Latest news with #ethicalfashion
Forbes
02-06-2025
- Business
- Forbes
Natural Fibers, Lasting Impact: Armadillo's Challenge To Industrial Design
In India and Nepal, Armadillo Rugs supports its artisans not only through fair wages and dignified ... More labor conditions but also by funding schools and housing for their families. In an era marked by fast fashion and disposable design, the interiors industry faces increasing scrutiny over its environmental and social footprint. Many home goods rely on fossil fuel-based synthetics like polyester and nylon, which take centuries to decompose and account for around 35% of ocean microplastics. Textile production contributes to 20% of global clean water pollution from dyeing and finishing. More broadly, household consumption is responsible for 72% of global greenhouse gas emissions. Against this backdrop, Armadillo Rugs offers a compelling alternative: a design philosophy rooted in craftsmanship, sustainability, and deep respect for the human hands behind every product. Founded in 2009, Armadillo has challenged the dominant model by anchoring its operations in ethical sourcing, natural materials, and handwoven production. In contrast to mass production's speed and scale, Armadillo embraces the nuance of process and place. Using undyed, renewable fibers like wool, jute, and linen, the company reduces chemical inputs and highlights the raw beauty of nature in every finished piece. Armadillo co-founder Jodie Fried told me that what distinguishes Armadillo most is its long-term investment in the communities it works with. In India and Nepal, the company supports its artisans not only through fair wages and dignified labor conditions but also by funding schools and housing for their families. Education, especially for girls, is a central focus, exemplified by the KVM School, which Armadillo fully supports. These efforts reflect a broader belief that good design must contribute positively to the lives it touches, both materially and socially. As the first Australian and American rug company to achieve B Corp certification, Armadillo has formalized its sustainability efforts across governance, carbon footprint, and material circularity. With ongoing goals like deepening supply chain transparency and supporting regenerative farming, the company demonstrates that accountability in design is not static but evolving. Perhaps most notably, Armadillo reframes what 'luxury' means. In its view, luxury is not the abundance of resources, but the care with which they are used; not speed, but story; not excess, but intention. This ethic challenges consumers to consider not only the aesthetic value of what they bring into their homes, but the systems of labor, ecology, and legacy they are participating in. As businesses across sectors grapple with their impact, Armadillo offers a model of how design can serve as both aesthetic expression and social commitment. In doing so, it illuminates a path forward for companies seeking to merge beauty with justice. Christopher Marquis: Can you first discuss how Armadillo's methods differ from conventional rug manufacturingtechniques? Jodie Fried, Armadillo Rugs co-founder Jodie Fried: At Armadillo, we believe true luxury lies in authenticity – which is why every rug we create is made by hand using traditional weaving techniques passed down through generations. Our process is intentionally slow and deeply human, grounded in care, intention and a respect for craft. We work exclusively with natural fibers such as wool, jute, linen and silk, choosing quality over quantity in every facet of creation. The result is a product that honors both the artisan and the environment, with a soulfulness that simply can't be replicated by machines. Our methods may take longer, but we believe beauty that is consciously made will always endure. In a world that often prioritizes speed and convenience, we're proud to stand for something more considered — something lasting. Marquis: Can you say a bit more about the significance of using undyed, natural materials in your products, particularly how this benefits both the environment and the end-product quality? Fried: Using undyed, natural materials is one of the most meaningful choices we've made as a brand. These fibers are not only biodegradable and renewable, but they also allow us to dramatically reduce our environmental impact by avoiding the energy and water-intensive processes associated with chemical dyes. Beyond sustainability, there's a raw beauty and integrity to these materials – the tonal variations in undyed wool, for example, add a depth and richness that can't be replicated in synthetic alternatives. They give each piece a sense of place and personality. At the same time, our customers can feel confident that they are bringing something into their homes that is safe, healthy and entirely free from toxins. It's a win for the planet, the maker and the home. Marquis: How does Armadillo support the artisans and communities behind its handmade rugs? Fried: Supporting our artisan communities is intrinsic to who we are – it's a relationship built on care, transparency and mutual respect. Many of our weavers have been with us since the beginning, and we remain deeply committed to ensuring fair wages, safe working conditions and dignified