# data[].attributes.body
-Put acetate/ see through plastic around face of model and write on fact about surrounding materials and they're damaging effect to environment. Etc - 'a pair of jeans takes so many years of drinking water supply for 1 human to make'. -model wrapped completely in damaging material.

# data[].attributes.headline
https://www.manchestereveningnews.co.uk/news/greater-manchester-news/disgusting-images-show-how-parts-13445165 -  around here could be a cool location for a shoot perhaps??  

# data[].attributes.subject
https://www.manchestereveningnews.co.uk/news/greater-manchester-news/disgusting-images-show-how-parts-13445165 -  around here could be a cool location for a shoot perhaps??  

# data[].attributes.headline
Edited a few of the photos from the studio shoot, I've uploaded them to my google drive: https://drive.google.com/open?id=1611i-eotz_3avghj6KFzExP0H3C0shkM 

# data[].attributes.subject
Edited a few of the photos from the studio shoot, I've uploaded them to my google drive: https://drive.google.com/open?id=1611i-eotz_3avghj6KFzExP0H3C0shkM 

# data[].attributes.body
Location:
-Landfill sight.
-Country/Zoo surrounded by animals who's skin/ fur has been used for clothing

# data[].attributes.attachment_link.readable_text
The fast fashion industry tends to keep secrets. It delivers hundreds of new designs and trends each year, and these fashion surprises are fiercely guarded until it is the right time to release them. Industry giants are spending millions of dollars to cultivate effective PR campaigns which they hope will leave a long-lasting impact on budding fashion lovers and consumers, in search of the 'next big' trend.

This is precisely why fast fashion has managed to create a strong following amongst the public. It can create a powerful buzz, which in turn influences followers, by recreating on-trend styles.

Years ago, runway favourites were mainly stocked by high-end fashion retailers, and even then the turn-around time meant it could take weeks or months to make these designs available to the public. Bridge brands and luxury designers are now also recognising that the consumers' desire for fast fashion is no longer solely based on low, value pricing. Thanks to fast-fashion, consumers now have access to runway trends and look-alike designer goods in real time. Shoppers can hit JC Penney, GAP, and H&M in their locality and buy hot-off-the-press designs quickly and at great prices.

In recent years, it has become easier than ever to purchase the hottest trends, and fast fashion has been instrumental to this changing environment. Many fashion enthusiasts revel in their favourite garments being offered in their size and delivered at their convenience without worrying about availability. And as a result, there has been a shift towards consumers becoming more fashion-conscious as trend-led looks become increasingly desired.

"Fast fashion is a thing now because production processes are accelerated in a way that would have been hard to imagine a few decades ago"

Designers often deal with various outlet brokers with a more relaxed approach to quality control. Fashionistas now happily come out of stores with big smiles on their faces and bursting shopping bags not realizing that they've just invested in a lower-quality patterned pants and cardigans in the name of discounts. The 2015 Balmain x H&M collection is a clear example of this high-low compromise, where a haute couture designer collaborates with a value retailer to provide these cutting-edge designs at the expense of a lower-quality finish.

Fast fashion is a thing now because production processes are accelerated in a way that would have been hard to imagine a few decades ago. In 2018, new catwalk trends are able to be produced and delivered to stores in several days .

H&M and Zara were said to be among the very first fast fashion retailers. Following its launch in Spain in the 1970s, Zara expanded to the US in the '90s and declared it would only take 15 days for a clothing design to go from concept to completion. The formula proved so successful that now the 15-day mark seems to have been reduced to two to three days . And fashionistas are loving it!

"It was easier to follow trends when the fashion world mainly had two launch seasons"

This reflects the growing consumer desire for speed and value within retail. Instead of waiting for new seasonal collections, consumers can get their hands on a continuous cycle of trend-led clothing, all year round. It was easier to follow trends when the fashion world mainly had two launch seasons : the Spring/Summer and the Autumn/Winter. Fast forward to 2014, and things took another turn when fast fashion came into play. Currently, this industry is launching more than 50 'micro-seasons' every year .

