibilità 

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capire che parliamo di sostenibilità in termini economici, ambientali, sociali (profit, planet, people)

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conoscersi, creare squadra per lavorare (e stare!) meglio insieme

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il percorso prevede 3 incontri con Marco Linardi: intro, avvio, conclusione

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fatti dai ragazzi in tutte le fasi

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pensare fuori dagli schemi rigidi

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motivare gli studenti/ drive positive change

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motivare gli studenti/ drive positive change

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pensare al futuro, uscire un po' dal periodo buio che ci circonda

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creare il prodotto finale dall'idea alla realizzazione

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creare il prodotto finale dall'idea alla realizzazione

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26 - 30 ottobre

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Il percorso prevede 3 laboratori con Joice Preira e la presentazione finale

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WE ARE FASHION REVOLUTION

For nearly 10 years, we have been campaigning passionately for a clean, safe, fair, transparent and accountable fashion industry. We believe in a global fashion industry that conserves and restores the environment and values people over growth and profit.

JOIN THE FASHION REVOLUTION

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We love fashion, but we don't want our clothes to come at the cost of people or our planet.

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Untitled (The future belongs to those who can see it), 1997

Best known for laying aggressively directive slogans over black-and-white photographs that she finds in magazines, Barbara Kruger developed a visual language that was strongly influenced by her early work as a graphic designer (at magazines including House and Garden, Mademoiselle, and Aperture). Among her most famous pieces are I shop, therefore I am (1987) and Your body is a battleground (1985). Informed by feminism, Kruger's work critiques consumerism and desire, and has appeared on billboards, bus cards, posters and in public parks, train station platforms, and other public spaces. She has also created site-specific installations comprised of video, film, audio, and projection.

Best known for laying aggressively directive slogans over black-and-white photographs that she finds in magazines, Barbara Kruger developed a visual language that was strongly influenced by her early work as a graphic designer (at magazines including House and Garden, Mademoiselle, and Aperture). Among her most famous pieces are I shop, therefore I am (1987) and Your body is a battleground (1985). Informed by feminism, Kruger's work critiques consumerism and desire, and has appeared on billboards, bus cards, posters and in public parks, train station platforms, and other public spaces. She has also created site-specific installations comprised of video, film, audio, and projection.

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Barbara Kruger | Untitled (The future belongs to those who can see it) (1997) | Artsy

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Untitled (The future belongs to those who can see it), 1997 Best known for laying aggressively directive slogans over black-and-white photographs that she finds in magazines, Barbara Kruger developed a visual language that was strongly influenced by her early work as a graphic designer (at magazines including House and Garden, Mademoiselle, and Aperture).

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Carol Dweck

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proposta che svilupperano insieme a Marco per aiutare a tutti nell'ottimizzare il lavoro del gruppo

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A tale proposito, Caroline Evans e Alessandra Vaccari, in un volume profeticamente intitolato Il tempo della moda (Mimesis 2019; ed. inglese Bloomsbury 2020) propongono di pensare la temporalità di moda attraverso tre categorie analitiche: tempo industriale, tempo antilineare e tempo ucronico. Per tempo industriale si intende quello della produzione e dunque della stagionalità delle collezioni, parcellizzata, ridotta in pillole per dare al mercato sempre più stimoli di consumo, immettendo a getto continuo innovazioni che rasentano la saturazione. Il tempo antilineare riguarda la capacità della moda di auto-citarsi e di stabilire continui riferimenti con altri sistemi. È il caso dell'incorporazione in una collezione delle silhouette caratteristiche di un'epoca ‒ pantaloni a zampa di elefante anni Settanta, crop top anni Novanta, ecc. ‒ o ancora della risemantizzazione in forma di pattern o decoro dei motivi di un'opera d'arte, dei disegni di un fumetto, del volto di una celebrità. Per quanto concerne il tempo ucronico, il termine ucronia è stato coniato nell'Ottocento sostituendo topos con cronos, rimandando a una visione utopica del passato, una nostalgia di un'età dell'oro. Il tempo ucronico di moda si riferisce alla mitologia e all'immaginario, costruiti tramite la sperimentazione di materiali e modalità di convezione. Di converso, seguendo la prospettiva foucaultiana, la temporalità di moda può essere definita anche eterocronica perché spesso crea una frattura con il tempo tradizionale. Per quanto possano passare di moda, alcuni motivi ritornano a ondate cicliche, e perciò rientrano in uno status di "quasi eternità" e di infinita sedimentazione in testi visivi e verbali deputati alla loro conservazione e diffusione.

Non a caso Alessandro Michele ha scelto di imprimere su capi e accessori della collezione PE 2020 la parola "eterotopia", dichiarando apertamente che la moda installa non solo tempi ma spazi "altri", prodotti dalla cultura, che persistono per un certo periodo. La moda è un altrove che appare isolato per via dei codici e significati arbitrari, ma al contempo rimane penetrabile se ci si impadronisce delle competenze necessarie per comprenderla e incarnarla. Continuando a fare riferimento a Michel Foucault, si può considerare la moda un'eterotopia sviluppata su due polarizzazioni differenti che generano uno spazio illusorio che ha il potere di rendere irreale lo spazio reale, nel senso che lo "disconnette" da necessità e utilità. La moda mira all'equilibrio, all'armonia, alla perfezione, dunque a creare un universo altro, un habitat ideale per i suoi corpi modello, che nel caos del mondo reale sembrano quasi fuori posto. Nell'eterotopia di moda avviene il passaggio dall'immaginario al reale, la visione del designer prende corpo, viene confezionata, diventa linguaggio, si trasforma in essere e in fare.

Cosa succede quando il mondo chiede alla moda di ritornare ad andare al suo passo e di procedere a una velocità comune?

Accade che la moda come la conosciamo oggi va re-immaginata, sia a livello di pratica individuale che collettiva, per poter configurare scenari e futuri sostenibili, oltre che possibili. Alla base di questa prospettiva c'è il concetto di futuring, elaborato dal teorico del design Tony Fry con lo scopo di tessere un legame inscindibile tra moda, etica e sostenibilità. Date queste premesse la sopracitata Alessandra Vaccari ha avviato a dicembre 2019 il progetto "Fashion Futuring" presso l'Università Iuav di Venezia. Ho chiesto a Vaccari di spiegarci cosa l'ha spinta a seguire questo percorso scientifico e provare a quantificare l'impatto di una simile prospettiva scientifica:

Fashion Futuring è una ricerca volta a capire come pensare, progettare e vivere la moda tra shock del presente e incertezze sul futuro.

La parola futuro è diventata il motivo conduttore del 2020, soprattutto dopo l'esperienza pandemica. Osservando questo fenomeno dal punto di vista della moda, le domande ricorrenti degli ultimi mesi hanno riguardato i cambiamenti e la sopravvivenza stessa di sfilate fashion week, brand, aziende e distretti produttivi. Questo soprattutto in Italia e riguardo al Made in Italy.

Cercare risposte immediate rispetto all'ansia per il domani non deve però indurre a dimenticare le responsabilità che la moda ha rispetto all' emergenza climatica, ambientale e alle questioni di sostenibilità sociale. Ciò di cui la moda ha bisogno è un atteggiamento che permetta di affrontare la crisi non solo in termini di resistenza, ma riconfigurando in modo sostenibile i processi culturali e le pratiche che guidano la nostra esperienza della moda. Per migliorare il futuro ci vuole una grande immaginazione e questa è una capacità che la moda ha sempre dimostrato di avere.

