Parliament just met to talk about sustainable fashion again, but how far have we really come?
Tuesday, 21 May 2024
 |
| Credit: Unsplash/Supplied |
From the star-studded Met-Gala to glossy print, fashion had always been seen as an exclusive, artistic metropolis where perhaps the only negative connotation was the Miranda Priestlys of the world and their downbeat interns. It was captivating and addictive because it was so unattainable. Even I found myself hypnotised by Vogue as a teenager, flicking through pages splashed with Ready to Wear and pupil-inflating editorial spreads. But on 24 April, 2013 the illusion somewhat shattered around us.
The Rana Plaza in Bangladesh - which housed several garment factories - collapsed, killing 1,134 people with a further 2,600 left injured, some with life-altering injuries. Just one day before, structural problems had been flagged within the building, but factory owners still forced their staff to work - with deadly consequences. The fallout was catastrophic, with it remaining the deadliest accident of the garment industry in history. And the sheer scale of the horror was highlighted in national headlines across the globe, pressing our faces up to the glass, confronted with the dark side of an industry so often held on a pedestal.
In the wake of the disaster - which was branded a ‘mass industrial homicide’ by workers’ union IndustriAL - calls for change grew as people demanded big-name brands to have greater transparency over their production chain and wages. And soon enough, the ethical and sustainable fashion movement snowballed. In fact, research has shown that 62 percent of Gen-Z consumers now prefer to buy from sustainable brands. But how far have we actually come over the last decade?
Five years ago, the UK Environmental Audit Committee published its landmark inquiry into the environmental and social cost of fast fashion, urging the government to ‘end the era of throwaway fashion ’in favour of greater transparency, sustainability, fair wages and working conditions. It became one of the most read Select Committee reports of all time, but the ever-lingering presence of quick-hit microtrends chewed up from our fyp and spat out onto ‘new in’ pages raises serious doubt over how much change the inquiry has really incited.
After all, despite offering incentives to major retailers taking active steps to reduce waste as well as presenting a staggering 18 different measures to help improve the fashion landscape, each one of the measures was rejected by the government, while several industry leaders have declined to give evidence in person.
Basically, the UK is seriously lagging behind and needs to get up off its a*se.
The good news is that MPs revisted the inquiry again on 1 May, with the likes of H&M and Boohoo present at the session. Throughout the day, fashion giants were expected to be quizzed on the progress the industry has made in its sustainability efforts, what steps have been taken to reduce fashion waste, and even the impact of reselling platforms such as Vinted and Depop on the industry and whether or not they contribute to the overconsumption of fashion.
There’s no doubt that in the half a decade since the damning report was first published, we’ve been confronted with the ugly side of the fashion world more than ever, spurring on a fashion reckoning of sorts. Fast fashion got faster and the cracks have certainly started to show. The introduction of the Fashion Transparency Index (which assigns a percentage scores of brands based on their public disclosure of human rights) has no doubt hurried things along too, but the average score still sits at a measly 26 percent.
What does this mean? Well, while brands have cottoned on to the increase in those wanting to make more sustainable choices for their wardrobe - they’re serving it back to us in a gift-wrapped, jargon-filled empty promise. Like a Santa sack that ends up filled with coal instead of the Barbie dreamhouse you’ve been praying for.
Speaking to Cosmopolitan, sustainable fashion expert Lauren Bravo hit the nail on the head as she declared: “I hate to be too doomy, but honestly I think the biggest change we've seen is in brands trying to appear more sustainable, rather than actually being it.”
Of course, it’s important at both a brand and government level change is implemented - and quickly - but there are things we can inject into our own wardrobe curation while we urge the big wigs to pull their socks up. So in the spirit of avoiding being too doom and gloom, here are some things we can all try and implement more of when it comes to dressing ourselves:
Repair/repurpose existing clothing instead of tossing it out
It can be tempting to bin those trousers because they got a pull in them or a stitch ripped, but if you have a way of repairing them (whether that’s yourself or paying for the service), it stops the urge to go out and buy something new to replace them.
Shopping your own wardrobe to restyle older pieces that have'tt seen the light of day is another way to resist that temptation to scroll endlessly through ASOS’ new in page for inspo. Because next thing you know you’ve impulsively copped 10 things that you don’t even really like that much.
Shop second-hand
Whether it’s bargains in the local charity shop or a curated vintage splurge on Depop, shopping second hand is one of the best things you can do for your wardrobe.
You end up finding unique pieces no one else has which are better quality and if you know where to look, you can get them at a bargain too. In fact, according to a new study from vintage designer platform Vestiaire Collective, you get more bang for your buck in the long-run by ditching fast fashion for pre-loved pieces. On average, the company found it’s 33 percent cheaper to invest in vintage than exclusively buying fast fashion based on price per wear.