In her book Overdressed: The Shockingly High Cost of Cheap Fashion , the writer, Elizabeth Cline, states the real goal of fast-fashion merchandising. She unveils how keeping prices lower than market level is one of the most successful strategies followed by some fast fashion brands. They are then able to run a value retail business based on high volume and low quality.

Cline's books also give insight into high-street retailers such as Zara, Forever21 and H&M. According to her research, the Spanish retailer Zara leads the fast-fashion trend and restocks their stores twice a week with re-created styles. On the other hand, both Forever21 and H&M apparently receive a daily shipment of hundreds of new styles.

With looks and trends changing every week, the consumers' fashion calendar is becoming outdated in a matter of days. It's no longer enough to update your wardrobe every season. For zealous fashion enthusiasts it can become downright monotonous to repeat their wardrobe choices after one-time wear, and high-low fashion trends enables the everyday mavericks to be on top of their game .

And it's because of fast-fashion. Perhaps, this is why the trendiest style enthusiasts are more likely to compromise on the quality of the clothing, as well as where they are buying it from, to purchase the garments they desire. They go off-road and enjoy visiting outlets like Marshall's and TJ Maxx to get their hands on the most famous brands for unbeatable prices.

"Attempting to stay on top of the cutting edge fashion revolution can be financially devastating and emotionally exhausting"

The fashion industry is one of the most significant and influential sectors, and it us celebrities to bring attention to all that is on offer. Whether it's the Kardashian-Jenner's obsession with Fashion Nova clothing or the Duchess of Cambridge and her Zara clothing , rest assured that it is all manufactured to create hype and hysteria among the masses. And so far, this move is paying off spectacularly for the brands .

However, the sheer pressure of keeping up with the latest offerings could be emotionally, as well as financially, overwhelming for consumers. With clothing and accessories trends changing and evolving on a weekly basis, keeping up with fast fashion is becoming more of a burden. Attempting to stay on top of the cutting edge fashion revolution, let alone the sheer volume of choices available every week, can be financially devastating and emotionally exhausting. The word 'fashion' is no longer interchangeable with 'style'. It has evolved beyond a symbol of unique existence or to express modernity, with an even increasing focus on branding.

As consumers we can expect for fast-fashion trends to grow stronger with time. While fashion enthusiasts continue to pursue their love for finding the hottest clothing and accessories online as well as in-store, fast-fashion isn't going anywhere.

# data[].attributes.attachment_link.title
How fast fashion is impacting the lives of consumers | gal-dem

# data[].attributes.attachment_link.description
The fast fashion industry tends to keep secrets. It delivers hundreds of new designs and trends each year, and these fashion surprises are fiercely guarded until it is the right time to release them.

# data[].attributes.body
“She is the antidote to the unsustainable cycles of consumption. Her cure? To take materials the rest of us reject and wear them with Moschino panache.” Jeremy Scott using wasted materials and turning them into high fashion.

# data[].attributes.attachment_link.readable_text
Jeremy Scott has made a career from turning low brow pop references into high fashion, but last night's Moschino show was probably the most literal example of this. Onto a cardboard covered runway (held together with parcel tape), his models stepped out wearing bike wheels, candle holders, shower curtains - and even, at one point, an actual trash bag complete with garbage can lid hat.

These were apparently Scott's "Materials Girl(s)," he called them in the show notes, adding: "She is the antidote to the unsustainable cycles of consumption. Her cure? To take materials the rest of us reject and wear them with Moschino panache." Models wore looks that were resourceful to the hilt, with Bella Hadid in a dress made entirely of found watches, her sister Gigi in one constructed from carpet, and one even carrying a stole of stitched together cuddly toy rats.

