PHILIP TREACY

AILIS MARA

MARY FITZPATRICK

EMMA MANLEY

T H E F A I R

T H E F A I R

JULYCONTENTS

3. We Love5. Emma Manley Interview

7. Best for Summer9. Best for €50/€100/€200

12. Street Style17. Philip Treacy Interview

20. Statement Stripes21. White Knight

22. Ethical Designers24. Nouvelle Japonisme

25. Festival Fashion31. Five Brands You Think Are Eco, But Aren’t

32. The Dirt on Clothes: Why Washing Less is More Sustainable33. Princess or Pawn

34. Reform Your Closet35. Vegan Fashion

36. Mary Fitzpatrick Lookbook51. Ailis Mara Lookbook

58. Kollabara59. FC13 Woman - Clothing from rising fashion designer Colin

Horgan65. Women who have impacted the world of fashion

EditorCara Murphy

Art DirectorSinead Cahill

ContributorsJustine KingCailyn CoxKimi Moore

Mary FitzpatrickAilis Mara

Norah WardKieran BroderickGillian GormleyColin Horgan

Patricia OlufemiAlanna LawlorSarah Corcoran

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CONTRIBUTORS

Model and environmentalist Lily Cole has launched a line of sustainably-sourced rubber jewellery, with prof-its going towards saving one billion trees in the Amazon rainforest.jewellery line stocked by stylistpick.com made out of rub-ber.“What we’re trying to do is look at the ways that consum-

ers in the UK can engage with wild rubber, and by pur-chasing it, protect the rainforest,” says Cole of the line. As the ambassador for Sky Rainforest Rescue, Cole con-sidered a number of sustainability projects and settled on wild rainforest rubber sourced from Acre, northwest Brazil.

LILY COLE LAUNCHES JEWELLERY LINE TO SAVE THE AMAZON RAINFOREST

A BEAUTIFULLY SHOT COFFEE TABLE BOOK ON SUSTAINABLE FASHION HAS BEEN RELEASED THIS MONTH.

Written by Sandy Black, a Professor at the London College of Fashion’s Centre for Sustain-able Fashion, The Sustainable Fashion Handbook focuses on how fashion has experienced an ethical overhaul, with brands from every level of the industry, from high end designers to the high street bearing responsibility for how their clothes are made, and what they’re made of.Featuring interviews with leading designers, from Stella McCartney and Vivienne Westwood to Hussein Chalayan and Dries Van Noten, intelligent essays on subjects such as ‘How sus-tainable fashion can survive in an age of celebrity culture’ and insight into how brands make their clothes ethically, the book is a fascinating glimpse into how the industry is trying to change for the better, all accompanied with beautiful images.

HAYWORTH VINTAGE

We happened across Hayworth Vintage by accident and weren’t we glad we did! They sell sell stunning one-off original vintage dresses hand-picked and sourced throughout Europe and the USA. Best of all if you have some-thing in mind but can’t seem to find it send them an email and they will try to source for you! http://www.hayworthvintage.com

W E L O V E

W E L O V E

Speaking of our favourite online retailers, Irish-based Coldlillies which is set to launch its presence in the UK this week.

The company, which sells work by 22 designers including Loulou Grenelle, Úna Burke, Melissa Cur-ry, Muireann Walshe, Anna Byers and Daniela Cardillo, has already won several orders from UK shoppers. Coldlillies co-founder and director Ciara McKenna, said: “What makes our site stand out is that we’ve curated a style-edit of unique and wearable designer jewellery from otherwise hard-to-

find designers.McKenna launched the company with her university friend Kim Knowles after they left their ca-reers in law and consulting to pursue their interest in jewellery and creative design.

The duo says their inspiration for Coldlilies came from years of international travels and the de-sire to create an online boutique that would give today’s shoppers access to a range of quality and unique, hand-finished and de-sign-led jewellery pieces.

COLDLILLIES

“I’m a dreamer, I’d say I live in la-la land more than I live in the real world. It’s there where everything that inspires me comes together… a melting pot of things I see, beautiful songs I hear, lyrics I adore, books, pictures, films, po-ems…everything I have ever loved is in there. All that coming together has created a charac-

ter that Manley is based on”-Emma Manley

D R E A M I N G B I G

Emma Manley’s eponymous womenswear label “Manley” is anything but masculine. Exploring the many complicated elements that make up a woman, by her own description, Manley “plays with contrasting fabrics yet manages to find a balance between hard and soft, light and heavy, powerful and delicate.” Emma designs with a definite picture of what “The Manley girl” likes and dislikes, approaching each season with a clear idea of how her girl is feeling. “She’s some-one who enjoys the process of getting dressed no matter what for. She takes pride in how she looks and knows that looking good means feel-ing good. She’s confident, but not overly so. She doesn’t necessarily want to stand out, but when she does her heart skips a beat, in a good way! She mixes up designer with vintage and is never a slave to a style or look, she interprets things in her own way” Manley’s own personal style directly influenc-es her designs and vice versa, and she swears by the age-old ‘’less is more’’ mantra when it comes to accessorising –“ It’s old, it’s simple and it’s something every woman should live by.” Manley applies this no-nonsense attitude to her designs- despite often working with an array of metallics and embellishments- and her collections retain a beautiful sense of cleanline simplicity and most importantly, wearability. For her upcoming AW13/14 collection she mixes contrasting silks, knits and metallics, but gives clear direction on the intended styling of the pieces, ensuring the finished look is polished and in keeping with the structured Manley vision. “As always layering is key and playing with asymmetrical lengths is a must. Woven wools and raw silks are layered over soft flowing chiffons, which tames any over-the-top femininity that peeks through.”For Manley, fashion was in the blood- with a fashion designer as a mother, she recalls watch-ing in awe as a child as her mother turned beau-tiful fabrics into a bride’s dream dress “As a special treat I was allowed to sit in on fittings, I would hold the pin box and carefully hand the pins to Mum, I really felt part of the pro-cess and thought I was practically making the dress!” From there, much to her Mother’s ini-tial dismay, a headstrong Emma pursued her design dreams, attending the Grafton Academy in Dublin before carrying out an internship at

VPL in New York and working for Alexander Mc-Queen in London. It is this headstrong attitude, hard work and unconditional passion for design that has seen Manley’s career go from strength to strength since setting up her own label in 2010. Manley cited “Determination, patience and per-sistence” as the three most important qualities in anyone looking to get into fashion design, adding “Design is a labour of love, you would want to be head over heels about it for it to work…There is no such thing as 9 to 5!”