Shop small, independent labels
Obviously there are financial and size inclusivity constraints with this one. Plenty of indie brands don’t stock clothes higher than a large and the overall cost of the garment tends to be higher due to the fact it's been made ethically. However, for those that can shop from sustainable labels, investing in basics that have a longer life cycle and have been produced ethically is a great way to elevate your wardrobe and increase the life cycle of your clothes.
Research into brands’ sustainability claims before buying
If they can’t back up what they’re saying, it’s best to leave it on the hanger.
Organise clothing swaps with friends
The perfect excuse to crack out some bubbly and picky bits with the girls and shop your wardrobes - bringing the charity shop to you.
Reducing overall consumption
Many fashion fanatics may not want to admit it (myself included, it’s a work in progress), but we actually don’t need to go shopping as much as we believe.
Tune out of trends to make more thoughtful and infrequent purchases in line with your personal style to reduce consumption overall.
Dopamine dressing
Choosing things that spark joy as opposed to mindlessly getting in on a fad - it’s great for the mind and the wardrobe.
Read up
Stay in the know about all things ethical fashion and sustainability whether that be through the news, books or sustainable fashion creators.
The sustainability boom: The best places for vintage shopping in Manchester
Tuesday, 14 February 2023
The increased rejection of throwaway micro-trends has been further amplified by the news that eBay is once again sponsoring ITV’s Love Island - stealing the spot from fast fashion giants Missguided and I Saw It First. Even reality TV - the Queen of on-screen 'Influencing' - has caught on.
Sustainable, pre-loved fashion has tumbled well into the mainstream, and it’s predicted to only get bigger. But now we've established that, where are the best places to get your hands on some second-hand garms in Manchester?
From vintage shops to independently ran boutiques, Manchester’s northern quarter has become something of a pre-loved metropolis, a treasure trove for people looking to make more sustainable choices with their wardrobes. It’s arguably got one of the best networks of second-hand options next to London’s infamous Brick Lane, so let’s take a look at some of the best spots to scour down some hidden gems up in the North:
Oxfam Originals
 |
| Credit: oxfamoriginals/Instagram |
 |
| Credit: gone_fishing_vintage_/Instagram |
 |
| Credit: blue.rinse.manchester/Instagram |
 |
| Credit: popboutiquemanchester/Instagram |
 |
| Credit: bagsofflavormcr/Instagram |
 |
| Credit: afflecks_manchester/Instagram |
 |
| Credit: wearecow/Instagram |
 |
| Credit: thriftshopmanchester/Instagram |
The 16%: The upper-class’ refusal to move further up the map and why our arts are suffering because of it
Tuesday, 29 November 2022
.png)
.png)
Money talks. It’s something we’ve heard time and time again, and it couldn’t be more prevalent than in the arts industry, where just 16% of creatives are from working-class backgrounds.
In the capital, over 96% of creative economy jobs are taken by people with more advantaged socio-economic backgrounds, leaving barely a slice of wiggle room for anyone else to get through the door. To those of us who are working-class, this sadly isn't news. But what you may not know is that back in the 80s, the creative industry was dominated by work-class forces. By 2011, the numbers told a very different story. It begs a very important question: Why does the arts dig its heels in at the notion of class diversity? What would be so bad about that?
The recent news earlier this month that the ENO (English National Opera) may be pushed into relocating to Manchester due to funding issues was met with widespread backlash, with boss Stuart Murphy turning his nose up at the prospect of the institution moving up north. If you’ve been following the story, you may have also seen national headlines describing the potential move as ‘absurd’ and 'insane', among other things. But I can’t help but feel like this directly contradicts the values underpinning why the ENO began in the first place - to make opera more accessible to all. It could also mean talented people up north may not have to pack up their life and flock down to London, with opportunities arising on their doorstep.
Following the heat, a spokesperson for the institution later claimed that they aren't against moving to Manchester, but rather against 'plucking a location without any consultation'. While concerns about funding and job losses are completely valid, all the London-centric who-ha has left me wondering: why does a move up the map seem to infuriate people so much?