Effettivamente la pandemia di Covid-19 ha velocizzato la corsa verso il futuro. Lo dimostrano le digital fashion week susseguitesi a luglio 2020, che hanno tracciato una nuova tipologia della comunicazione delle collezioni del sistema moda. Oltre alle forme ormai attestate come fashion film e videoclip (tipo 1), ci sono state le sfilate ad accesso limitato e con il distanziamento tra il pubblico, trasmesse in streaming sui social e sui siti web (tipo 2), o ancora, e qui giungiamo a modalità espressive maggiormente creative, la rappresentazione dei corpi modello nei momenti di vita per cui sono stati ideati i capi della collezione (tipo 3), e le narrazioni-performance artistiche delle maggiori griffe mondiali (tipo 4).

Tra gli esempi del primo tipo troviamo il mini-film di Dior, diretto da Matteo Garrone, e il videoclip di MGSM; del secondo le sfilate di Etro e Dolce e Gabbana, per cui la coppia di stilisti di origine siciliana ha scelto uno spazio topico della pandemia come i giardini del Campus University dell'Ospedale Humanitas, un ideale punto di "ripartenza". Il futuro riparte dagli spazi anche per le griffe che hanno scelto di comunicarsi con il tipo 3, documentando i modi e i luoghi migliori per indossare gli outfit: durante la quarantena, perché confinati in casa, siamo stati separati dalle strade, dalle piazze, dalle spiagge, dai prati... da tutti i posti che eravamo abituati ad abitare. In tal senso, Massimo Giorgetti, direttore creativo di MGSM, collabora con il cantante Coez per raccontare a tempo di musica i momenti di vita ideali per sfruttare al meglio capi e accessori della collezione, sostanzialmente un inno alla spensieratezza estiva degli adolescenti composto da tramonti, giochi e sortite improvvisate. La moda va riportata negli spazi del reale che, dopo la pandemia, per riprendere ancora una volta Foucault, sembrano ancora più illusori. Tra gli altri, Alberta Ferretti decide di presentare la sua collezione come un "ritorno all'esterno", popolando, seppur idealmente, gli spazi vuoti delle città immortalati durante il lockdown. La moda pervade tutta Italia, anche se sembra prediligere Roma e dintorni: Cinecittà per Valentino, Palazzo Sacchetti per Gucci, Fontana di Trevi, Castel Sant'Angelo, Colosseo, Piazza San Pietro, Piazza Navona e Trinità dei Monti per Alberta Ferretti, il giardino di Ninfa per Dior.

Il futuro riparte non solo dagli spazi, ma anche dalle mani, dal saper fare di chi lavora per la moda e nella moda, da un (forse) inedito antropocentrismo. Questo è il secondo leitmotiv della nostra tipologia, fondato sull'affermazione della sartorialità delle collezioni, realizzate da umani per essere indossati da umani.

L'artigianalità è un fattore che spesso passa in secondo piano nel sistema moda, ma continua a resistere e persistere la sua componente del fare, della manifattura del desiderio, vale a dire della creazione di un bisogno dove non c'è. Dunque, narrare la moda serve a giustificare necessità sopraggiunte dopo una manipolazione, un contagio sinestesico finalizzato al voler far acquistare qualcosa di inutile alla sopravvivenza. L'inno alla sartorialità che ho ravvisato in diversi momenti delle digital fashion week dimostra che le visioni distopiche del marketing e della fast fashion possono essere ricodificate dal futuring ritornando all'origine, alla creazione del capo, alla sua cura, non alla sua sovraesposizione.

Alessandro Michele per Gucci, John Galliano per Maison Martin Margiela, Pierpaolo Piccioli per Valentino traspongono il backstage sul mainstage, scegliendo come corpi modello i loro collaboratori, usando le loro voci per interpretare il sentire della collezione, documentando, nel suo farsi, lo sbocciare di un nuovo tipo di speranza. Vengono mostrate le riunioni in telepresenza, le catene di mail, i messaggi sui gruppi Whatsapp, le videochiamate, il tutto per rendere conto del potere dell'interconnessione transmediale e dei modi di incontrare l'altro condividendo uno stesso presente.

I punti di vista sono molteplici e ripropongono tutti quelli possibili nella comunicazione a distanza, dalle riprese in prima persona con delle camere poste sul capo di sarti e stylist (Margiela), al display dello smartphone, sino a giungere a quello del device stesso, o meglio a come si appare quando si lavora al computer o al telefono, ripresi dalla sua videocamera. Proiettarsi nell'obiettivo del dispositivo e negli occhi dell'altro ‒ ormai coincidenti ‒ serve a mantenere il contatto con il volto dell'altro, l'unico a prendersi carico della nostra esistenza e a confermarcela, come direbbe Emmanuel Lévinas. Questi volti nelle collezioni vengono messi perlopiù in secondo piano, annullati da un velo nel caso di Margiela, o, con Valentino, dalla sproporzione rispetto al sovradimensionamento del vestito. Il volto della moda post-pandemia è secondario perché necessariamente coperto o mascherato da un dispositivo di protezione, dunque il suo potere comunicativo e caratterizzate passa, per necessità, all'abbigliamento, sempre più dotato di una carica individuante e socializzante.

Non a caso le narrazioni-performance di Margiela e Valentino sono entrambe diretta da Nick Knight, fotografo tra i primi a comprendere la potenza della relazione tra moda e spazio digitale. La centralità dell'indumento, della sua fattura-scultura, non del corpo mediale di chi li indossa, evidenzia che chi contribuisce a una collezione, e per estensione alla fortuna e alla longevità di un marchio, converge in un unico corpo e in un'unica voce, in un Leviatano hobbesiano che rappresenta la complessità e l'armonia del sistema moda.

Alessandro Michele spiega che dare voce alla forza lavoro del Sistema moda, vuol dire liberarla dall'essere semplicemente un tramite, rendendo la comunicazione non più unilaterale ‒ da uno a molti ‒ ma corale. Il direttore creativo non è più l'unico ad apparire sulle scene, l'unico a saper fare, ma uno dei tratti che costituiscono il valore di un oggetto di moda, composto dall'impegno dei professionisti di tutti i comparti del processo di ideazione e produzione. Il futuro sta nel cambiare punto di vista, nella commistione tra creazione e performance, nella flessibilità di regole, ruoli e funzioni della moda. Michele opera un bricolage di vari tipi di testi: la lookboard del backstage della sfilata, le finestre di Windows '98, stralci di riprese della preparazione dell'evento (trasmessa in diretta streaming), il tutto è il risultato di un processo di sedimentazione atto a celebrare la moda nella sua creazione. Svelare il segreto, rivelare il meccanismo di questa macchina che marcia a velocità inesorabile per permetterle di decelerare e di poter avere, finalmente, un impatto sostenibile.

Il tratto comune a tutte le collezioni citate è la sottolineatura delle proprietà e delle qualità degli indumenti, della loro purezza materica, della testura e dei volumi, che trascendono il corpo facendosi non più semplice copertura, ma aura. Il mettere prima di tutto l'abbigliamento e la sua creazione descrive una protensione verso un futuro differente. È l'epilogo, per riprendere Michele, di una fase della moda fondata sulla sua retorica, sul suo sembrare, e il passaggio a un'era dell'essere.