livelihoods for all. But our support doesn't stop at the loom. We support a network of philanthropic initiatives in the regions where our rugs are made, with a strong focus on education - especially for girls. In India, we fully fund the KVM School, which provides free schooling for the children of our artisans. In Nepal, we support long-term education and safe housing for vulnerable youth through partnerships with Sunrise Children's Foundation and Shree Mangal Dvip Boarding School. For us, giving isn't a side project but a fundamental expression of our belief that good design should also do good in the world. Marquis: How has Armadillo's sustainability efforts evolved since its inception? What are some sustainability goals Armadillo hopes to achieve in the next few years? Fried: When we founded Armadillo in 2009, sustainability was a foundational value. We began with a simple belief: that it's possible to create something beautiful without compromising the wellbeing of the planet or its people. Over the years, that belief has grown into a comprehensive sustainability strategy, including becoming the first Australian and American rug company to achieve B Corp certification in 2021 - and most recently, recertifying with one of the highest scores in the furniture category. We've achieved carbon neutrality across all our showrooms, publish an annual Impact Report and aligned our long-term goals with the UN's Sustainable Development Goals. Looking ahead, our priorities include deepening supply chain transparency, supporting regenerative farming practices, and expanding programs like rug recycling and material circularity. Sustainability isn't a finish line for us – it's a journey of continuous improvement and responsibility. Marquis: What inspired Armadillo to pursue a B Corp certification? How has it shaped your operations and values since? Fried: Pursuing B Corp certification was a natural step for us – not just to affirm our values externally, but to hold ourselves accountable internally. From day one, we wanted to build a brand that stood for something more than just aesthetics – one that cared deeply about people, the planet and legacy. The B Corp framework gave us the structure to formalize those intentions and push ourselves to do better across every aspect of the business, from supply chains to governance. It has also become a powerful symbol to our customers, collaborators and team – a way of signaling that we're part of a growing community of businesses committed to using commerce as a force for good. Being a B Corp doesn't mean we've arrived; it means we're committed to learning, evolving and being radically transparent about where we go next.
Forbes
28-05-2025
- Business
- Forbes
Savannah Friedkin Is Bringing Sustainability To The Jewelry Industry
Savannah Friedkin Fine Jewelry Fine jewelry may be luxurious, but the industry can be anything but, with a lot to improve in terms of sustainable and ethical practices. Savannah Friedkin, the founder of her namesake fine jewelry brand, has stepped onto the scene to prove that luxury can be both beautiful and environmentally friendly. I spoke with her recently to learn more about how she started the brand and what it means for a jewelry brand to be committed to sustainability. Savannah Friedkin Savannah has always had a passion for combining creativity with conservation, as well as a strong entrepreneurial spirit. She earned her MBA at London Business School and focused on entrepreneurship 'with the goal of building something of my own', she explained. She desired to create a brand that was innovative and beautiful but also reflected her values, and 'with the innovation and disruption caused by lab-grown diamonds,' she became inspired to launch Savannah Friedkin Jewelry, which she initially ideated as a project during a summer program at business school. Once the program had ended, she couldn't stop thinking about the idea and set out to launch it for real. When it came to starting the brand, she knew how important it was to surround herself with an incredible team with experience in the fine jewelry field. 'Coming as an outsider,' she explained, 'there was a steep learning curve, especially when it came to the complexities of the supply chain," so hiring team members to help her navigate the jewelry world and find the right suppliers was essential. And because the brand is committed to sustainable practices, that became an especially tricky hurdle. 'We hold ourselves to high standards when it comes to sustainability, ethical practices, and traceability, which limits our options, but it's something we won't compromise on.' Savannah Friedkin Fine Jewelry FEATURED | Frase ByForbes™ Unscramble The Anagram To Reveal The Phrase Pinpoint By Linkedin Guess The Category Queens By Linkedin Crown Each Region Crossclimb By Linkedin Unlock A Trivia Ladder So, how does one make a sustainable jewelry brand? That mission begins with the raw materials. 