Meanwhile, Kendall Jenner wearing a cardboard box on her head. No, that isn't a punchline - it was actually a part of a capsule collection (already on sale over at STYLEBOP) of head-to-toe cardboard inspired looks complete with tape and printed "fragile" and "handle with care" details that would go well with the bubble wrap dress that appeared later. Plastic and paper Moschino-branded bags were also turned into dresses, in typical self-referential Scott style. Was this him acknowledging that fashion's part of the problem of consumption too?

Most memorable of all though was probably Anna Cleveland voguing onto the runway in a dress seemingly made from the same drapes hanging over the stage - think Gone With The Wind crossed with ballroom drag culture. Maybe it was Scott's own t-shirt which captured the essence of the collection best: "Couture is an attitude, not a price point."

Rewatch the show below:

# data[].attributes.attachment_link.title
Moschino turns trash to couture... literally

# data[].attributes.attachment_link.description
Jeremy Scott has made a career from turning low brow pop references into high fashion, but last night's Moschino show was probably the most literal example of this. Onto a cardboard covered runway (held together with parcel tape), his models stepped out wearing bike wheels, candle holders, shower curtains - and even, at one point, an actual trash bag complete with garbage can lid hat.

# data[].attributes.body
Documentary exposing  fast fashion. Article about the documentary with an interview with director Rahul Jain.

# data[].attributes.attachment_link.readable_text
The fast fashion industry has come under much scrutiny in recent years, with documentaries and journalistic exposés revealing the inhumane conditions suffered by factory workers worldwide at the hands of multi-million dollar clothing chains (not to mention the buyers turning a blind eye to the question of where their clothes come from). But while there's certainly a greater awareness surrounding such issues, the fight for a more ethical approach to fashion is far from over - a point hammered home in Machines, a poignant new film from first-time director Rahul Jain.

For his take on the subject, Jain ventures inside one vast textile mill in Gujarat, India, capturing its inner-workings in breathtakingly cinematic detail. For the first 13 minutes, there is no dialogue. Instead, sweeping camera work guides us dizzyingly around every nook and cranny of the labyrinthine space. The first thing you notice are the towering, grey machines, guzzling up brightly coloured fabrics like giant robots. Then you notice the men - and boys - no less mechanical in their precision and skill as they mix dyes, stoke furnaces and prime material. When they're not working, the labourers steal a moment's rest - sleeping on bundles of white fabric, or stopping to chew tobacco to give themselves a lift. No music accompanies the footage, just the rhythmic whirring and ticking of machinery. When a small boy drifts in and out of slumber while straightening out cloth as it filters through his designated machine, the effect is almost contagious.

Indeed, what makes the film so effective is the way in which Jain plunges the viewer into the workers' world, never forcing drama or action, instead patiently documenting the exhausting monotony of their task. When there is dialogue, we hear from the workers themselves - and at one point from their fat-cat boss, who matter-of-factly tells the camera that he shouldn't pay them so well as they're much more dedicated to the business when their bellies are empty. By "so well", we discover, he means three US dollars per 12-hour shift and most of the workers take just one hour's break between shifts, such are the financial pressures of providing for their families. The men discuss the need for unionisation and strike action, as well as the dead-end any attempt at this inevitably leads to - "the bosses just ask who the leader is, and then kills them," we are told.

Jain does not look to provide answers to their predicament but instead allows his subjects to pose the questions, which linger menacingly in the air as the closing credits roll. "People just come here, look at our problems and leave. Nobody is ready to take any action," one man shouts at the film's climax. "Tell us what to do..."

To coincide with the powerful film's UK release, we speak to the talented 25-year-old director to find out more about the intentions behind it and the story of its making.
How did the idea for the film come about?
Rahul Jain: That's a difficult question. It's not a film that you wake up one day and decide to make. I didn't understand inequality, I was always curious about it, and about what I could do about it. One day my teacher, said, 'You need to make work about something you know, somewhere you feel like you belong.' That's when the factory idea first came to me.