Luckily for Manley, she adores said labour and also firmly believes in the future of the Irish Fashion Industry, stating “I think now, right now, is more than exciting for the Irish fashion indus-try. We’re on it. We have great designers we just need to focus on nurturing them through this tough time.” She lists her fellow Irish design peer

Natalie B Coleman as her “designer crush” and if given the choice to dress anyone in the world it would be young Irish actress Saoirse Ronan, adding “You can’t get any cooler than her right now. Plus she’s Irish, what more could I want!” Along with keeping things Irish from a patriot-ic perspective, ethical fashion is hugely import-ant to Manley, who manufactures 50% of her pieces in Ireland and hopes to increase on that figure in the coming years. Ethical fashion, she stresses however, is not just the responsibility of the designer, and it is up to the consumer to make smart choices “In this day and age with fast and cheap fashion everywhere we look, it doesn’t always make the decision so simple for the customer. All I will say is … Think before you buy.” In fact, Manley hopes to see a return of the once prosperous ‘Cut Make Trim’ (CMT) industry in Ireland and believes it will be this young generation of Irish design talent who will initiate the rebirth “People see manufactur-

ing as an old trade that is perhaps less prestigious than others. You know what I think? I think that when I go to Milan to visit my manufacturers there, I’m in awe of their craftsmanship, of their pride in their work and of their want to pass it on to the next generation. I think it’s about time we got that pride back in Ireland.”

In typical humble Irish fashion, when asked her most exciting career achievement to date, Manley replied “I’m not the kind of person to sit back and reflect on Manley’s achievements. I’m my own biggest critic and tend to look forward to the next thing and get going on that”- but surely for a young woman who has worked with McQueen, won numerous fashion awards and dressed some of Ireland’s top celebrities- there must have been one standout moment? “Showing last season

at Capsule trade show in Paris…I remember standing in front of the Manley stand at Capsule and thinking how proud I was of the collection and the fact that it was showing on an interna-tional platform. It was one of those times when the blood, sweat and tears vaporised into a distant memory and all I could see was a collec-tion that I adored and was incredibly proud of.” And proud she should be. With an incredibly strong AW13/14 collection “You’re The Bee’s Knees’’ that shows a more sophisticated edge to the Manley girl as she grows up with her cus-tomer, Manley is no doubt set to watch her star soar on an international fashion scale. Although referring to the Manley aesthetic in this season’s lookbook -“She’s confident, she’s bold and she’s ready to shine”- we have a feeling the brand’s designer is feeling the exact same way.

- J u s t i n e K i n g

Left: Emma Manley and her mother

EMMA MANLEY

Bláithín Ennis is a designer based in North Co.Wexford, who graduated from NCAD in 2011. She specializes in bespoke fashion accessories, both statement pieces and smaller, ready to wear jewellery. This pretty cuff from her Karelian Cuff Collection would be a stylish addition to any outfit this summer.

Since setting up in 2011, Lisa Ryder has launched three scarf collections and has recently introduced a range of vegan leather digitally printed handbags to her collection. Inspired by urban and rural landscapes Lisa uses strong com-plimentary contrasts using these two different landscapes to inspire and create her eye-popping prints. The perfect addition to a summer wardrobe.

B E S T F O R S U M M E R

Bláithín Ennis

Bláithín Ennis

Lisa Ryder

Lisa Ryder

Limerick school of Art and Design graduate Danielle Romeril has created a luxury womenswear label that has certainly got people talking. Silhouettes often evolve from 3D exploration and stand based work which inject movement and dynamic drape into her designs. Print, surface embellishment and tonal colour also feature prominently. Danielle’s love of juxtaposi-tion reveals itself in clashes between tough leathers and the lushest of silks and mash-ups of graphic and ornate detailing.

Dublin born and based designer Ali Nash has worked from strength to strength since 2004 to built what is now an interna-tionally recognised label. With a love for colour and form, the combination of vibrant gems with delicate gold findings in her pieces creates her distinguished look and charachter, a vintage aesthetic with a new modern feel.

B E S T F O R S U M M E R

Danielle Romeril

Danielle Romeril

Ali NashAli Nash

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Crochet vest, ASOS, €39

...Or go AC Slater on it and rock this 90s button down - €30 (9crowstreet.com)

Steal Kelly Kapowski’s style by rocking this vintage swimsuit - €28 (9crowstreet.com)

Steampunk blue sunglasses - €24.99 (9crow-street.com)

Customised Levi shorts by Irish label “Broke Bitch”, €30 (theprowlster.com)

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Pop fl ower bomber - €75 (Topshop)

Mid wash denim dungarees - €55 (River Island)

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Embroidered fringe leather gillet - €172 euro (Asos)

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Embrace the neon trend with this statement piece by Irish designer Melissa Curry (avail-able in neon pink, yellow and green) - €135

(Coldlillies.com)

Chunky winter boots with a cut-out summer edge! Jeff rey Campbell Coltrane Boots - €145

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Street Style

MichelleShop St. Galway

Photos by Kimi Moore

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Justine King interviews Philip Treacy

Milliner Man

Sir Philip Treacy is arguably the most famous Irish name in fashion on an international scale and unquestionably the most talented hatmaker in the world. (Treacy contests that the word ‘’milliner’’ can be used for what he does) Refreshingly down to earth yet an eloquently descriptive storytell-er, Treacy credits his ‘’very stylish mother who always wore hats’’ as his style icon growing up in the small village of Ahascragh, Couty Galway. Living with his parents and eight siblings across the road from the village church, Treacy saw local weddings as his fashion show equivalent, amazed as a young boy watching these ‘’ creatures appear in these extraordinary clothes”.