'We only use certified recycled gold," Savannah shared, 'which means the gold had a previous life and has been refined and repurposed into something new, without the need for additional mining.' For the diamonds, they are SCS-certified, which 'is the highest level of certification for traceability, sustainability, and ethicality in sourcing.' Savannah and her team also visited each of their manufacturers and suppliers to independently audit them and ensure that all their partners are equally 'committed to supporting the communities in which they operate, and the planet as well.' Savannah Friedkin Fine Jewelry Transparency in the process is huge for Savannah and her team, which is why their website features a detailed FAQ with an entire section on 'Product/Sustainability/Environment' to provide more information on how the brand sources its materials and manufactures its products. 'If a brand is clearly sharing their goals and accreditations,' she explained, 'the more likely they are to be following their claimed practices.' As a consumer, if you're shopping for sustainable jewelry, look at brands like Savannah Friedkin that are clear about their practices and sustainability goals. Savannah Friedkin Fine Jewelry Of course, it's still important for the jewelry to look beautiful, which is why Savannah spends just as much time designing the collections. Of her first collection, Broken, she shared that it 'came from a time in my life, and in the lives of many women I love, when we were feeling a bit fractured.' She was inspired by how those moments of vulnerability, whether they be career struggles, fertility challenges, mental health, and so on, sparked deep connection and created a 'beautiful common ground'. The resulting collection features fractured and fragmented gold and silver pieces that mesmerize with their unique designs. Her second collection, Emergence, is full of constellation-like diamond pieces, which Savannah said symbolized new growth. She 'was inspired by the image of a plant breaking through concrete, life finding a way in the most unexpected places.' The third collection, SAV, is a 'celebration of simplicity' utilizing the brand's monogram to create stunning gold pieces. She described this collection as a badge of honor of sorts, saying that 'it's a quiet way of saying you belong to this tribe of women who honor each other's stories and are committed to doing right by the planet.' Building up that tribe is a big focus for Savannah and the brand this year as they continue to grow. To build connections and community with new customers, she's focused on residencies, pop-ups, and brand trips to share the Savannah Friedkin mission with the world. The brand recently hosted its first-ever brand trip with a mix of content creators, sustainability advocates, and editors at Susurros del Corazón outside of Puerto Vallarta, Mexico, to bring the brand's ethos to life during the three-day retreat. Savannah Friedkin Brand Trip at Susurros del Corazón Savannah Friedkin Brand Trip at Susurros del Corazón They're also gearing up to host their second residency at Hotel Jerome in Aspen from mid-June to September to continue to establish a strong foundation with their customers, as well as several fun pop-up events around the U.S. through the summer. For a brand that is so much about the storytelling behind the beautiful pieces, I love how this provides a great way to share what makes the designs so unique and get customers invested in the brand on a deeper level. With these exciting upcoming events, the goal to launch in the United Kingdom later this year, and the just-released Broken Hand Chain, there's no shortage of exciting growth to come for the Savannah Friedkin brand. It's a true testament that sustainability, even in the fine jewelry space, is not only possible but beautiful.
Globe and Mail
27-05-2025
- Business
- Globe and Mail
Zodori Studio Unveils Artisan Jewelry Collection Celebrating Cultural Heritage and Natural Materials
Hong Kong SAR, China - Zodori Studio, renowned for its fusion of cultural symbolism and timeless design, proudly announces its latest collection of artisan jewelry. Crafted from ethically sourced natural gemstones, jade, amber, and rare woods like sandalwood and agarwood, each piece embodies a narrative of heritage, spirituality, and personal expression. A Symphony of Nature and Craftsmanship At the heart of Zodori's creations lies a commitment to authenticity and meaning. The studio meticulously selects materials not for their perfection, but for their unique stories and characteristics, including: Gemstones: Radiant and resilient, symbolizing confidence and individuality. Jade: Revered across cultures for its association with wisdom and tranquility. Amber: Fossilized resin that captures the essence of time and warmth. Sandalwood: Valued for its calming aroma and spiritual significance, promoting peace and balance. Agarwood (aloeswood or oud): A rare resinous wood prized for its rich fragrance. Widely used in bracelets and rings, it symbolizes purity, protection, and spirituality. Each material is thoughtfully integrated into designs inspired by Eastern philosophy, sacred geometry, and traditional craftsmanship, resulting in jewelry that is both visually striking and culturally resonant. Design Philosophy: Understated Elegance for Everyday Wear Zodori embraces minimalism, ensuring each piece fits effortlessly into the wearer's daily life—whether at work, traveling, or relaxing. These pieces are subtle yet profound, ideal as gifts that communicate meaning without words. Crafted for You, Inspired by Heritage At Zodori Studio, craftsmanship is more than a