La storia dei vestiti coincide con la loro creazione, non c'è più bisogno di occasioni e giustificazioni arbitrarie.

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A tale proposito, Caroline Evans e Alessandra Vaccari, in un volume profeticamente intitolato Il tempo della moda (Mimesis 2019; ed. inglese Bloomsbury 2020) propongono di pensare la temporalità di moda attraverso tre categorie analitiche: tempo industriale, tempo antilineare e tempo ucronico.

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Gli studi di Futuri spiegati a mia figlia | Joice Preira | TEDxBarletta

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docu-film, documentario, scelto da loro, dibattito con un esperto che gli aiuta a leggere i contenuti

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By Chere Di Boscio

We have often pointed out vegan documentaries that could change your life by shedding light on the planetary and health benefits of going vegan. We've also highlighted films about the environment that could open your eyes to kinds of pollution you didn't even know existed. But since many of our readers are obsessed with fashion, we thought it was time for a list of ethical fashion documentaries.

These documentaries are great for several reasons: one, most of them are free, and you can watch them just by clicking on the screens below. Two, they offer loads of information and inspiration for not only those who are embarking on a green journey for the first time, but for those of us who have been fed so much negative press about the fashion industry, we feel hopeless.

These ethical fashion documentaries offer a light at the end of the tunnel, be it news of fledgling unions being born in sweatshops, or suggestions on how you, as a consumer, can make a difference. And yes, you can! Just start by sharing these films with others to educate them, and hopefully, to inspire change.

10 Films About Ethical Fashion You Need To See

1. The True Cost

The mother of all ethical fashion documentaries, the True Cost is the best documentary to watch if you truly want to understand how complex the problems with fast fashion really are. It begins by showing us the Rana Plaza tragedy in Bangladesh, and then takes us through the supply chain of Fashion.

It exposes how human rights are being violated on a daily basis in the fast fashion industry, as well as the resulting ecological disasters. Director Andrew Morgan interviews top commentators in the realm of ethical fashion for inspiration and context. If you feel like you are addicted to fast fashion and you can't help yourself, watching True Cost is a great way to kick that nasty habit.

What it focuses on: The real cost of fast fashion

Where to see it: You can catch this on Netflix, or click here to download it.

2. The Machinists

Come with us on a journey to Bangladesh! This 2010 British documentary film directed by Hannan Majid and Richard York documents the exploitation of garment workers in Bangladesh with the personal stories of three young women working in factories in Dhaka. You'll get to know these women and how their lives truly are. You'll follow them to work, hear how they feel about their jobs, and see them interacting with bosses, co workers and their families.

What it focuses on: The real people who make your clothes

Where to see it: Click below to see the whole movie for free.

3. Luxury: Behind the mirror of high end fashion

Gucci, Prada and Louis Vuitton are some of the most coveted luxury fashion labels in the world. But what really goes on behind the scenes?

Luxury labels generate over 70 percent of their turnover with leather products, but hardly anyone knows the reality of their production. This investigative documentary uses hidden cameras to take a deep look behind the shiny facade of luxury fashion. You'll see the brutal conditions in Chinese fur farms, and how migrants are exploited in Italian leather tanneries. The film notes that major fashion brands comply with a modern code of conduct that also applies to its direct suppliers. But who controls the subcontractors?

What it focuses on: The truth behind luxury fashion labels

Where to watch it: Just click on the Play button below to see this film (one of the best ethical fashion documentaries if you ask us) for free!

4. River Blue

This documentary focuses on one of the most serious consequences of the fashion industry: water pollution. Sadly, this has gotten so bad, that some rivers in Asia are completely dead. In turn, this ruins agricultural land, destroying the only means of substance for many of the people who inhabit these areas. But the issue is not limited to Asia: if we do nothing, this problem will be soon knocking on our doorstep.

What it focuses on: Water. How water is our most valuable resource, and how the fashion industry ruins it.

Where to see it: Just click below. You'll need to pay a small fee to see it, but if you love the oceans, it's well worth it!

5. The Next Black

'The Next Black' is a documentary film that explores the future of clothing. The film introduces us to some of the most innovative companies on the planet in order to hear their opinions on the future of fashion. Unlike most, this is a rather optimistic documentary, that highlights the real heroes of sustainability, including Patagonia; tech-clothing giants, Studio XO; sportswear icon, adidas; and Biocouture, a consultancy exploring living organisms to grow clothing and accessories. It's a film that will give you hope!

What it focuses on: The best practices and innovations in the sustainable fashion industry

Where to see it: Just click below to see if for free!

6. Made in Bangladesh

Made in Bangladesh tells the personal story of a woman who works in a sweatshop, in India. She instigates other workers to fight for their rights and better working conditions. Unfortunately, this isn't as easy as you would expect. Laws exist to protect workers, but they mean nothing if no one is putting it into practice. This touching movie is based on a true story, which makes it even more inspiring!

What it focuses on: One woman's struggle in the garment industry

Where to see it: Click here to watch it in full

7. Udita (Arise)

This is another documentary about the protests for better working conditions following the Rana Plaza disaster in Bangladesh. This event was the tipping point for many workers who lost several family members and friends in the tragedy. Since the majority of clothing factory workers are women, they are the focus in this documentary. It's interesting that the mainstream media shows so little about these warriors and their struggles, so thank goodness for films such as Arise, which do.

What it focuses on: Female garment workers in Bangladesh

Where to see it: Just click on the screen below to watch it for free

8. Unravel

This short documentary shows you where our clothes end their journey, by taking you into one recycling facility in India. It's really interesting to learn how the people working there perceive Western culture, and to hear their own theories about why we toss so many items of clothing away.

What it focuses on: What happens to our clothing after use

Where to see it: Right here, below!

9. Frontline Fashion

Frontline Fashion is more a reality TV series than a documentary, but it's well worth a watch! The Redress Design Award is the focus of this show, which follows contestants from around the world as they arrive in Hong Kong for a packed week in the lead up to the grand finale. You'll meet the team behind the world's largest fashion design competition, see some sights in Hong Kong, and learn all about how sustainable fashion is made.

What it focuses on: The Redress Design Award competition and its contestants - it's like a sustainable version of Project Runway!

Where to see it: You can catch the whole series for free on YouTube! Just subscribe to RedressAsia.

10. The Clothes We Wear

There can be little doubt that we live in an era of hyper-consumption, and nowhere is this more obvious than the fashion industry. Thanks to the low, low prices of fast fashion, shoppers can afford a larger wardrobe than ever before. And if you believe the ads run by some of the world's largest retailers, you may think that you can shop till you drop with a clear conscience. But...can you?

Two reporters go undercover to find out what's really happening in the textile factories where many clothes destined for the European market are made. They discover the extent of the environmental devastation caused by the industry and how companies are making a profit from the fact that sustainability sells - even in the world of fast fashion.

What it focuses on: Greenwashing in the fashion industry

Where to see it: You can see the whole documentary by clicking on the play button below.

Tell us in the comments what you thought about our suggestions and tells us if you have some of your own.

First and last images: Courtesy Andrew Morgan/The True Cost Thanks to our friends at NAE Vegan for some of these film suggestions

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10 Ethical Fashion Documentaries You Need To See - Eluxe Magazine

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These ethical fashion documentaries could change the way you perceive the fashion industry....and simply buying clothes By Chere Di Boscio We have often pointed out vegan documentaries that could change your life by shedding light on the planetary and health benefits of going vegan.