When he reached the school-going age of five, Treacy describes his innocent confusion at why the boys were expected to take woodwork; the girls sew-ing “ I remember being with the teacher in school and I thought: ‘Why can’t I do that?’ I started making dresses and hats for my sister’s dolls. My mother had chickens, geese, pheasants and ducks, so all the ingredients of the hat were in my house. My mother had a sewing machine. I was never allowed to use it, but I was so fascinated by this little needle going up and down joining fabric together that I’d use it when my mother went out to feed the chickens. There was like five minutes to get it out. If my mother found me I would be in a lot of trouble. I was making bust points before I knew what bust points were. I remember being in a neighbour’s house and he said to my father: ‘Don’t you think it’s weird that this boy is making dresses for dolls?’ And my father said: ‘Whatever makes him happy.’ You have got to see where I come from to understand how profound that was.”Upon graduation Treacy moved to Dublin where he studied fashion at the National College of Art and Design. Making hats more as “a hobby to go with outfits designed on the course”, Treacy’s personal interest in hat design led him to a six week work placement with London hat designer Stephen Jones. Winning a place on the MA fashion design course at the Royal College of Art in London, Treacy was unsure whether to play up or down his love of hat-making. Treacy describes how this decision was made for him by his course tutor Sheilagh Brown on his first day of the course “What should I do? Should I make hats or clothes?’ She said: ‘make hats.’ It was very practi-cal, not a great revelation.” Not a revelatory moment in terms of storytelling perhaps, but a ground-breaking moment in the world of fashion, when a creative genius began a path that would change the future of millinery and indeed couture forever.

Treacy has gone on to create hats of shapes and dimensions never before deemed possible. Working with every material imaginable, from feathers to dustbin lids, this year Treacy featured a weightless kinetic LED headpiece in his London Fashion Week show. In 2011, he was commissioned to design 36 headpieces for the guests at the Royal Wedding of William and Kate. But of all the hats he has ever designed, Treacy’s description of his favourite creation demonstrates the devoted passion he possesses for his craft “It is a 17th Century Dalian or Sailing ship hat. I’d seen old renderings of ships in women’s hair. It was a costume designer’s dream. The idea for this hat was inspired and created from a chapter in Olivier Bernier’s book, Pleasure and Privilege, called Rule of Fashion about life in France in the 1750’s. The chapter described a British Fleet Admiral, D’Estaing, losing a famous battle to the French Fleet. In celebration, women in Paris wore ships in their hair to go to the Opera, I loved the emotion attached to this. It’s made from satin and the bone of the feather. The sails are paradise feathers. The rigging is made from the feather bones which is what you strip away from the feather and that which remains.”

Whilst Treacy cites “Nature, in all its forms’’ as his greatest source of inspira-tion, his close friend and fashion muse- Isabella Blow- has hugely impacted both his personal and professional life. “Isabella had something common to all of us, but unusual in fashion – a big heart. Her dilemma was she worked in the fashion business, but was more interested in the fashion, than the busi-ness. She lived for the art and drama of fashion. She would attend a show with 600 people all sitting there dressed in black, all serious, and there she’d be with a Lobster hat on her head and a Nell Gwyn inspired gown. She would be the only one to woo-hoo and clap. She didn’t care! I was so in-spired by how she wore my hats. She wore them like she was not wearing them – like they happened to be there.

Blow’s enamourous appeal was her down-to-earth, carefree attitude towards fashion, and life in general “She was never a snob. She believed in talent – no matter where you came from. I’m a bakers son. Alexander McQueen is a cab drivers son. She gave me my first commission while still a student at the Royal College of Art.

PHILIP TREACY

I remember someone said to Isabella “why is this student making your wed-ding hat when you could have anyone in the world make it?” She didn’t give a F*** what they thought. Her focus was creativity – I fell in love with her at that moment. When you were in her focus – and this includes Alexander McQueen, Stella Tennant and Sophie Dahl who she also discovered - it was like being in the middle of a love affair. Everybody loved Issy, but she didn’t always love herself.”Blow’s decision to take her own life in 2007 may have come as more of a shock to the rest of the world than those who really knew her “She did have ovarian can-cer and she suffered with depression – it was all too much for her. Isabella was the first ex-traordinary interesting person I met in this country when I moved here from Ireland. In 20 years I have met all my heroes and nobody in my honest true estimation surpassed her. She was incredible. I thought there must be others like her, but there wasn’t. Everyone was boring in comparison to her. I will miss her laugh, her passion and her humanity. I went to my studio today and Isabella is ev-erywhere. In every hat I made, every corner I turn – she is there. I will always miss her.”

Along with Blow, Treacy has designed hats for some of the most famous style icons in the world, including pop icons Lady Gaga and Madonna as well as counting Sarah Jessica Parker as one of his best clients. However, if he could design just one more hat, Treacy would choose German-born film actress Luise Rainer to wear it “…The fact that she is still so alive and lived through so much in her 102 years. I admire her spirit at her age and the times she lived through. Modern contemporary glamour comes from old Hollywood. How we see people like Garbo and others in Miss Rainer’s time. Our per-

ception of what glamour means is not only a 17th century image, rather it’s a dramatic portrayal of how Hollywood stylized an image. This could be today.”It is this vision, this enamoured obsession with classic beauty and it’s unravelling that sets Treacy apart as a designer. His innovative blend of this timeless ideal of splendour mixed with the quirky person-ality a modern head needs in order to carry off one of his pieces has led Philip Treacy to be recognised as the artistic genius he is today. A far cry from the local church of Ahascragh, Treacy’s talent, passion and eloquent vision continues to change the world of design as we know it.