process—it's a philosophy. Each piece is: From natural gemstone settings to delicate carvings in sandalwood and agarwood, every detail reflects cultural reverence and artistic intention. Customization is encouraged, allowing buyers to tailor items through order notes—transforming each piece into a wearable legacy that's unique, meaningful, and authentically yours. Exclusive Offers for New Customers Zodori Studio warmly welcomes new customers with: 15% Off First Order – Use code WELCOM15 at checkout Free International Shipping 100-Day Return Policy – No restocking fees About Zodori Limited Zodori Limited is a Hong Kong-based jewelry studio dedicated to blending natural materials with cultural narratives. Through its handcrafted designs, Zodori invites wearers to explore themes of heritage, identity, and personal growth—offering jewelry that transcends mere adornment to become a meaningful part of one's journey. Media Contact Company Name: Zodori Limited Contact Person: Nick He, Co-founder Email: Send Email Country: China Website:
Telegraph
26-05-2025
- Entertainment
- Telegraph
This label could be the British answer to Toteme
Probably the best thing I can tell you about the new label Akyn, is that when I wore some of it last week to a couple of events, people kept commenting how beautiful it was, how snatched the sleeveless jacket made my waist look and how good those natural fabrics feel. I could write this without mentioning the 'E words' once. It's tempting. If there are three words that seem to switch many consumers off more than environmentally-friendly, ethical and eco, they currently elude me. People would rather read about a bag that costs £16,000 (perhaps they're hate-reading) than regenerative wool or a factory that puts humans, animals and the countryside ahead of profit. Maybe discussing the Es is too depressing, or finger waggy. So let me tell you instead that this is a brand new British collection, intelligently designed in London, with a multiplicity of different body shapes and lifestyles in mind. It's a dress it up, dress it down, built-to-last kind approach for those who like effortless sophistication with the subtle codes of labels such as the Row, Toteme or Cos. The name is a play on kin – family and community. 'I didn't think women needed to be walking around with my name on their backs,' says Amy Powney, Akyn's founder and creative director. I was going to say that what Akyn isn't, is a style blueprint for an evening out with Lauren Sanchez, but actually, if you wore that waistcoat on its own (no trousers) with 110 mm rhinestone heels, a generous valley of bronzed cleavage and a mountain of backcombing, I reckon you'd be fine. Powney designed Akyn for anyone who leads a layered life and needs clothes they can layer. (That's why Tamara, Sarah and I, all with different styles and at different life stages, were keen to test drive them, see our comments below). As a business woman and creator with two young children and a cockapoo, Powney knows all about the compressed demands of modern life. Dog walking, child-herding and a board meeting within three hours are a contemporary norm. In launching Akyn she set out to provide a versatile, striking capsule wardrobe that fits those needs without dating within a couple of seasons. That's partly because in this tightly edited debut collection of around 30 items, there's a roster of well-cut classics: pleat front trousers, the aforementioned waistcoat, blazers, smocked midi and maxis dresses. Additionally, Powney creates her own rules about timelessness by running certain styles for years on end. If you like the aesthetic, she's not about to undermine it by making it seem passé in six months. Sol Black Jeans, £240; Savane Sand Trousers, £220 If that seems honourable but naive, remember that Chanel's famous quilted 2.55 bag (created in 1955) and tweed jackets, from the 1930s, are still going as strong as ever – to the extent that Chanel is a $20 billion-a-year brand. You won't hear Powney projecting telephone numbers, ever. A committed eco-warrior, (damn, there's that word) she sees the irony of her situation more clearly than anyone. She spent her formative years in a caravan with an outside shower, while her parents built their own house. She's been battling the contradictions of what she believes is best for the planet and humanity, with what she loves doing professionally, ever since she was a fashion student and read No Logo, Naomi Klein's excoriating 1999 book about globalisation and the hegemony of branding. Her graduate collection was made from sustainable wool and alpaca. 