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With the aim to foster imagination, resourcefulness and ingenuity, UNESCO and the Idries Shah Foundation (ISF) launch the World Tales Short Story Competition in close collaboration with the International Coalition of Inclusive and Sustainable Cities of UNESCO (ICCAR). Young teenagers from all over the globe are invited to write about challenges of today and tomorrow in the format of a short story, and share their perspectives.

The theme of this 2020 First Edition is "Once upon a time in my future".

Who is eligible?

Participants must be between 12 and 18 years old (inclusive). The Competition is open to all regardless of their nationality or city of residence.

How to participate?

Entries must be:

Short stories of 250 to 500 words;

Typed in English or French using Arial 12-point Regular font;

Original unpublished works of fiction;

Stories on the potential for future societies to be fair, inclusive, peaceful, resilient, sustainable and/or tolerant.

Attention: please note that entries not respecting all of the requirements will not be considered.
The deadline for submission to worldtales@unesco.org is 31 December 2020 at midnight (CET).
Evaluation criteria

The short stories will be evaluated primarily on their degree of creativity and imagination.
Participants will benefit from a particular leniency for potential grammatical and linguistic mistakes.

Prizes

Three Laureates - Gold, Silver and Bronze - will be selected from each of the seven national and regional Coalitions forming ICCAR. All 21 names will be announced in Spring 2021.

We regret to announce that, due to the COVID-19 pandemic, it will unfortunately not be possible to organize a high-level conference at UNESCO Headquarters, as initially planned, and to invite the laureates to attend.

However, all will be invited to attended an online Award ceremony during which the names of the seven Gold winning laureates will be announced.

Each of these Gold winning laureates will be awarded an iPad.

The Idries Shah Foundation will publish the work of the 21 laureates in a special edition hardcover book. It will feature all winning short stories and honorable mentions, and will be made available in ePub format.

All winning laureates will receive a copy of the book, and a personalized certificate.

Schools and cities of the 21 laureates will receive copies of the book and a set of ISF children's books for their public libraries.

***
The World Tales Short Story Competition is funded by the Idries Shah Foundation. About the International Coalition of Inclusive and Sustainable Cities of UNESCO (ICCAR)
ICCAR is a global 500+ cities network. It empowers local decision-makers by promoting dialogue, advocacy and joint action towards inclusive urban development free from any form of discrimination.

ICCAR is composed of seven national and regional Coalitions. Each Coalition responds to specific priorities and challenges set out in a Ten-Point Plan of Action. The Plan is composed of ten commitments covering various areas of competence of city authorities such as education, housing, employment, and cultural activities. More on ICCAR
About the Idries Shah Foundation
The Idries Shah Foundation is a British charity dedicated to bridging cultures through the power of stories. Afghan thinker and writer Idries Shah was himself a proponent of Teaching Stories or narratives created as a vehicle for the transmission of wisdom. His illustrated children's books can be read for free at www.idriesshahfoundation.org.
Important disclosure
UNESCO and the Idries Shah Foundation reserve the right to modify the Competition's prizes and its rules and regulations as and when necessary, without prior notice.

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UNESCO and Idries Shah Foundation launch "World Tales" Short Story Competition

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With the aim to foster imagination, resourcefulness and ingenuity, UNESCO and the Idries Shah Foundation (ISF) launch the World Tales Short Story Competition in close collaboration with the International Coalition of Inclusive and Sustainable Cities of UNESCO (ICCAR).

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It's time to wake up. On Global Day of Climate Action, VICE Media Group is solely telling stories about our current climate crisis. Click to meet young climate leaders from around the globe and learn how you can take action.

Change is long overdue. Here, we celebrate 15 activists, brand founders, educators, consultants, and thought-leaders - by no means an exhaustive list - whose work and leadership in caring for the planet and its people is benefiting us all. It's time to learn, unlearn, and take action.

London-based American writer, consultant, activist, and personal stylist Aja Barber has long fought for the idea that fashion is best when it's sustainable and inclusive. Her 208k Instagram followers are treated to outfit shots highlighting the joy of repeat-wear looks - the antithesis of the " one and done" mentality - plus a generous education unpacking everything from brand accountability to the importance of personal boundaries online. We've invested in her Patreon, too, where you'll learn even more from Barber's clarity and insights on intersectionality in the industry, plus find her podcast, brand, and article recommendations. Keep an eye out for the relaunch of her size-inclusive line with London-based label Lora Gene next spring, too.

"I had always wanted to work in the industry but found myself on the outside looking in because of privilege and race. I was participating in fast fashion but it felt sinister and I couldn't put my finger on why. Once I went down the rabbit hole and saw the way it harmed the planet and marginalized people, there was no going back. The biggest misconception about sustainable fashion is that it's always very expensive. Yes, the price of clothing should be higher - a $25 dress isn't fair to the garment worker, ever - but if you're shopping secondhand, you're shopping sustainably. You can find brands on Etsy whose prices rival more upmarket fast fashion. It requires energy to make the switch, but it's more satisfying and I spend less because I'm not buying something every month anymore. It takes many tries before you fully move away from fast fashion - that's okay! Give yourself a little grace because the journey is long. Finding your own personal style is really key as you'll make fewer mistakes in the things you buy. Stay out of the stores you're trying to get away from and unsubscribe from all the emails that tempt you. I want sustainable makers and brands to start prioritizing being size-inclusive. If our movement doesn't include everybody, it's not a progressive movement."

"Fashion became a vehicle for me to understand larger systems of oppression and histories of colonization, and how those legacies tie into our unsustainable systems today. When I first entered this world, topics of race were always undermined and seen as distractions to the movement, when in reality, identity is key in how we engage with it: BIPOC [Black, Indigenous and people of color] communities are disproportionately affected by issues of social and environmental justice globally. I quickly learned that the sustainable fashion movement was homogeneously led by well-off white women, where the presence of women of color was often tied to their labor. Conscious consumerism is important, but sustainability has been led by the Western world and rebranded, reintroduced, and recontextualized as a consumer act, one limited to those who can afford it. I'd love to see more conversations about the sheer scale at which certain companies produce. I've written about the idea that colonial practice is rooted in the extraction and exploitation of finite resources as the means for infinite capital gain, and I'm fascinated by degrowth; it doesn't necessarily mean the end of business as we know it but rather a reimagination that produces within our planetary and humanly bounds, and makes longevity and circularity a key part of the business model."

"When I interned in fashion, doe-eyed, straight out of university, I created sample after sample, rehashing collections each season, but it didn't feel innovative. [It felt] hollow. It suddenly all seemed so wasteful and it dawned on me that we were part of the problem. My style is imperative to me and as a London-based cyclist, I struggled to find well-designed, high-visibility fashion that was sustainable or ethically made. With Glow, I wanted to create a unicorn of a brand. With no one to answer to, being a founder and my own boss was the ultimate expression of my creative freedom and gave me the opportunity to make my way in fashion without having to jump through hoops. There's a misconception that sustainable fashion is inaccessible or exclusively something that middle-class white people are able to engage with. We're only going to make a dent in its environmental impact if everyone realizes they have a stake in it. It's as simple as buying secondhand and buying less. The biggest lesson I've learned is to accept that as a small brand it's practically impossible to be 100% sustainable, so being strategic about what we can do creates the biggest change. Start small, figure out your MVP [minimum viable product] and don't try and do it all by yourself."