“A hat can completely change the personality of the wearer, make them stand differently and walk differently. A hat can make that

person feel interesting”.

PHILIP TREACY

Stripes headlined the SS’13 runways, from the big, bold striped collections of Dolce & Gabbana, Christian Dior, Marc Jacobs and Michael Kors, to the candy striped, causal tailoring of Tommy Hilfi ger’s preppy col-lection which created an edgy yet eff ortless look.The linear approach that designers have tak-en to the trend has created artistic variation of all things striped, from the classic horizon-tal and vertical stripes patterns, to chevrons and zigzags, the classic tailoring and length-ened cuts, with a muted colour palette that contained mainly monochromatic and prac-tical colours to the bright colour splashes.The question is then, how would you wear this look without feeling a little over-whelmed by the bold top-to-toe stripes, and more importantly what stripes suit which body shapes?Wearing stripes is all about styling and acces-sorizing, keep the accessories to a minimum to create an elegant look, for a muted look you can exclude the bright striped patterns from your wardrobe and opt for the navy of black stripes to create an easy edge or team a striped item with neutral colours such as denim, leathers and khaki.If the striped look is still not for you, then even a small addition of this striped print can revive your summer wardrobe, intro-duce the trend with bold monochromatic bangles, candy striped bags as seen in Dolce

& Gabbana collection, striped sun-glasses or shoes will all add fl air to your wardrobe.If your body is curvy, then avoid hor-izontal lines which will make you look wider, rather opt for vertical lines, these will give you an elon-gated and slimming look. A busty fi gure should avoid horizontal lines on the top half of their fi gure as this will stretch the eye across the bust area and make it appear larger, again stick to vertical stripes on your top half. Pear fi gures should however use horizontal stripes on the top half of your body to draw attention away from the lower half and the problem-atic areasA petite frame can wear almost any print, and the bold colour clash of stripes fl atters smaller frames, al-though if you are after a look that gives the impression of curves then opt for wide horizontal stripes. The boyish fi gure is perfect for the fl oor-length striped look, which will not only fl atter but elongate your body, as with the petite fi gure horizontal stripes will give you a fuller hips and busts.

- C a i l y n C o x

S TAT E M E N T S T R I P E S

Marc Jacobs S/S13

Above: Tommy Hilfi ger S/S13Below: Christian Dior S/S13

Minimalism and white are timeless classics that have been brought back this season for the umpteenth time.Sleek cut white creates an illusion of sophistication and elegance that will be all over the high-street following the latest collections from Calvin Klein, Hermes and Nicole Farhi.

The purity of the colour trend demands concentration and off ers a welcome break from the garish prints and co-lours of prior seasons, creating a look of timeless elegance. White is undis-putedly the perfect refreshing addition to a summer wardrobe

The colour trend comes in every form this summer, the romanced and pretty looks of broderie, brocade and lacework combined with fl owing frilly fabrics of Valentino and Stella McCartney’s col-lections. The ageless cottons of Chloe and Balenciaga, or the precise cuts and folds that resemble a clean and clinical execution of satins as seen in Prada and Phoebe Philo who is praised for her Celine’s collection, and mastery with minimalistic chic. It seems that which-ever style you’re after this season, the

designers have catered for them all. Follow in the footsteps of Prada and Jil Sander by teaming your white gar-ments with either a white or nude heel.Although the colour white trend may not be for everyone and is not partic-ularly forgiving with dirt nor fi gure fl attering, it is most certainly a look that celebrities have embraced this season from: Jessica Alba and her tailored piec-es, Elle Fanning in her simplistic girly A-line dress, and the elegantly cut de-signer dresses of Alexander Wang and Christian Dior that have been worn by Rihanna and Charlize Theron respec-tively.

If you aren’t brave enough to embrace an all-white wardrobe, opt for key pieces such a shirt, blazer or a pair of trousers, it’s all about sharp tailoring and simplistic styling, whether white is your choice colour or not, every ward-robe should contain at least one white item.

- C a i l y n C o x

Clockwise from top: Jil Sander S/S13

Stella McCartney S/S13Celine S/S13Celine S/S13

W H I T E K N I G H T

You can look hot and bask in the warm and righteous glow of social responsibility with these ethical designers.

Yooxygen, which marks each of its punchy, Spanish-designed garments with a trace-ability tag that identifies every worker in its manufacture chain, from India to facto-ries in Portugal or Italy.

Maiyet was co-founded by Paul Van Zyl, a human rights lawyer who read about ‘’as-sociational life’’ - the idea that if two eth-nically or religiously diverse groups are employed alongside each other the levels of conflict are drastically reduced and de-cided to try to found a clothing brand that created such employment. He approached

Kristy Caylor, a merchandising expert with stints working for Gap and All Saints under her belt, to help and the result was Maiyet.

People Tree has been recognized by cus-tomers and the fashion industry as a pi-oneer in Fair Trade and environmentally sustainable fashion for over twenty years. They have partnered with Fair Trade arti-sans and farmers in the developing world to produce a collection of ethical and eco fashion.

The British Fashion Council founded Es-tethica six years ago to showcase the grow-ing movement of cutting edge designers committed to working eco sustainably and

since then Estethica has evolved to become the hub of London’s ethical fashion indus-try. All Estethica designers adhere to at least one of the three Estethica principles of fair-trade and ethical practices, organic and recycled materials and are selected for both their ethical credentials and design excellence.