My maternal grandfather owned a very similar textile factory to the one in the film and I used to stay with him every summer from the age of zero to five. I was never allowed to go into the factory though, so I used to sneak in and walk around for hours. I think the sensorial impressions that are imprinted upon my mind from that time, when I still didn't have the vocabulary to articulate what I experienced, have remained very strong. Then around the same time in 2013, the Rana Plaza accident happened in Bangladesh and I also chanced upon a book called Workers by Sebastiao Salgado in my school library. All these things coincided and I eventually asked my family if they could connect me with another factory or dying mill in the area - this one was the most well-known, the one where all the labourers wanted to work.
So was part of your motivation a sense of personal guilt?
Rahul Jain: Absolutely there was class guilt, this work wouldn't have happened otherwise.
Tell me a bit about your decision not to include the names of any people or locations...
Rahul Jain: This was somewhat for the security of the people, including the boss, but also because there is no point in finger pointing, or singling out one person or place. It's a complete civilisational structure, a macro-level; I wanted people to think about the bigger picture.

"At first, I worried, 'Am I just going to make a work that's like watching paint dry?' so asked my teacher this question, and he said, 'Well aren't the lives of these people there just like watching paint dry?'" - Rahul Jain

So how political was your agenda going in?
Rahul Jain: When I first started location scouting, I went in with a very militant attitude; I kept trying to raise political questions about pay and money explicitly in a way that wasn't very calculated or respectful. I felt the problem was much further away from me. But once I started working with my cinematographer Rodrigo Trejo Villanueva, who has a very different way of seeing the world to me and who worked in a factory in Mexico City as a child, he made me realise that I had to take control of the situation and to calm down. Once I understood that my aesthetic sensibility calmed down too.
In what way?
Rahul Jain: There are two different kinds of documentary filmmaking: one is more in tune with the non-fictional moment, so you feel you need to get as much information - about the environment, the place, the people - down as possible because the moment will expire. The other method is calming accepting that life is just on loop, unfolding in its own way. Once I was able to get into that kind of rhythm, my way of looking at this factory with a cinematic gaze changed. At first, I worried, 'Am I just going to make a work that's like watching paint dry?' so asked my teacher this question, and he said, 'Well aren't the lives of these people there just like watching paint dry?" And I couldn't disagree.
You very much remove yourself from the film. Was this a deliberate decision?
Rahul Jain: Absolutely. By the end of the film, the people I was working with thought I was crazy because I systematically wanted to remove every ounce of my presence from it. Firstly because I feel that the film is already from my perspective, in the way it comes across. I also think some people at my school were looking for this grand Buddha narrative: rich kid goes to poor factory and films, and this idea terrorised and mortified me - to think of the film like this. Also because I wanted the audience to be involved in the dialogue with the workers, rather than acting as the conduit myself. Lastly, I was not interested in any consummation because in this world everything is always up in the air. Or rather it's downhill, like an avalanche, with no force impeding the downward spiral.

Was it difficult not to answer their pleas for advice on changing their situation, or not to chastise the factory owner?
Rahul Jain: Of course, when the workers asked me what they should do, a part of my brain was screaming silently all kinds of things. But I didn't have any answers; I was a silent observer, almost mute, taking refuge behind the viewfinder. Then with the boss, you have to remember that this guy isn't just one person. His way of looking at things is societal; more than half the world thinks like him. It doesn't make it right, but to think that you can convert him by some ethereal goodness is a dreamy notion. My goal was just to engage him, while remaining true to myself, in order to invoke honest responses.
Did you do wider research into the fast fashion industry as a whole ahead of filming or was the goal always to keep it narrowed in?
Rahul Jain: I tried to keep it internalised within one ecosystem. I asked myself that question a lot - do I want the whole cake, or do I want a slice of life? I chose the latter: a densely packed, rich slice of life. I was terribly afraid of being the first time filmmaker who has too much to say. So restraint and refrain were very aggressive creative aspects of this.
Does this factory produce textiles for companies worldwide?
Rahul Jain: Yes, very much so, for all the usual suspects - high street chains. I can't name them because I don't have definite proof, but from what the workers told me it was a wide net. And remember, it's just one factory: there are 1300 factories in the space of four kilometers squared, employing more than a million and a half people.
Machines is out now - watch an exclusive clip from the film below