For New York-based, Lebanese-Canadian designer, writer, and advocate Céline Semaan, the experience of being born in war-torn Lebanon shaped her relationship with sustainable fashion. After witnessing firsthand war's cost to both human rights and environmental justice, in 2013 she founded Slow Factory, a nonprofit working at the intersection of climate and culture through open education, action, reports, and scientific innovation. With a focus on the fashion industry, Slow Factory explores equity-centered and science-driven solutions that benefit the planet and its people. From Open Education, an online free school exploring everything from labor and racial justice to transparency and greenwashing, to projects like Landfills as Museums, where fashion design students are taken to landfills to see where clothes go after they are used, Semaan's holistic, human-centered hub is a priceless resource for anyone looking to educate themselves on fashion's impact on every living thing.

"Using what we have, being resourceful and upcycling are ways my culture coped with the war and struggle of not having everything we need. It's been the compass in my life in approaching fashion, waste, and sustainability. The biggest misconception about sustainable fashion is that we can buy our way into it. The road nobody has ever taken is probably the one we need to explore: there isn't a quick and easy fix. The industry is a complex and toxic ecosystem that requires multilayered and intersectional solutions if we aim to resolve and create a better system that benefits people and is designed with the Earth in mind. I hope by next summer, the industry becomes completely circular, meaning not one item goes into a landfill. Wear and take care of what you have, alter your clothes, learn how to fix your garments, know a seamstress or tailor, hand wash, hang to dry, and sew back your buttons. Resell instead of donating and if you do, make sure your items are impeccable, otherwise, chances are they'll end up in a landfill. Learn, unlearn, and continue to be curious."

Through her work on the intersections of climate justice, antiracism, and migrant and refugee rights, Edinburgh-based medical student and activist Mikaela Loach shares her inclusive and accessible insights and advice on everything from conscious consumerism and sustainable fashion to low-impact living with her Instagram audience of 86k. Along with Jo Becker, Loach hosts The Yikes Podcast, a space to untangle the messiness of the world with the aim of finding hope, whether advocating for trans rights or dismantling the stereotype of the "angry Black woman."

"Watching The True Cost documentary kickstarted my relationship with sustainable fashion. There's a line in it talking about the clothes we wear as our 'chosen skin.' I love expressing myself through the clothes I wear but I know that my desire for expression should not cause someone else's oppression; [it should be] something that empowers and protects the maker, too. Lots of people think that to dress sustainably you need to buy the same amount of clothes from expensive ethical brands, or get rid of everything fast fashion you own - no way! The most sustainable clothes you have are the ones already in your closet and rewearing is better than buying new clothes from an ethical brand. I've learned a lot about privilege here: ethical brands' limited size ranges means that plus-size folk are left out and fast fashion is often the only option. The Unplug Collective does amazing advocacy around this, I've learned heaps from them."

San Francisco-basedAyesha Barenblat has worked tirelessly with brands, manufacturers, and governments for over a decade to improve human rights within the fashion industry. Growing up in Karachi, Pakistan, Barenblat learned the power of garment factory employment in lifting women out of poverty but she's also seen firsthand the damage wrought by fast fashion on women of color across the globe. Remake.World, which Barenblat founded in 2011, is one of the most vital resources for progress and education in the sustainability sector. Working with 500 ambassadors across the world, through fact-filled stories and campaigns, plus a Seal of Approval system that holds brands to account through traceability, maker wellbeing, and environmental impacts, Remake.World has effected genuine change. The platform's viral #PayUp petition garnered over 272k signatures this year, leading to 21 brands agreeing to pay for back-ordered clothes totaling $22 billion globally, and many garment workers receiving fair pay. Now, with the recent launch of its #PayUp Fashion movement, which outlines six demands for a post-COVID-19 recovery in fashion, the path towards a fairer, more inclusive, and reformed industry has been paved.

"The fashion supply chain is one of the few industries in the world that mostly employs women - more than 75 million - most of who are in their early 20s. At the time Rana Plaza fell down, I was working with the International Labor Organization to improve garment factory conditions. As the death toll mounted, I watched the footage with growing horror and felt that I had to do more, sooner and faster. I have had the pleasure to have meals, laugh, talk, and be awestruck by the women who make our clothes - they're not victims as the media paints them. These are incredible, resilient women often supporting upward of five family members, leaving the safety of their villages to enter the big bad world of factory city life. I believe these stories, of the millennial maker, could spark a more empathic connection with millennial shoppers. On transparency, I believe brands first need to move the conversation beyond 'is this product doing as little harm as possible?' to 'is it actually doing good for makers and the future of our planet?' From raw material to end of life, brands should focus on protecting the wellbeing of the people behind the fashion and environmental stewardship."

"My relationship with sustainable fashion began with a mixture of my longtime love of secondhand, all of the beautiful pieces handed down to me from my mum and my nan, and my growing awareness of the amount of waste created by the industry. My work is varied and crosses disciplines but it's always rooted in instigating behavior change towards a better future for people and the planet. If you can recreate catwalk looks the moment after they're shown, using only what you can find in a single charity shop, then anyone can be inspired by secondhand clothing. The biggest misconception about sustainable fashion is that it's boring, muted, and scrappy - it's not just hemp sacks and hippies. It can be chic, colorful, exuberant, and fashion-forward. There's so much innovation and design in the space right now; it's an exciting place to be. The availability of larger sizing options needs to improve, period. I want to see our plus-size community be able to enjoy conscious options. It's hard to change your mindset and habits, so take it slow and don't beat yourself up."

LA-based entrepreneur Dechel Mckillian spent a decade as a creative director and celebrity stylist in the entertainment industry, touring the world with chart-topping musicians like Drake, Nicki Minaj, and Lil Wayne. Witnessing firsthand fashion's negative impact on people and the planet, Mckillian took a deep dive into sourcing more eco-conscious and ethical brands to style her clients in but knew that if she was finding it difficult to discover labels which put the planet first, then other people must be, too. Enter GALERIE.LA, which Mckillian founded in 2015 to bring sustainable fashion to the masses. From repurposed jewelry labels to recycled denim brands, GALERIE.LA hosts 38 brands online and at its IRL space in downtown Los Angeles.

"For so long people associated sustainable fashion with terms like granola and yoga but I want to change people's misconceptions - it can be fashion-forward. Greenwashing runs throughout the industry so it would be amazing to see government legislation that connects the dots for true transparency, in the same way food is labeled on packages. Changing my buying habits was one of the biggest obstacles. There's a big program in the industry to constantly consume, stay up to date with trends, designers and influencers, and I fell victim to its marketing ploys. In homing in on my personal style, I realized how little I needed and was able to free myself from the trap of constantly buying."