Orsola De Castro and Filippo Ricci found-ed the fashion label From Somewhere which re-uses pre-consumer textile waste, such as off cuts, damaged fabrics and end of rolls, upcycling and reclaiming the un-wanted to make beautiful clothes.Rogan Gregory is the co-founder of Rogan, CEO of Loomstate and designer of Edun, the label owned by Bono and Ali

E T H I C A LD E S I G N E R S

- C A R A M U R P H Y

Top image: YooxygenRight: Estethica

Maiyet

Hewson. More recently he has also tapped into his skills as a product designer by producing furniture with an eco focus. His label Loomstate, known for its dominant use of organic cotton, attracted the interest of Eduns founders and through their support he has contributed to develop-ing sustainable fashion supply chains in Africa.Peter Ingwersen is the designer and owner of Noir, a high end label which supports organic cotton farming in Sub Saharan Africa and donates a percentage of its profits to

an agricultural foundation. Ingwersen has also developed a separate company Illuminati II which is designed as a vehicle to sell the organic cotton from African farms to other designers.Annika Sanders and Kerry Seager have been creating unique recycled fashion from their base near Brick Lane for the past 10 years. Their label, Junky Styling, is known for transforming worn, discarded clothing, into truly cov-eted creations.

People Tree

Junky Styling

Top: From SomewhereLeft: Edun

Japan is at the centre of fascination and the oriental trend can be separated into decorative, and the discreet both of which can be seen taking the catwalk by storm.The decorative collections comprise of the traditional Japanese techniques that include delicate embroidery, silk knot but-tons (the cheongsam) and fringing. The designs consist of modernized trousers, tailored suits and streamlined dresses that are refl ected in the collections of Emilio Pucci, Carolina Herrera and Prada.

The discreet is focused on the architectural element of the garments, the expert crafts-manship and the materials used in order to create classic and technical garments based on the kimono shape. The hard ori-gami-style folded skirts, mandarin styled collars and kimono-style jackets create la-borious but also delicate designs that can be seen in the collections of Marni and Os-man, Issa London, Vivienne Westwood, where the kimono was a clear infl uence.

The prints are the key to this trend bright, vibrant and eye catching like Issa Lon-

don’s Geisha girl infl uence that combined bold and fl oral print dresses in a design of wrap-style robes.And the trend does not stop with just gar-ments, the runway has also seen the infl u-ence of Japanese inspired accessories such as socklets comparable to the traditional Japanese tabi socks teamed with small bows on them, stacked platform sandals that resemble the Kabuki style shoes and judo-style belting with a silk sash as belt. Garments were completed with beautiful carved jade jewellery pieces and Orchids or blossoms as hair accessories.

Fashion has drawn its creative juices from the mystery and allure of Japanese de-sign this season, with magnifi cent fabrics, mandarin colours, decorative detailing and classic oriental designs that have cre-ated a timeless Japanese elegance.

- C a i l y n C o x

The oriental theme has been embraced this season and inspired designers such as Christian Dior with his haute couture collections, and there are many reasons to be inspired by the oriental fashion trend, from the classic blossom prints, the use of the fi nest satin

and silk to form sleek dresses and structured jackets.

Above: Issa London SS13Right: Emilio Pucci SS13

Bottom: Prada SS13

festival fashion

FASHION

FASHION

FASHION

FASHION

FASHION

FASHION

Styling: Sarah CorcoranPhotographer: kieran BroderickModel: Alanna LawlorMUA: Alina

efi ning true eco-friendliness is diffi cult. If a company creates fashion from all-or-ganic fi bers and vegetable colours but are fuelling their operations with diesel or coal then air-freighting the fi nal prod-

ucts to global markets are they more sustainable than a brand that uses non-organic cotton but en-ergises their factory with wind power? If a beauty brand uses only recyclable materials in their pack-aging and donates some profi ts to green charities, can they still be considered ‘green’ if their makeup is loaded with harmful chemicals?Ultimately the decision rests with the consumer but some brands market themselves as being high-ly eco friendly when even a cursory examination raises questions about their claims.

L U S H C O S M E T I C SLush love using environmental causes in their mar-keting. They’ve worked with Vivienne Westwood on the Climate Change Revolution campaign and are renowned for crazy publicity stunts, like doing ‘animal testing’ on a live, naked woman.Through these activities, combined with Lush’s policy of not testing on animals (now illegal throughout the EU anyway) and their ‘corner-deli food-container’ types of packaging, many believe this is an eco-friendly brand, almost pure enough to eat. However, many of their products are packed with harmful preservatives including parabens and parfums so strong you can literally smell them from outside on the street. Despite their strong position against animal test-ing, 33 per cent of their products are still not suit-able for vegans as they contain animal products. As for waste, their shop fl oors are full of ‘raw’ soaps and ‘deli’ type bins full of ‘freshly made’ creams and masks, giving the impression that Lush uses almost no packaging at all. But if you have ever

bought anything in there you know that you then place your product in plastic tubs to buy them, and they are put into a clear little cellophane bag at the counter. Then that is put into a paper bag, and a copy of Lush’s newspaper/marketing tool, the Lush Times is included in the bag. Which all adds up to a lot of packaging.

T H E B O D Y S H O PThe Body Shop was one of the fi rst companies to decry animal testing and to use Fair Trade, natu-ral ingredients in some of their products. The Body Shop also champions various social causes and supports developing communities by their pur-chasing hemp, Shea butter and other locally har-vested products. But like most big cosmetic companies, the Body Shop’s beauty range is full of petrochemicals, syn-thetic colours, fragrances and preservatives, and in many of their products they use only tiny amounts of botanically-based ingredients. Most of their goods come in plastic tubs or containers, and most scarily of all, they irradiate certain products to kill microbes!