# data[].attributes.attachment_link.title
The documentary exposing the dark reality of fast fashion

# data[].attributes.attachment_link.description
The fast fashion industry has come under much scrutiny in recent years, with documentaries and journalistic exposés revealing the inhumane conditions suffered by factory workers worldwide at the hands of multi-million dollar clothing chains (not to mention the buyers turning a blind eye to the question of where their clothes come from).

# data[].attributes.body
'POSITIVE FASHION' https://www.britishfashioncouncil.co.uk/About/Positive-Fashion

Stella Mcartney -
https://www.theguardian.com/fashion/2017/oct/02/stella-mccartney-lays-waste-to-disposable-fashion-in-paris

10 ways to make fashion greener:
https://www.theguardian.com/fashion/2018/jun/24/ten-ways-to-make-fashion-greener

Name and shame the sustainability avoiders?
https://www.theguardian.com/fashion/2019/jan/31/six-uk-fashion-retailers-fail-to-cotton-on-to-sustainability-environment

Stacy Dooley Documentary
https://www.youtube.com/watch?v=zOe_M3GutdY

Borrowing boutique:
https://www.theguardian.com/business-to-business/2018/jan/18/check-me-out-the-library-where-you-can-borrow-clothes-instead-of-books

Burberry
https://www.theguardian.com/business/2018/sep/06/burberry-to-stop-burning-unsold-items-fur-after-green-criticism

# data[].attributes.headline
Just had a look at some articles relating to fast fashion/ unethical production, we could maybe consider cultural impacts of the industry as a theme/influence? Just a thought! 

# data[].attributes.subject
Just had a look at some articles relating to fast fashion/ unethical production, we could maybe consider cultural impacts of the industry as a theme/influence? Just a thought! 

# data[].attributes.body
-Food
-Meat industry
-Environmental excess of damage
-Wealth
-Overall consumerism
-Kitsch fashion
-Addiction
-Excessive compulsive disorders.
-Hoarding
-control vs uncontrolled
-Extravagant fashion
-Expensive, overpriced.
-Exaggerated aesthetic ,bold colour palette, Ott makeup lipstick massively over lip line etc.
-Excessive beauty industry and normalisation of plastic surgery/fillers

# data[].attributes.body
"Clothes are for life, not the landfill"

# data[].attributes.attachment_link.readable_text
Jigsaw wants to remind you that clothing is for life, not the landfill. In its latest ad campaign, the British apparel retailer juxtaposes fresh pieces from its Autumn/Winter 2015 collection with vintage Jigsaw items on loan from its customers. Coupled with stories from longtime Jigsaw fans about the history behind their tan leather bag or blue Oxford shirt à la Worn Stories, the campaign is a paean to mindful consumption, as well as a respite from today's "fast fashion" world.

CONSIDERED CLOTHING

"We wanted this campaign to build on the success of our 'Style & Truth' platform by celebrating the truth that Jigsaw clothes last beautifully and are still as wearable today as they were the day they were bought," Peter Ruis, CEO of Jigsaw, said in a statement. "We design and create products for life, and that is reflected by the number our customers who still wear vintage Jigsaw clothing with pride-30 years later."

Coincidentally, Jigsaw's campaign dovetails with H&M's own call to keep clothing out of the trash heap, but with one marked difference: You'd never hear H&M bragging about the longevity of its product.

# data[].attributes.attachment_link.authors[].name
Alexandra Mann, Fashion Institute of Technology

# data[].attributes.attachment_link.title
Jigsaw's Ad Campaign: Clothes Are "For Life Not Landfill"

# data[].attributes.attachment_link.description
Jigsaw wants to remind you that clothing is for life, not the landfill. In its latest ad campaign, the British apparel retailer juxtaposes fresh pieces from its Autumn/Winter 2015 collection with vintage Jigsaw items on loan from its customers.