While in Rajasthan, India, for her honeymoon, London-based Eshita Kabra was exposed to the polluting impact not only of the fashion industry but of our wasteful consumption habits. With an older sister who avidly subscribed to Rent the Runway, she started researching the rental market but took umbrage with the throwaway culture of #OOTD-fuelled "wear once and done." Leaving her career in the financial services industry to found her own platform, By Rotation, Kabra's mission was to create a self-sustaining community of style- and eco-conscious people, where quality fashion came at fast-fashion prices - without the human cost. Now the UK's largest rental platform and app, By Rotation lets you rent and lend your wardrobe, with 28.9k Instagram followers providing unique styling inspiration and joyfully sharing By Rotation's ethos of #WhatsMineIsYours. Having collaborated with the likes of Stacey Dooley and Abi Marvel, the brand's most recent campaign spotlights plus-size rental, celebrating the size inclusivity available in this corner of sustainable fashion.

"I want to transform the way we consume fashion globally by sharing what we already own with our neighbors. Fast fashion welcomed people from all walks of life with its affordable (but exploitative) price points. With By Rotation, we're doing the same but with better quality pieces that are already in circulation and are just as affordable. I am being overly optimistic but I hope to see an active and global regulatory body governing garment workers' rights. I'm appalled by the lack of regulation and transparency in the industry as a whole, unlike the industry I previously worked in. There are many (well-known) companies and personalities who greenwash their credentials by taking the easy way out - partnering with fast fashion companies, cherry-picking 'eco-friendly' traits for marketing, or promoting a company while not disclosing a paid arrangement - which at times has misrepresented the ethos of sustainable fashion. I have learned that any business that does care about its environmental footprint will clearly demonstrate all the steps they have or haven't taken to ensure they are mindful of the resources they utilize. A practical tip: unfollow and unsubscribe from fast-fashion retailers' mailing lists."

"I grew up loving fashion; I was a thrift shopper, loved urban street culture (i.e. Missy Elliott), and always frolicked in my mom and grandma's closet. Additionally, I grew up an environmental nerd. I was an avid backpacker and hiker, took BIPOC youth on educational outdoor trips, was on a review board for outdoor recreation-based nonprofits, and overall just loved the wilderness. My path has shifted a few times but my vision for merging my passions to create a career that heals me and the planet has remained steadfast. Environmentalism, as the term has traditionally been coined, is inherently white, violent, and oppressive. Studying environmentalism in traditional educational spaces opened my eyes to the detriments of these institutions. How sustainability is marketed and discussed in social spaces has been problematic for years, especially when the global climate crisis disproportionately affects communities of color. 75 percent of who you follow on social media, the events you're attending, and books you're reading should be from BIPOC communities who have been practicing all layers of sustainability despite, and sometimes because of, systematic oppression. Accountability leads to antiracism and sustainability work, from systematic change to wealth distribution. Eco reparations should be at everyone's frontal lobe so that the communities who have always had the solutions can protect themselves and the planet from colonial fuckery."

London-based designer and tarot reader Claire Yurika Davis founded her brand HANGER shortly after graduating in 2013. Specializing in slick, directional, and fetish-inspired latex, HANGER soon became a cult favorite not just for its mission to empower its wearer, but for its sustainability credentials, too. By sourcing the lowest impact materials, creating minimal waste, and reducing her collections from a relentless season-to-season model to just one a year, Davis's sustainable practices began at day one. Catching the eye of the producers of Netflix's Next in Fashion, hosted by Alexa Chung and Tan France, Davis was invited on as a contestant and captured the hearts of viewers with her warmth and sense of humor. Now closing her brand after seven years, she'll be moving into consultancy to help brands create and communicate more sustainably to enable a better future for everyone.

"I was using sustainable materials and practices without labeling it as such and it took a mentor to point out that what I was doing was a real point of difference in my brand, so it was more of an organic process than a conscious decision. I have an expectation for everyone to be as ethical as possible as a standard - incorporating it into my own garments was a no-brainer. As a fledgling brand, when units are low, it's much easier to align with your ethics. The biggest misconception is that sustainable fashion has to look like it came from Fat Face. HANGER proved it can be relevant and modern. Our mission is to help people step into whichever mood they choose, be that powerful or sexy, and connect with their mind and body. Also to highlight our community and uplift BIPOC at every opportunity. I hope after the pandemic brands can produce differently, making to order, making locally or adjusting their practices to be more flexible - they're responsible for orders they've placed and had to cancel, and manufacturers should not have to pay for having extremely seasonal product. Especially those who source their garments from Asia, where the local workforce and economy suffer as a result of Western demands."

Based in Brooklyn, multimedia journalist and director Sophia Li's Instagram was a tonic in the early stages of lockdown. Her IGTV series, Supernatural is the New Natural, welcomed hypnosis practitioners, astrologers, and Hailey Bieber to talk all things spirituality and navigating the new normal. It's her sustainability work that first caught our eye, though. Producing self-dubbed "conscious content," Li's aim is to make educational, accessible, memorable, and resonating content that helps shift minds and behavior for the benefit of the planet and its people. From this handy flowchart which we refer to before every new purchase to teaching the Open Education courses at Slow Factory, we've learned so much from Sophia already. This autumn, she's launching her first evergreen collection with Public Habit, a sustainable brand that uses deadstock fabric in a made-to-order business model and labels each unisex piece with a sustainable rating and carbon footprint calculation.

"Growing up, I spent my summers in China and because of high production volumes, shopping there was always a season or two ahead with trends. I'd buy my entire wardrobe in the shopping meccas of Shanghai and Hong Kong. Going as a young adult, though, I witnessed how this was affecting the air and quality of life, and that blue skies could be gone in a matter of years if this formula of consumption was kept up. While entertainment media editor of American Vogue, I saw the sheer quantity this industry thrives on and how it relies on volume and profit more than anything else. I've realized in this capitalist world that you can still love fashion while wanting the systems in place to completely deteriorate and rebuild themselves. Fashion profits should be decentralized - there's no reason why a fashion billionaire exists while their garment workers are being exploited. Never let eco-anxiety get the best of you: being aware of the purchasing power you have is the biggest hurdle and every decision from then on will be harmonious. Humanity was intended to be regenerative with Mother Earth - observe how the Indigenous approach nature. We have to shed the ego to get back to our ecosystem."

"The value of money was always clear to me, as was how hard one needed to work to be able to afford things like fashion. When I started working I would count every new purchase by the number of hours I'd need to work to pay for it. This made me a huge fan of charity shops, secondhand, and hand-me-downs. I became captivated by the craftsmanship of makers at market stalls with their fabric weaving, garment sewing, and hand embroidery. I want to see more brands owned by garment workers win. There are enough technology and global transport links for the biggest fashion brands to be located anywhere in the world."

Back in 2017, entrepreneur Brittany Sierra founded the Sustainable Fashion Forum after noticing a lack of IRL events, conversations, and community that drew a direct line between fashion fans and industry players. Now a hugely successful online platform - think witty, playful, and ultra shareable memes celebrating sustainable living - the SFF is also an influential conference held annually in Portland, Oregon. Hosting brands like Mara Hoffman, adidas, Girlfriend Collective, thredUP, and Fashion Revolution, the platform fosters education and engagement that leads to individual and collective change.

"There's a misconception that you have to give up fashion in order to be sustainable, that it sucks the life and fun out of fashion with muted colors, boxy silhouettes, and basic design. I don't think that's true. I'd like to see more BIPOC hold corporate leadership positions. Having so many brands represented at our conference is an honor, as we're a small but mighty team of three POC women, but those chosen to represent their company aren't diverse. It's always been important to me that the work speaks louder than the color of my skin - I don't want people to unconsciously judge SFF because a Black woman is running it, not to support it simply because a Black woman is running it. If the BLM [Black Lives Matter] movement has taught me anything, it's that being a Black woman in the sustainable fashion industry means the responsibility to show other people of color that there is a place for them in this space. It means being visible, sharing my voice, and doing what I can to make the industry I love welcome to all."