V I V I E N N E W E S T W O O DHer Climate Change Revolution calls on consum-ers to buy less, and links the capitalist economy to the destruction of the planet. But her own brand is far from eco-friendly: her clothes are often made from petroleum byproducts and PVC. She says she cannot guarantee her designs are not manu-factured in sweatshops and or don’t contain tox-ic dyes. Rank-a-Brand even gives her the lowest possible score for environmental friendliness, yet

loads of ‘ethical fashion’ magazines laud her for be-ing a ‘sustainable brand,’ only because she is vocal about climate change.

S T E L L A M C C A R T N E YAs a proud PETA member you’re never going to fi nd leather or fur in any of her designs but is her line sustainable?In her blends you will fi nd rayon, polyester, or ny-lon not to mention her plasticky ‘faux leathers‘. On the Sustainability section of her website there’s a link to her ‘eco friendly’ products, but even these contain many non-Earth friendly materials.

E D E N D I O D A T IA favourite with celebs such as eco-blogger Aman-da Hearst, the beauty of Eden Diodati clothing is indisputable. It’s also very nice that they donate some of their profi ts to Medicins sans Frontiers, and that women escaping abusive homes manu-facture the clothing. They also make many dresses from silk, which is a pretty eco-friendly material but was the gold and mother-of-pearl they use in their accessories ethically sourced? What about their gold belts made of ‘stingray’ leather, which retail for around $5,000?

When companies highlight social or environmental problems and rail against it they need to be care-ful not to practice the same behaviour they preach against. It is also important for consumers to edu-cate themselves about the products they are using. Is the product loaded with chemicals? Have ingre-dients been ethically sourced? Does the company have a good eco record? It is up to the consumer be-cause ultimately the only way to change business practices is by using consumers buying power.

D

- C a r a M u r p h y

If you’re worried about dressing ethically chances are you think about sweat-shop conditions in developing countries, unsustainable farming practices, convoluted global supply chains that ring up a huge carbon footprint, and mountains of fast-fashion festering in landfill.But the first thing you should think about is how often you wash your clothes. It turns out that when you look at the whole life cycle of a piece of clothing, everyday washing and drying damages our natural environment the most.

Life cycle analyses are tools that show environmental impacts of various prod-ucts. They measure effects like greenhouse gas emissions, energy consump-tion, water use, and pollution. For clothing, they generally measure the impact of growing fibres, garment production, packaging and transporting to stores, customer use, and finally disposal.Polyester, for example, requires a lot of energy to make, little to wash and dry, but takes a long time to biodegrade.

Cotton, on the other hand, requires vast amounts of water, fertilisers and pes-ticides to grow, needs more water to wash and more energy to dry but is rela-tively low-impact to dispose of.When we look at clothing overall, we consistently find the greatest environ-mental impact of a garment over its entire life is not in its production, trans-port or disposal, but in its use by the consumer – washing, drying and ironing.

A recent study of Chesty Bonds show up to 80% of their energy consumption happens during customer use. With Levi Jeans, nearly 60% of the environmen-tal impacts come from washing.This is fairly normal according to Kate Fletcher, who in her 2008 book Sus-tainable Fashion and Textiles: Design Journeys looked at the environmental impact of the fashion industry and reported that up to 82% of its energy use, 66% of its solid waste and over half of its emissions to air come from washing

and drying clothes.

Our standards of cleanliness have only developed over the last 200 years. Be-fore that weekly, monthly or even yearly baths were pretty normal. Clothes were rarely removed let alone washed. Georges Vigarello’s Concepts of Clean-liness tells the story of a French King Louis being surgically removed from a vest he had been wearing for four years.This does not sound particularly hygienic; we know about germ theory and the importance of keeping clean in controlling disease. But once we’re clean enough to stay healthy, escalating cleanliness doesn’t really benefit us.

Our preoccupation with cleanliness is due partly to technological develop-ments – it’s ridiculously easy to launder clothes these days. But a bigger influ-ence is a change in social conventions. Marketers peddling cleanliness prod-ucts like laundry powder sell us elevated cleanliness ideals to increase their business opportunities.In 2003 the average American household did 392 loads of washing.

With an American population of 314 million this is obviously an attractive market. In developing countries burgeoning middles classes have access to more washing facilities; this creates a huge new market where washing com-panies can promote increased cleanliness. These new norms require huge amounts of water, energy and chemicals to satisfy and the easiest way to live ethically is to simply wash your clothes less often.

- C a r a M u r p h y

THE DIRT ON CLOTHES

Why washing less is more sustainable

ou need only fl ick through the tele-vision channels to see the countless reality shows about pageantry which include ‘Toddlers & Tiaras’ and

‘Here Comes Honey Boo Boo’ , shows that are described by many as socially irresponsible.

With the recent announcement that the Uni-versal Royal Beauty Pageant, a children’s GLITZ beauty pageant, is confi rmed to reach the Irish shores in September, now is the per-fect time to introduce the topic of beauty pag-eants and more specifi cally child pageants.

This particular contest is open to all catego-ries, babies, toddlers and teens, the majority of which wear fake tan, glitzy costumes teamed with high heel shoes, hair extensions and fl ip-pers (teeth pieces). These little girls (and some boys) wear swimsuits, pose and perform on stage, paraded and judged with the hopes of winning cash prizes and trophies that are sometimes bigger than those receiving them.

So what exactly does a child beauty pageant entail? Beauty pageants are reported to have started in 1921, as a ploy by an American ho-tel owner to increase business. The Little Miss America pageant originated in the 1960s and pageants have followed relatively the same guidelines since then, going on to become a lu-crative business which is said to make around twenty billion dollars a yearThe contests consist of a number of compe-tition categories which include talent, swim wear, evening wear and an interview to name but a few. The contestants then perform in their specifi c categories and are judged on their “individuality, capability, poise, and con-fi dence.”