'Intellectually I grapple with my job all the time. There have been many moments when I think I should quit designing clothes, go off-grid and grow all my own veg because if you really want to cut down on consumerism that's what makes most sense…but on the other hand, if you're not in the room then you can't direct the conversation. If I can sell enough to pay my stuff and my bills, then great'. On a personal note, she walks the talk, or rather cycles the 40 minutes every morning and evening from her home in north London to Akyn's studio in east London. She has a tiny wardrobe of clothes (two black T-shirts, a handful of jeans and three coats). She rarely gets the urge to shop, perhaps because she's subsumed in designing – but when she does, she buys second-hand clothes for her children on Vinted, or investment buys for her home – sparingly. The fact is, if Powney, an outspoken doer in the realm of beautifully made (in every sense) clothes stopped doing what she does, that just leaves more space for manufactures and designers who couldn't care less about the impact their clothing has on the world so long as they hit their bonus. She adores her job and she's good at it. In an industry that endlessly warbles on about its planet-friendly initiatives (hyperbolic greenwashing is endemic), it's hard to think of many others who combine her talent for design and tailoring with such a deep knowledge of how and where to get non-polluting clothes made to scale. Fighting the indifference of many in the fashion industry, she's become such a trailblazer that, in 2022, Fashion Reimagined, a documentary following her on her quest to find the best practices, was released in cinemas. You can find it online; it's a compelling watch. It's tremendously hard running a fashion business at the best of times but try sourcing natural fabrics produced without toxic chemicals and you're doing it with your head in a vice and your hands tied. It's bruising. Powney knows this. If her name's familiar, that's because she previously ran Mother of Pearl, a label originally set up by Maia Norman, Damian Hirst's ex-wife . The idea was to have a rotating case of artists designing each season. As a commercial blueprint you can see the problems. Powney, who joined the label almost two decades ago straight out of design school, swept the floors, made the coffees and eventually worked her way up to overseeing everything; willing it into a beacon of stylish sustainability with hot-ticket catwalk shows during London Fashion Week. A force of nature, Powney even steered it to a point where she collaborated on homeware and clothing with John Lewis, which introduced MoP to a far wider market. But with success came compromises. 'When everyone started going mad for Ganni around 2018, we were under huge pressure to bring our prices down. We were chasing our tail. The fact is, thoughtful production comes at a certain price.' Chanah Brown Undyed Wool Trench, £890 She left Mother of Pearl with regret but invaluable experience, knowledge and a few of the signature designs she'd introduced there. The beloved pearl studded drop shoulders have come with her, notably in the form of a luxurious sandy coloured linen coat. Along with much of this debut collection many of the yarns are undyed, and all the lovelier for it. Where there are blacks – and for winter, aubergine and pale pink – the dyes are extracted from vegetables. While the minimalist spirit of Mother of Pearl remains, the feel is far more indulgent. It sits alongside Toge and Victoria Beckham (the latter re engineered her pricing three years ago so that her line costs at least a third less than than the most expensive La Ella and is finally doing well. 'The difference is that at Mother of Pearl we'd have used cotton and Tencel mixes. At Akyn, higher prices means we use wools and linens and some mixes (see below's glossary). 'The clothes look better and last far longer.' The site launched on Friday and looks gorgeous. There's jewellery too, from her sustainable collaboration with Monica Vinader. She hopes further down the line, to have a preloved section where customers can sell their old Akyn. Inevitably, that might eat into her own sales of new pieces. 'That's life,' she says. 'I'm not doing this to make millions. If I can make clothes women love, that don't wreak havoc on nature and I can pay my staff and my bills, I'm happy.' The Telegraph verdict Tamara Abraham Tamara wears: Ulla linen and wool blend jacket, £620 and Perla lyocell and wool blend trousers, £380 (both Akyn) If I were to start from scratch, the Akyn collection comes pretty close to what my ideal capsule wardrobe would look like. It's all very good versions of timeless staples (wide-legged trousers, T-shirts, effortless dresses) without being boring. Powney knows that details like fringing and (micro) slogan tees are irresistible, but also that nobody looks good when they're not comfortable (hello elasticated waistbands). The tabard/tunic piece is the kind of thing that makes you look like you know about fashion, without trying too hard. I can see these pieces having a similar kind of place in the modern woman's wardrobe as labels like Toteme or rising Amsterdam-based label Rohe. Sarah Bailey Channah wool coat, £890 and Selena tencel dress, £570 (both Akyn) Leather sandals, £200, Bobbies I've always been an admirer of Amy's and was very curious to see what she would do next. At Mother of Pearl she was a dab hand with a hero coat and this Akyn number did not disappoint. I admit I was slightly fearful when I saw it on the rail that it might drown me, but the sleek lines looked so elegant on the body (and for me, at least, the coat was the perfect length to wear with a dress). I also liked the blonde wheat-y colour which is an uplifting tone to wear all year round. The dress also looked a tad unprepossessing on the hanger, but proved to be a subtle, clever design when on. The gathered v-neck was a new shape for me, but nicely flattering and let us give thanks for