After the Rana Plaza disaster occurred while she was studying fashion, and witnessing unsold stock being sent to burn while interning, Ngoni Chikwenengere set her compass towards more sustainable living. Noticing a gap in the market for affordable contemporary tailored pieces for young women, she launched her label WE ARE KIN in 2016. Growing quickly from Graduate Fashion Week to cult favorite, Chikwenengere's label is responsibly sourced and sustainably manufactured in Bow in east London. Avoiding fast-moving trends to create timeless pieces with longevity - think breezy linen jumpsuits and cotton workwear trousers - WE ARE KIN works on a pre-order model, meaning reduced waste and no unwanted stock.

"We're lucky to live in the time we do now. There's so much advice on explaining the difference between fast fashion and sustainable fashion and the cost of certain items. I hope to see unethical and unsustainable fashion go the way of fur. Consumers are waking up to the true cost. Before every purchase, ask yourself: Do I need it? Who made it? Can I find it elsewhere more sustainably? Last year, this led me to buy reusable bamboo face-cleansing pads, for example. Swap clothes with your friends. You don't always need to buy new."

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15 Women Decolonizing Sustainable Fashion

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It's time to wake up. On Global Day of Climate Action, VICE Media Group is solely telling stories about our current climate crisis. Click to meet young climate leaders from around the globe and learn how you can take action. Change is long overdue.

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https://fashionforgood.com/

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Capi in vendita per associazioni benefiche alla libreria Ancora - artigianelli 

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Capi in vendita per associazioni benefiche alla libreria Ancora - artigianelli 

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Realizzazione di capi con materiale di recupero per vendita presso la libreria Ancora

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https://mcusercontent.com/227a6a83a11c14ad58c99018b/files/34bbc143-bf7a-4460-a23e-b27c98987c07/D_rep.pdf

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Visione video Marina Spadafora (fashion revolution) e riflessione sul tema

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Visione video Marina Spadafora (fashion revolution) e riflessione sul tema

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https://m.youtube.com/watch?feature=youtu.be&v=qs127YTnF5E

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Stacy Flynn, founder of Evrnu -a company that recycles old clothing, breaks it down into liquid, and turns it into a new sustainable fiber that is stronger than cotton-agrees: "The first step towards a full supply-chain redesign starts with fiber and ends with eventual garment waste," she explains. "How we innovate will continue to be a focal point for the industry over the next 20 years." According to Flynn, it's essential that the industry devises alternatives to their two main fibers: cotton and polyester (90 percent of clothing is made from one or the other). Both fabrics are problematic and "significantly impact natural resources," she says.

Cheap, man-made fibers like polyester, nylon, and acrylic will end up being responsible for over 20 million tons of microfibers in the ocean by 2050. When garments made of such textiles-say yoga pants-are washed, they release thousands of microparticles into the water that are too small to be filtered out by waste treatment plants. Consumed by sea life in the oceans, these particles find their way back onto our dinner plates: Plastic fibers were recently found in shellfish being sold for human consumption in California. The damage done by microfibers is said to be 16 times more dangerous than the microbeads in beauty products.

And in an era of instant gratification-where everything from food to cabs and Amazon Prime can be ordered within seconds-fast fashion is crafted from these fibers. But those inexpensive, disposable garments have led to an increase in greenhouse gas emissions caused by textiles: Currently, the number amounts to 1.2 billion tons annually. That's more than those from all international flights and maritime activities combined. Meanwhile, retailers that operate within this realm of consumerism have experienced double-digit revenue growth. The statistics are unsettling.

However, even natural fibers can be environmentally damaging, especially in luxury, where the practice is to use the finest fabrics. Cashmere is flown in from Nepal via China, denim is flown in from Japan, cotton comes from Zimbabwe. Many luxury garments are made in Eastern Europe and finished in Italy or France: The air miles on a designer bag or pair of shoes are astronomical.

Furthermore, the actual production of cotton has a huge impact on the environment. It is currently responsible for 2.6 percent of the global water we use. That's a hefty amount when you consider that, by 2030, demand for water will exceed supply by 40 percent. "In the future, I don't think we will use cotton in fashion," says Krebs, whose fiber is cultivated in labs in Israel. "Why? Because we will need the land to grow food for the growing population."

Meanwhile, some 17 percent of industrial water pollution comes from textile dyeing: That much beloved 100 percent cotton navy blue T-shirt or lilac cotton jersey sweater is part of the problem. Evrnu's fabrics, on the other hand, use 98 percent less water than farmed cotton. Not only that, but all chemicals employed in the making of its fabrics are able to be reused. Algalife's algae fabric uses five times less water than cotton production and is made with only natural, non-toxic dyes. The benefits of such textiles are exponential.

Slowly but surely, change is occurring. Last year, Orange Fiber partnered with Italian luxury house Salvatore Ferragamo on a capsule collection of silks. Algalife has innovated custom fibers for hosiery infused with aloe vera for a client, while Evrnu has partnered with both Stella McCartney and Levi's. "Brands are now seeking us out, they want to be a part of this change," says Krebs, who argues that the sheer number of pioneering companies and investment in the field shows how crucial sustainable textiles are for the industry's development. But while it's important for brands to get on board, real change can only be initiated when every level of the industry-from CEO to consumer-is engaged. "It's about working with the stakeholders and the brands, as well as government regulation being enforced," explains Krebs. "Of course, we need to educate consumers, too."

What's interesting, however, is that neither Krebs nor Flynn expect consumers to buy less. In this fast-fashion landscape, it has become unrealistic to ask customers to do a complete 180 on their consumer values. "Since there are no signs that consumers want to give up the products to which we've become accustomed, we as designers and manufacturers have a responsibility to find ways to bring more environmentally sustainable solutions to our customers," says Suzanne Lee, cofounder of Modern Meadow, the New Jersey-based company producing bio-fabricated "leather" that is completely animal free. "Habits and practices can't be changed overnight."

But being able to mass produce such fabrics will no doubt help. Krebs's fiber is currently 20-25 percent more expensive than ordinary textiles, but she anticipates a price reduction as demand grows-and the company already has the ability to produce the fiber on a mass scale. "Algae grows unbelievably fast, you cannot compare it to cotton or other natural fabrics," she explains. "We can create as much as we need. We have no limitations." Earlier this year, Modern Meadow partnered with Evonik to produce its Zoa fiber, a leather-look fabric crafted from lab-grown collagen, on a commercial scale. The company currently produces "billions of collagen cells that are then assembled with proteins into fibers," says Lee. "Eventually, we will have an advantage over livestock production in terms of land, water usage, and CO2 emissions." Meanwhile, Evrnu's fibers can be endlessly recycled.

"Imagine having beautiful, amazing materials that don't take away from our world's natural resources," muses Lee. "It's vital for the survival of our planet." Indeed, developments in sustainable fibers are happening across all aspects of the luxury industry, from fruit-waste silk to lab-grown diamonds. The next era of ethical consciousness in fashion is here. Meet the innovators of today and the pioneers of tomorrow.