Pageants require entry fees, and some of are held at hotels and require overnight stays, professional hair and makeup, training in or-der to put on a show, expensive dresses, fake tan and hair extensions, these events can be

very costly to the individual. In contrast and perhaps a little more appropriate is the natural pageants that are held, these pageants unlike the glitz pageants do not use hair extensions, fake tan and makeup and have strict guide-lines regarding with clothing.

The high profi le murder case in 1966 of beau-ty pageant queen JonBenét Ramsey who was struck on the head strangled by an abductor when she was just 6 years old, has since gen-erated public interest and spotlight against child beauty pageants. Since this event there have been several critics openly speaking out about the ethics of pageants and the parents involved in them.Whilst many children will claim that they want to do these pageants and become a prin-cess, what are the implications of these shows and what example is this sending to these lit-tle girls and the rest of society?

Whilst the opinion is divided on child pag-eantry and it really depends on the type of pageant Natural/Glitz, it is important to con-sider the long lasting eff ects that an event can have on a child competing in this environment at such a young age. Plastering makeup and fake products onto these little children not only removes their innocent image and sexu-alizes them but can also negatively aff ect their physical appearance as well as cause lasting eff ects that include eating disorders, depres-sion, rejection and low self-esteem.

Whilst those for pageants state that these chil-dren are able to gain poise and boost their self-esteem from a young age and this will undoubtedly benefi t them in their future. In addition to these benefi ts the shows also off er large cash prizes and scholarships and grants, which can secure the contestants future.

Princess or Pawn - C A I LY N C O X

Y

REFORMYOUR

CLOSET

Founded in 2009 by Ya-Ya’s founder and de-signer Ysel Afl alo, she wanted a brand that was going to help conserve the environment and give women clothes that were still sexy and in style.

The brand has three diff erent collections all cre-ated in diff erent ways to recycle, conserve, or rework clothes into their own products. Their surplus fabric collection utilizes the excess fab-ric from other brands that they are no longer using for the season and they create their own garments with it. Instead of tossing the excess remnants, Reformation will construct dresses, jumpers, or skirt, and these pieces are all brand new, never worn, and save the environment from the destruction of more material being produced.

In their reworked collection they go through vintage and second hand pieces looking for fabric, material, or patterns that are on trend before cutting and recreating them into some-thing stylish and totally new. With this collec-tion there are one-of-a-kind pieces and vintage looks you can’t fi nd anywhere—unless you want to sift through your grandmother’s closet for a few hours and break out the sewing ma-chine.

Their third collection uses eco-friendly ma-terials including Lenzing viscose and Tencel. Created from raw wood materials and a closed loop system, Tencel uses less water to create, is 100% biodegradable, soft, absorbent, and cool.

Reformation has surplus and one-of-a-kind pieces available online with prices ranging from 37E-431E.

- C a r a M u r p h y

As the ethical fashion movement has gained momentum many fash-

ion houses have been following the green movement, being environ-mentally conscious, using organic cotton and sustainable resources.

Reformation is building on that idea and taking it a step further, using

only surplus fabrics, reworked gar-ments, and eco fabrics.

As the name suggests vegan fashion is clothing and accessories made with no animal products whatsoever. Celebrities who choose vegan fashion include Pamela Anderson and Alicia Silverstone, Joaquin Phoenix, Christy Turlington, and Pink. The argument goes that in this age of man made materials there is no need for animals to suff er in order to clothe us, instead garments made with materials like ny-lon, acrylic, polyester fl eece, cotton, orlon, or synthetic shearling are the better choice. Vegan fashion activists have a point. If you have ever watched a PETA video about fur you will have been left shuddering and sick by the visceral images of animals scared, sick and in pain. Minks, foxes, rabbits, lynxes, chinchillas, and even hamsters used in the fur indus-try are raised on factory farms in small wire cages where the animals lack clean water and proper nutrition. Resorting to extreme forms of slaughter in order to keep the pelts intact, fur farmers will often gas, poison, or electrocute the animals. Those not raised in factory farms are trapped in the wild, which kills many non-targeted animals, including dogs, cats, and endangered species of animals. The produc-tion of leather requires a range of noxious compounds and creates highly toxic chemicals. Angora rabbits tend to live short, lonely and unhappy lives in cramped wire cages, goat’s whose hair is used to create cashmere and mohair are shorn early and sold for meat after their fi rst fi ber harvest.But vegan alternatives are not inherently better; staples of vegan fashion such as pleather and faux fur are made from synthetic ma-

terials in an extremely environmentally unfriendly process. Vegan-ism’s blanket prohibitions against animal products fail to account for exceptions to the rule. Being vegan is about being mindful, and conscious consumerism isn’t so hard to come by that we should pre-judge all sources of animal products. Wool can be ethically sourced, a decades old lovingly restored fur coat bought in a second hand shop will last far longer than a synthetic fi ber coat that needs to be replaced every few years and mindfully acknowledges the animal’s sacrifi ce. Those who become vegan do so because they believe that consumer choices are a meaningful and eff ective means of challenging indus-tries that exploit animals. Those who strive to live fashionably ethical lifestyles do so because they also choose to vote with their feet when it comes to challenging industries that exploit the vulnerable. You can be animal friendly and still look at whole picture of sustainabil-ity and environmental impacts by supporting the re-use of clothing. Recycling clothes, second hand clothes, searching charity shops and altering old clothes in a great way to reduce the environmental impact of clothes and ensure no animals are harmed by your clothing choices.

- C a r a M u r p h y

WHEN WE TALK ABOUT ETHICAL CLOTHING THE DIS-CUSSION TENDS TO FOCUS ON THE PEOPLE AND THE

ENVIRONMENT THAT FAST FASHION AFFECTS, ANIMALS KILLED FOR THEIR PRODUCTS ARE RARELY MENTIONED BUT IS VEGAN FASHION A REAL OPTION FOR THE ETHI-

CALLY MINDED CONSUMER?