This, of course, makes up just one thread of the larger tapestry surrounding the arts’ class problem, which some have gone as far as to call a class crisis. Whether it’s in fashion, music or the silver screen, it almost feels like a silent scandal. While painfully obvious to anyone trying to break into the industry, it still feels somewhat invisible to others sleepwalking their way in. This makes sense, especially since recent statistics have shown 80% of people in journalism come from an upper-class background. The press - who we turn to for our news and information - has the exact same problem, so of course we barely hear about it. How can you be the mouthpiece for the many, when you largely live in an echo chamber of the minority? It’s easy to turn a blind eye, especially if you have reaped the benefits of class privilege, but it’s a hugely vicious cycle, and to really unpick it we need to begin in the classroom…
 |
| Opera? In Manchester? God forbid. Credit: Wikimedia Commons |
Let's start at the beginning: education inequality
As London’s Deputy Mayor for Culture & the Creative Industries Justine Simmons previously pointed out in an article for GQ, the problem can be traced back to our national curriculum in schools, which has taken a major hit due to government cutbacks.
What happens when state schools have money stripped away? Well, extracurricular activities and creative subjects take a back seat. In 2018, a study found that the uptake of core creative subjects for GCSE level at state schools had declined by 30% from 2010, in turn dampening the value of the arts and adding a whole other layer of privilege to those who do study them. I know that I personally felt like creativity wasn't nurtured at school, and was even discouraged to take up more than one creative subject for my year 9 options. I felt backed into a corner and even chose to study science further, despite having no real interest in it. After all, if you studied GCSE fine art, you just wanted 10 hours off timetable to doss around, right?
 |
| It all starts in the classroom. Credit: Unsplash |
Again, being pushed into illusions of 'security' throughout education only ends up perpetuating the idea that the arts are 'not for people like us' and keeps the industry stagnant, remaining as a place only for the 1%.
Many of these kids suffer from chronic imposter syndrome as a result, with little to no understanding of how to break into the industry, and limited access to materials and resources. Not to mention that kick in the gut when they come across people more well-connected than themselves. How is it fair to limit people's imaginations so much? Well, if you don't fit the mould, it seems anything goes...
'It's not what you know, it's who you know'
It may be a trendy buzzword that’s found its way onto your TikTok algorithm, but nepotism is a big player in the arts. If, like me, you’re someone who is in the creative industry or trying to break into it, you’ll have probably been told you needed to work for free, get an internship or sat through a conversation where someone talks at you about how it’s all ‘who you know’. They aren’t wrong, though. Those who have the luxury of financial security have the freedom to explore their creative talents much more easily, and thus are able to get recognised a lot quicker. They can afford the best schools, drama clubs or instruments that nurture their creative endeavours, and have no financial barrier when it comes to taking up that lucrative fashion internship that offers no liveable salary. For the rest of us, there's no denying you have to work harder to get noticed and push your way through a door that's been firmly slammed in your face.
@tiffbaira Not all models start from the same place but we should be honest about the journey! #fyp #modeling #celebs #nepotismbaby #lilyrosedepp #famousmodels #modelingtiktok ♬ Elevator Music - Bohoman
Nepotism in the arts may be part of the silent scandal, but it's plainly obvious to anyone who wants to open their eyes.
 |
| They'll set you back over 700 quid. Credit: Gucci |
Strangely, this seeming fixation - and if we're being honest, appropriation and outdated stereotypes - seems to exist as a paradox to the wider picture of the industry. We're going to take elements of your 'culture', but you ain't buying it.
Like many other parts of the creative industry, fashion is plagued with elitism, because by being working-class, you're instantly at a disadvantage. Sadly, being an exclusive, 'high culture' playground hinges on keeping people out.
The irony of people who are openly classist trying to dress alt when it’s a direct appropriation of working class culture eh your fashion sense was literally derived from the people you frown deepest upon goodbye
— Aoife 🍒 (@ViperDHiggins) January 25, 2021
Succumbing to box-ticking culture can be equally as damaging, with some working-class creatives speaking out over allegedly being kept on lower wages for longer than their middle or upper-class counterparts. By the same token, advertising yourself as an equal opportunities employer but still expecting people to march down to one of the most affluent parts of central London for a minimum wage internship, again, is not the same as actual inclusion. We need to be so careful to avoid performative change - remember, empty words result in empty actions. It's not about just clearing your conscience.
It’s so important we create an environment in which everyone is welcome and diversity of voice is championed. That way, the arts will thrive; more people will turn up, invest and ultimately enjoy it as it’s relatable and accessible for the majority. Hammering down the structure, reformation, acknowledging the privileges you have, and uplifting all voices is the new door we have to carve out for ourselves. Of course, there are already organisations out there aiming to empower all voices like the British Fashion Council, for instance, but there's no doubt we need to see more.