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Stacy Flynn, founder of Evrnu -a company that recycles old clothing, breaks it down into liquid, and turns it into a new sustainable fiber that is stronger than cotton-agrees: "The first step towards a full supply-chain redesign starts with fiber and ends with eventual garment waste," she explains.

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Our Theory of change is to promote youth leadership in the environmental movement, especially among marginalized groups, by utilizing education, training, community building, and direct action. We work to center marginalized, tokenized, and underserved communities' voices, needs, and work in the climate justice movement by providing educational resources, micro-grants, network connections, public speaking opportunities, training, campaigns, partnerships, & mentorship to inspire intergenerational leadership. Earth Guardians' foundation is based on centering the experiences, knowledge, and voices of youth and other underserved communities, and we believe a global shift towards centering these perspectives is the key to healing the climate and environmental crisis.

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Our Theory of change is to promote youth leadership in the environmental movement, especially among marginalized groups, by utilizing education, training, community building, and direct action. We work to center marginalized, tokenized, and underserved communities' voices, needs, and work in the climate justice movement by providing educational resources, micro-grants, network connections, public speaking opportunities, training, campaigns, partnerships, & mentorship to inspire intergenerational leadership.

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What is Circular Economy?

The economy, our country's' production and consumption which we experience every day is something we don't think about very much. We find food on the table, clothing in the closet and our phone, laptop or headphones on the table without asking ourselves every day where they came from. Making all these things requires a huge variety of different materials, someone who produces the product and of course someone who picks it up once it is waste.

Over the past decade the world population has been growing and it will grow further. This means that there are more people that need food, clothing and electronic devices. However the place where we retrieve the material, our planet, of course has its limits and raw materials are not endless.

That means, if we want to satisfy everyone's needs, we have to find new sources of material. We do that by changing the way our economy works from linear to circular.

The economy which we know from our day to day life is actually called a linear economy. But what is so linear about it? It is the way in which material travels along the supply chain. Material enters the economy on the left of this timeline or supply chain, and exits it on the right. This means it travels from sourcing of raw material to smelting and thereby the creation of the actual material. Afterwards the material is used for the component production and then the final product manufacturing. After being sold by the retailer, the product arrives in our houses and ends up in the waste bin and gets transported to the landfill or burning facility.

But where does the material come from which we introduce to the first step? And where does the material go after it has been used in the economy? Looking at our planet, we know that nothing is lost. All material that is wasted after use is either stored in landfills or used to create energy, for example by burning it. Now that we know that nothing is lost, why don't we try to treat it in a good way and use it again?

That is Circular Economy!

The circular economy just transforms the linear economy into a circular economy by forming a circle connecting the "Sourcing"- stage with the "waste"-stage or even earlier stages. That means waste is directly transformed into the materials that then enter the production process.

But how is that possible? Is it not just waste?

Indeed the products and devices, e.g. phones, clothing and food packaging are waste and not functional anymore. That however doesn't mean that the material of the products, e.g. plastic, metal or cotton are not usable anymore.

After cleaning and sorting materials according to their concrete elements and additives, like e.g. colour or flame retardant it is possible to smelt the material again and use it instead of newly sourced metals, harvested cotton or primary plastic made directly from oil.

But if it is so easy, why are we not doing that yet?

In fact, at the moment only 30% of plastic waste and less than 20% of cotton waste is recycled in order to use it for new products. That is because recycling as we do it today takes a lot of time and energy and leads to a low quality of material and often ends up in more costs of recycled material compared to the sourcing of new materials.

That is the reason why Circular Economy does not just mean recycling a bit more than now. Circular Economy means a change of our entire economy and society.

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The economy, our country's' production and consumption which we experience every day is something we don't think about very much. We find food on the table, clothing in the closet and our phone, laptop or headphones on the table without asking ourselves every day where they came from.

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Green Jobs è un programma di educazione imprenditoriale in ambito green, rivolto a docenti e studenti delle scuole superiori italiane.

Il progetto si propone di aiutare i ragazzi nell'acquisizione di competenze legate ai temi della sostenibilità ambientale, come strumento per la salvaguardia del territorio in cui vivono e, al tempo stesso, come opportunità professionale.
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Green Jobs è un programma di educazione imprenditoriale in ambito green, rivolto a docenti e studenti delle scuole superiori italiane. Il progetto si propone di aiutare i ragazzi nell'acquisizione di competenze legate ai temi della sostenibilità ambientale, come strumento per la salvaguardia del territorio in cui vivono e, al tempo stesso, come opportunità professionale.

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Refashion & upcycle

Clothes due for an upgrade? Look no further for inspiring ways to create a fresh look from the...

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Who needs care labels?

Are you a 'washing whiz' or 'laundry learner'? Take our care label quiz to find out!

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Clothes due for an upgrade? Look no further for inspiring ways to create a fresh look from the... Read More Are you a 'washing whiz' or 'laundry learner'? Take our care label quiz to find out! Read More

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Sustainably Chic | Sustainable Fashion Blog: Because Fashion Can Exist Responsibly

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Sustainably Chic is a sustainable fashion, beauty & lifestyle blog. Our brand directory, shopping guides, and educational posts focus on sustainable brands, clothing, fabrics, certifications, home decor, wellness, eco-friendly wedding tips, as well as zero-waste makeup, clean skincare, cleaning

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A podcast where what we wear matters. Conscious Chatter is an inclusive audio space that asks questions about our clothing.

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About this film

Most of us wear synthetic fabrics like polyester every day. Our dress shirts, yoga pants, fleeces, and even underwear are all increasingly made of synthetic materials - plastic, in fact. But these synthetic fabrics, from which 60% of all clothing on earth is made, have a big hidden problem: when they're washed, they release tiny plastic bits - called microfibers - that flow down our drains, through water treatment plants, and out into our rivers, lakes and oceans by the billions.

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Credits

The Story of Microfibers was written by Jonah Sachs, Ruben DeLuna, and Stiv Wilson. The film was produced and animated by Ruben DeLuna Creative. Voiceover by Annie Leonard, with creative and technical support from the Story of Stuff Project team: Michael O'Heaney, Elisa Ringholm, Shana DeClercq, Miranda Fox, Brett Chamberlin, and Natalie Nava.

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The Story of Microfibers - Story of Stuff

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About this film Most of us wear synthetic fabrics like polyester every day. Our dress shirts, yoga pants, fleeces, and even underwear are all increasingly made of synthetic materials - plastic, in fact. But these synthetic fabrics, from which 60% of all clothing on earth is made, have a big hidden problem: when they're washed,...

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Find all episodes of the Wardrobe Crisis sustainable fashion podcast by Clare Press here - THE WARDROBE CRISIS

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Chart-topping sustainable fashion podcast features fashion designers, industry insiders, ethical fashion activists, models, scientists, and environmentalists from around the world. Your leading resource for sustainable fashion. Presented by ex Vogue journalist Clare Press

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The Ellen MacArthur Foundation works to accelerate the transition to a circular economy. We develop and promote the idea of a circular economy, and work with business, academia, policymakers, and institutions to mobilise systems solutions at scale, globally.

Charity Registration No.: 1130306

OSCR Registration No.: SC043120

Company No.: 6897785

Ellen MacArthur Foundation ANBI RSIN nummer: 8257 45 925

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This deep dive explores how the principles of the circular economy can be applied to the fashion industry, beginning by covering why the fashion industry of today is not fit for purpose.