a smocked waist which shapes the body without garrotting it: Lovely! Lisa Armstrong Leia wool and linen blend waistcoat, £460 and Perla wool trousers, £390 (both Akyn) Leather sandals, £89, Dune I was surprised by just how sleek Akyn's tailoring is. At Mother of Pearl, where Amy previously worked, she never really got the chance to showcase her tailoring talents. But at Akyn, it's is a cornerstone. Yet it all feels relaxed and very contemporary. There are no rigid shoulders or constricting silhouettes and its all easy to mix with more casual items such as T-shirts and faded old blouses. The pleat front trousers are ultra flattering and the perfect degrees of floppiness. I'm impressed too by the feel and handle of the fabrics – nothing hairshirt-y about any of this. It's deluxe but at fair prices. It's not cheap but it feels as though it would last. If you bought this from an established European house it would be at least twice the price. We've given you the style. Here's the substance. If you think sustainable shopping's complicated: here's a glossary to help you on your way, by Molly Gymer Organic Cotton Unlike conventional cotton, organic cotton is grown without synthetic pesticides, preserving soil health and cutting pollution. The fabric uses 60 per cent less energy and 90 per cent less water and avoids toxic dyes, making it ideal for sensitive skin. Hemp From the Cannabis plant's stalks, hemp fabric is a strong, soft like cotton canvas which absorbs more carbon dioxide than most plants, making it a powerful tool in the fight against climate change. Lyocell Lyocell is the generic name for a semi-synthetic fabric made from the wood pulp of trees like eucalyptus, birch or oak. The most sustainable version of lyocell is by Lenzing, an international textile conglomerate based in Austria. It's called Tencel™ and is known for its softness and breathability. ECOVERO ECOVERO™, also by Lenzing, offers similar benefits. It's another semi-synthetic fabric made through a closed-loop process, designed to be soft, breathable and eco-friendly. Bamboo Lyocell Bamboo Lyocell is made from fast-growing bamboo using non-toxic solvents. It's lightweight, soft and extremely biodegradable with a decomposition rate of just 8 days. Modal Modal fabric is spun from beech tree cellulose. It is water efficient to produce, feels silky in texture and has twice the softness of cotton. Linen Linen is natural, biodegradable and microplastic-free. Made from flax, which grows with little water, linen is durable, quick drying and moth resistant.
The Guardian
26-05-2025
- Entertainment
- The Guardian
‘Greenwashing is rife': is Amy Powney the most sustainable designer in fashion?
Amy Powney is the London-based, Lancastrian fashion designer who, three years ago, did for sustainable fashion what it hadn't been able to do for itself. She made it, relatively speaking, exciting. As the subject of a 2022 documentary called Fashion Reimagined, about her quest to make a fully sustainable collection, she took audiences on the twists and turns of trying to produce garments that were – deep breath – organic, traceable, socially responsible and considerate of animal welfare; produced in the smallest geographic region possible; and using minimal water and chemicals. The film created a buzz in the industry and, while the clothes remained out of the financial reach of many, Powney showed what was possible if (a big 'if') you had the scruples, and were willing to do the legwork – the journey took her to Uruguay, Peru, Austria and Turkey. In its aftermath, Powney became, in her words, '[a] kind of pin-up girl of sustainability'. It didn't always sit comfortably. 'It came with a massive amount of weight and pressure and responsibility, and it wasn't something I was prepared for emotionally,' she says now over the phone. 'I was going to bed at night, not sleeping, [thinking] well how the bloody hell am I going to fix this fashion industry?' The clothes she was shown trying to make in the documentary were for Mother of Pearl, a womenswear label founded in 2002. Over the years, as Powney worked her way up the ranks to creative director, the brand became synonymous with her minimal aesthetic and her sustainability drive. At its height, it was worn by Gwyneth Paltrow and Phoebe Waller-Bridge. After winning the Vogue award for the best young designer of the year in 2017, which comes with a big cash prize, Powney decided to use the money to create a sustainable collection from field to finished garment. Her quest became the documentary. In the years since, Powney has become known for her activism and tenacity in trying to create a fairer fashion industry. She has also become known for designing very elegant clothes. Then, earlier this year, after 19 years with Mother of Pearl, Powney announced she was leaving – she 'wanted to exit, turning 40 I wanted to launch my own brand' and start something fresh, she says. That new brand, of which Powney is founder and creative director, is called Akyn. Why Akyn? The 'a', she says, is for 'atelier' and the 'kyn' is a play on kinship. It 'is very much about the power of community'. Its first collection, which Powney calls 'a palate cleanse' launched on Friday. The clothes are elegant and chic; they tap into the same aesthetic that has made the Olsen twins' The Row tick. There is subtly unusual tailoring, T-shirts that are entirely plain bar a tasselled hem, undemanding dresses with flattering shirring at the waist and Aran knits with the words 'peace' and 'love' woven into them. 