AMAZING!!! @SalfordArts has LIFTED the ≤25 age bar from the Shelagh Delaney New Writing Award for Manchester-based woman writers - an important step in supporting working-class women like Delaney herself
— noentry (@noentry_arts) November 26, 2022
If @salfordarts can do it, everyone can do it!https://t.co/qljZuRaiXJ pic.twitter.com/xjLjgF2FoD
Right now, in an attempt to preserve itself, the arts industry is facilitating its own suffering. We can no longer look the other way.If we see more Social Mobility in the Arts we will see it reflected in life. Brilliant podcast about working class comedy writing @teresa_burns and @SamanthaLyden. Two incredibly talented individuals making magic together and smashing ceilings. #BritishComedy
— #jenlongden99 (@JenLongden99) November 26, 2022
It's important not to forget that some of the industry's best creative souls have come from working-class backgrounds. Inclusion won't water anything down, it'll make the industry richer, fresher, and quite frankly, more interesting.
From Cottonopolis to Indie style hub: Manchester’s tug of war with fashion
Tuesday, 15 November 2022
.png)
.png) |
Credit: @afflecks_manchester/Instagram/ITV |
But what if I told you that 200 miles from the capital, a new fashion hub is brewing under the surface, ready to claw its way onto the fashion map?
.png)
That's right, Manchester's impact on the fashion industry is a great - but often completely overlooked - one. It feels almost criminal that we still expect up-and-coming creatives to flock like sheep to London when, right under our noses, a new fashion revolution is unfolding in our rainy second city. But to understand where we are now, we have to rewind back over two centuries, when the UK's Cottonopolis was born.
Cotton, cotton and more cotton: The rise and fall of Cottonopolis
At the turn of the 19th century, Manchester cemented itself as one of the biggest international players in pure cotton production, at one point boasting a staggering 108 cotton mills. By 1841, the city had reached its heyday, with imports of raw cotton ballooning to over 200,000 tonnes. The landscape of the city changed, and with it came its new nickname - Cottonopolis.
The factories have fallen silent. What came next?
Off the back of Manchester's booming cotton trade came the formation of The Cotton Board in 1940, which birthed the Colour, Style and Design Centre aimed at encouraging designers and manufacturers to use the material. At the time, cotton was embroiled in a tug of war with nylon, the new 'it' fabric rising in the ranks amongst fashion buffs. In a bid to keep cotton in the now, the organisation held a fashion show in Ancoats - an idea which quickly snowballed throughout the fifties. Many of the items showcased at the time have since found a home in The Gallery of Costume in Manchester's Platt Field Hall - little pieces of history still available to view today.
A second wind: Madchester
Picture this: a sea of baggy flared jeans, bucket hats, funky shirts, cagoules and casual sportswear-styles boogying under the Haçienda roof. Welcome to Madchester - the cultural zeitgeist of the 80s and 90s that spawned the time-transcending indie and hipster fashion scene we still see today.
 |
| Credit: ITV |
.png) |
| Credit: ITV |
What was once an old textile factory was transformed into Manchester's iconic Haçienda nightclub by New Order and Factory Records' Tony Wilson, marrying a whole new musical and fashion movement right where it began all those years ago. The venue reached its peak during the Second Summer of Love, filling the room with party-goers, great music and great fashion. Drawing inspiration from rave culture, retro 1960s styles and hipsters, the term 'baggy music' was coined, sported by the likes of The Stone Roses, Primal Scream, The Happy Mondays, and as we moved into the Britpop era, Oasis too.
The influence of Madchester can still be seen today, joining up two great jewels of the city - music and fashion.
The elephant in the room
If we fast forward right through the 21st century, Manchester's Cottonopolis legacy seems to have come to the surface more than ever before - albeit, in digital form. Many big-name fast fashion brands including Boohoo have taken the plunge and made Manchester their home - the city now at the forefront of the multi-million-pound e-commerce business. And while the city has once again put its stamp on textile production, there is something of an elephant in the room.
Luckily, just one grain of change could be 15 minutes down the road in Manchester's Northern Quarter.
The new Indieopolis
Anyone who has taken a walk through the Northern Quarter will know it's home to a plethora of vintage shops and independent brands. From Pop Boutique to Gone Fishing Vintage, COW to Oi Polloi, and of course, the beating heart of NQ - Afflecks. There's a beautiful tapestry of sustainable, pre-loved clothing at our fingertips, weaving together the soul and youth culture of Manchester today.
Is this the unofficial fashion capital?
From its rich history within the textile and cotton industry, to its unique street style and plethora of independent vintage labels, it could be argued the city - and indeed, the North West in general - has played a much larger role in the fashion industry than many give it credit for.
The footprints of those that walked before are still visible, whether it's in the cocktail bar and restaurant named Cottonopolis, the gangs of kids donning the baggy music style brushing in and out of Afflecks, or the mills still standing like familiar shadows over Ancoats.
.png)
Cottonopolis may be over, but there's no doubt Manchester
is still putting its pin firmly on the coveted fashion map.
Social Icons