LIVE AN ALTERNATIVE LIFE

SHEER PRESENCEA/W 2013

MARY FITZPATRICK

Inspired by Alfred Hitchcock’s black-and-white film ‘Psycho’, NCAD student Ailis Maras spring/ summer 2014 collection explores the idea of mis-taken identity,  mixing masculine and femi-nine silhouettes with sheer and laser cut floral fabrics.

Credits: Photography - Lee Malone represented by Morgan the

AgencyPhotography Assistant - Eve North @evenorth.net

Models - Killian B and Danielle S represented by Mor-gan The Agency

For prices and further details contact:info@ailismara.comwww.ailismara.com

SS14AILIS MARA

LOOKBOOK

You might call it Pinterest meets Etsy meets Amazon, but it’s far more unique than that.Kollabora.com is a new kind of maker community and one that is seriously addictive. They offer full DIY tutorials and you can share your projects step-by-step, upload works in progress, get feedback from other users, and show your appreciation for what others are making. You can filter tutorials and projects based on your interests and ability level and video tutorials make it easy to quickly get the basics of new skills. Many users on the site link to their own DIY blogs or Etsy shops so if your work doesn’t turn out exactly as hoped you can always just buy it!

WATCH IT HERE Sustainability is at the heart of Kollabora. Everything is handmade, and the emphases on sharing and working together are also part of the movement towards more sustainable creation and consumption of goods. Beyond that, the site is chock full of upcyclers and re-purposers who are using all kinds of old materials to make new and very fabulous creations. One such star is Michelle Bingham, who used old gift cards to make these awesome colorful chevron earrings ...

...and this uber-fabulous necklace of antique brooches:

Then there’s Caitlin who makes cocktail rings out of old earrings and Red-lia who upcycled a placemat into a chic clutch.

KOLLABORA - C A R A M U R P H Y

FASHION

FC13 WOMANSELECTED PIECES FROM IRISH FASHION LABEL COLIN HORGAN

FASHION

FASHION

FASHION

FASHION

FASHION

Photographer: Norah WardStylist: Justine King

Makeup: Gillian GormleyModel: Patricia OlufemiClothing: Colin Horgan

M a d e l e i n e C h é r u i t

Madeleine Chéruit played a crucial role in paving the way for female fashion designers, as she was one of the first women to control a major French fashion house, at the turn of the century. Chéruit began her career as a dressmaker at Raudnitz & Cie House of Couture in the late 1880s, but her exceptional talent resulted in her tak-ing over the fashion house and renaming it Chéruit. The Chéruit fash-ion house became one of the leaders of French style, with the original, fine taste of Madelieine Chéruit. Her career can be defined by her innovative designs and aristocratic clientele, who favoured opulent garments that she transformed. High fashion became ready-to-wear.Chéruit’s influence in fashion design and particularly female fashion design still resonates in modern fashion as she has assisted the careers of designers such as Paul Poiret and Elsa Schiaparelli, who famously took over Chéruit’s studio, linking the two designers.

C o c o C h a n e l

Gabrielle “Coco” Bonheur Chanel was born on August 19, 1883 and was a French fashion designer and founder of the Chanel brand, whose relevance and influence in the fashion industry remains one of the most desirable and esteemed labels in the world. She introduced the staples of sportswear into womenswear by combin-ing the influence of menswear and is credited with liberating women from the constraints of the “corseted silhouette”, in addition she was one of the first women to wear trousers and cut her hair short, blurring the lines between men and women’s style and create an androgynous look.Chanel was the only fashion designer to appear on Time magazine’s list of the 100 most influential people during the 20th century and she is considered one of the most determined and ambitious women to have ever lived.Her collections consisted of pieces that were casual chic, ladylike and sportive and were not limited to clothing design, as her designs ex-tended to jewellery and handbags, an expert in styling she ensured that

woman wearing her pieces never looked overdone and simplistic el-egance was key. Her signature scent, Chanel No. 5 has also become a celebrated product.

E l s a S c h i a p a r e l l i

Elsa Schiaparelli was born in 1890 and was an Italian fashion designer, the successor of Madeleine Chéruit and greatest rival was Coco Chanel.Although not as well-known as Coco Chanel, Schiaparelli is still re-garded as one of the most prominent figures in fashion between the two World Wars. Her designs and partnerships were greatly influenced by Surrealists such as Salvador Dalí and Alberto Giacometti. Possibly Schi-aparelli’s greatest accomplishment can be credited to the unique and fun style as she loved to experiment with the juxtapositions of colours, shapes and textures.Her collaboration with Charles Colcombet saw her experimenting with synthetic materials such as cellophane, rayon, and acrylics which was the time that imitation materials were used in couture. She was tru-ly ingenious in the materials she chose to experiment with, and em-braced the new technologies and materials of the time. However some inventions never materialized such as her “glass” cape, made in 1934 from Rhodophane, a transparent plastic related to cellophane. In recent fashion however, we have seen transparent garments come into fashion such as transparent coats and raincoats.However unlike Coco Chanel, Schiaparelli did not embrace chang-es in fashion after World War II, resulting in her business shutting in 1954, yet prior to this her fashion house was classed as one of the most powerful and modern haute couture houses and Schiaparelli was rated higher by Time magazine than Coco Chanel.Schiaparelli relied on inspiration rather than craftsmanship and her de-signs have been copied by multiple dress factories, resulting in many women wearing her innovations such as the wraparound dress and crumpled up rayon, folds and creases, without having ever heard of Schiaparelli and knowing who she was.

- C a i l y n C o x

WOMEN WHO HAVE

IMPACTED THE FASHION WORLD

Elsa Schiaparelli

Madeleine Chéruit

Coco Chanel