# data[].attributes.body
"Textile waste is a major environmental issue when it comes to fast fashion. According to Bagri, manufacturers always overproduce, meaning there is often excess stock which needs to be burned. To get economies of scale, and ensure they don't have out of stock situations, large manufacturers and brands tend to overproduce." Burning overproduced items and materials can cause harm to the planet and leads to a mass amount of toxic pollution.

# data[].attributes.attachment_link.readable_text
Workers making fast fashion are often badly-paid (Photo: Adobe. Do not use without permission)

More people are starting to talk about fast fashion - and the myriad issues it causes.

Fast fashion generally refers to clothing that is designed and turned around quickly, usually inspired by the catwalk, and made to reflect current trends.

Often inexpensive, and highly disposable, fast fashion is responsible for water pollution and textile waste - among other issues, including low paid labor.

Ethical fashion

Vanita Bagri is the Founder and CEO of LaBante London, a vegan-certified brand producing luxury handbags and sunglasses. She said: "Is fast fashion ethical?

"You see websites selling dresses for £5. You need to ask yourself the question, if something costs so little money, has somebody paid the price when that outfit was made?

"Absolutely somebody did. Someone down the line did. We didn't because we bought the outfit for £5, but what about person who made it? When you start thinking about how these amounts break down, it makes you think about the labor behind the pieces."

Fabric waste

Textile waste is a major environmental issue when it comes to fast fashion. According to Bagri, manufacturers always overproduce, meaning there is often excess stock which needs to be burned. To get economies of scale, and ensure they don't have out of stock situations, large manufacturers and brands tend to overproduce.

"Leftover clothes go into incinerators because if it's the end of the season, and there is not enough display space left, clothes will be sent to burn," she added.

Earlier this year, Dazed magazine branded clothes burning 'fashion's dirty open secret', revealing that both lower and higher end brands do it - with tonnes of clothing and accessories being destroyed in this way every year.

"Burning leads to a lot of toxic pollution and waste, all that toxic smoke gets released into the atmosphere," said Bagri. "This won't impact us immediately but by the time the smog settles, this impacts our planet, our cities, and our rural suburbia because usually, that's where the incinerators are located, impacting wildlife as well as people."

LaBante creates classic designs that are made to last

What's the answer?

Discovering the provenance of your fashion, when it comes to where it's been made, and by who, can be very difficult. Conscious designers like Bagri are taking steps to ensure that workers are treated fairly.

"At LaBante London we employ a Chief Ethical Officer. She makes sure that factories are not mistreating their employees and maintain the right worker conditions, including correct ventilation and lighting - which are checked during surprise visits."

She adds that she makes products with a long lifespan, saying: "We offer a one-year warranty on our products because we believe in slow living. We are not a fast fashion brand - the major part of our collection will be classic designs so that your wardrobe stays evergreen and you can help reduce the amount of consumption and waste in this world."

Slow fashion

When it comes to general tips in maintaining a more sustainable wardrobe, Bagri recommends looking towards vintage fashion. "These clothes have already been manufactured and the waste has already been created due to that manufacturing process," she said.

"Another good tip is to buy classic-style Clothing, handbags, and accessories. Seasonal trends come and go, but being sustainable means thinking about what we buy, so we don't just end up going to stores and buying unnecessary, wasteful, items.

"Time has come to ensure that your products last you as long as possible so always store your clothes and accessories properly so as to elongate their life and usage."
*This is a paid for advertorial for LaBante London.

# data[].attributes.attachment_link.title
What Is Fast Fashion - And Why Is It Killing Our Planet?

# data[].attributes.attachment_link.description
More people are starting to talk about fast fashion - and the myriad issues it causes. Fast fashion generally refers to clothing that is designed and turned around quickly, usually inspired by the catwalk, and made to reflect current trends.