'It's more minimal, it's more elevated,' she says. Akyn lands at a time when overproduction remains rife, with 40% of clothes made each year – 60bn garments – unsold. There has also been increased recognition that buying secondhand clothing is not a magic bullet. As the Or Foundation stated in its Stop Waste Colonialism report: 'The fashion industry uses the global secondhand clothing trade as a de facto waste management strategy.' Curbing consumption – buying better, buying less – is the real answer. Does Powney believe there has been a change in attitude? For one thing, she says, the conversation behind the scenes has shifted. In the past, she would talk to suppliers and they would look at her 'like I'm absolutely crazy', because 'no one's ever asked questions before. No one's ever visited a wool farm and no one has any clue.' Ten years on, she says it has become more common to ask a supplier: 'Is it certified? Can you tell me more about your supply chain?' She says: 'We've seen a lot of progress in transparency of supply chains or at least having conversations about it.' The same could be said for the consumer, who, in the past, was largely – it feels fair to say – ignorant about sustainable fashion. Now people are more across the language as well as certain basic premises. They know organic cotton is generally better than non-organic, because it is a lower-impact crop; they know that lyocell, the cellulose-derived fabric made from wood pulp, is better than polyester. But with these conversations, there have also been complications. 'We've had a massive peak of sustainability chat in the press and via brands but with that has just come an absolute flurry,' says Powney. That flurry being 'uncertainty, misunderstanding, greenwashing, a lack of legislation'. The chat around sustainable fashion in the past decade also showed what wasn't possible. Take the example Powney set. If this was what it took to create more ethical clothes, then what hope was there for the wider industry, in general less willing to put in the hard graft? Or for people buying that recycled polyester dress in the hopes of doing a bit better with their fashion choices, but unwilling to alter their shopping habits more deeply? As Powney points out: 'Even if you've taken a bottle and turned it into a dress, then it's dead. There's nothing to do with it and then it's in landfill and we know it's not biodegrading.' Anecdotally, it feels like some despair crept in along the way – the idea that if making ethical buying decisions is so complicated, why even bother? Powney plans to approach the conversation differently with her new brand. It has become fairly common to see how many litres of water it took to make your jeans, or how many plastic bottles went into your bag. But without some serious expertise, it is impossible to know what any of that really means. 'It's just a minefield,' she says. 'Consumers are so confused. Greenwashing is rife. No one supply chain is the same as the other, which is why capturing data is very hard.' Powney plans to 'bring back the narrative of creativity, craftmanship, quality, design,' explaining the amount of work that goes into clothes – 'because we've lost that in the fast fashion world'. Given the complexities, it is perhaps all the better to have a figure like Powney who can cut through the noise. She describes her Fashion Reimagined journey as 'her learning curve' and mentions things such as 'fly striking', 'mulesing', and 'microns' – proof, if any were needed, that it is good to have someone to unpick all this. She applies this knowledge 'on every single decision I make', she says. The fly in the ointment, though, is affordability. Akyn will be slightly more expensive than Mother of Pearl, where dresses sold for about £300. In the industry, Akyn is still called 'affordable luxury', because, well, it is, compared with other luxury labels. But still. Of course, everyone can shop more sustainably and cheaply without resorting to fast fashion, given the abundance of secondhand clothes. But is there some hope that prices may come down? For Powney's brand, no. 'I am very small scale and I want to do the fibres correctly and I want people to understand what making real natural organic fibres costs.' But, she adds: 'I'm completely choked by being a small business, which means I don't have power, I don't have scale.' Here comes the silver lining. There is, she says, 'absolutely no reason why other brands cannot do this at lower prices'. She isn't, she makes clear, talking about 'Shein and Asos and Boohoo … that's just an absolute no hope because you can't produce clothes at that price.' But there is hope for high street brands, which have 'scale and price'. She continues: 'Switching to organic cotton is also a completely doable task.' Plus, she adds: 'Luxury brands 150 million per cent should be and can be doing this.' With Akyn, Powney is reconnecting with her love of style. Speaking about her time at Mother of Pearl, she says: 'I lost sight of a little girl who wanted to be a fashion designer.' Now she is back.
