Perusing the aisles in the run up to Easter, one can’t help but feel pensive when encountering the mountains of mini eggs and chocolate delights produced by confectionary corporations. Symbolising new life, the tradition of Easter eggs seems somewhat void of meaning due to the increased commercialisation and over marketing of this holiday with their encasing in PET plastic. With the mass food and packaging waste occurring in the UK, simultaneous to the rise in poverty and inequality, this article explores the contrasting trajectories of our abhorrent throw away culture next to the destitution facing many UK households and how initiatives like the Felix Project are pursuing the mission of rebalancing this disparity.

 ‘We’re all (nearly) totally fucked’ read the flyer that advertised the Extinction Rebellion’s talks that were given by Clare Farrell and Sara Arnold at Central Saint Martin’s College of Art this week. While hundreds of students in the building were designing and making new products, Clare and Sara were talking about the very real consequences of making too much. It’s worrying that the audience was small when this topic is so big, do so few people care about the existence of the human race? The talk was called ‘Heading to Extinction and what to do about it’ and, as Sara told me, aimed to “educate people on the truth about the climate crisis.”

JUDY BLAME, was a true rebel in every sense of the word.
He was one of the first pioneers of the DIY stylist movement of the 1980s. Not only a stylist, but an amazing jeweller, making what we throw away as garbage into compelling pieces of art. A true anarchist, he is what I would consider the real meaning of a real stylist. Totally original in his aesthetic and a constant influence on today’s fashion community.

This season at Paris fashion weeks AW 19/20, collections defined honour in the working women. With the recent passing of the the king himself, Karl Lagerfeld,  I felt sadness and joy all at the same time. Their was a quietness in the air, almost like a salute to the house of Chanel, And it’s achievement to still stand tall amongst all of the new designers houses.

What are the three points that you would like Defra to pick up on?

A: It is essential for Defra, and the Government as a whole, to understand that the way we make, use and throwaway our clothes is unsustainable. Our excessive fashion consumption is causing a waste problem both in the UK and overseas.

Defra should make fashion retailers take responsibility for the textile waste they create by introducing an Extended Producer Responsibility scheme for textiles and reward companies that take positive action to reduce waste. The Government’s recent pledge to review and consult on how to deal with textile waste by 2025 is too little too late. We need action before the end of this parliament (2022).  

We would also like to see the Department consider whether it could apply its promised tax on virgin plastics to synthetic garments that don’t contain recycled plastic.  

Defra should also bring together fashion retailers, water companies and washing machine manufacturers to work together to solve the problem of microfibre pollution. We need changes in the law to end the era of throwaway fashion.  

Ara Lumiere an Indian brand creates exquisite head accessories handcrafted by women acid attack survivors. They recently won the Fashion Hub Market prize by Camera Nazionale della Moda Italiana and The Best Shops (a non-profit Italian chamber of buyers) during Milan Fashion Week and founder Kulsum Shadab Wahab says the “survivor’s needed this glory and there is no better platform to start our journey.”

It was October 2016 when a BBC Panorama investigation uncovered Syrian refugee children working in garment factories in Turkey, for high-street brands such as Marks and Spencer and ASOS. The documentary showed that there were children as young as 13 being forced to work 60 hour weeks for as little as 70p an hour. As a group, refugees are particularly vulnerable to exploitation, as Peter McAlister, head of the Ethical Trading Initiative, has pointed out.

Published in 2002, this design manifesto centres on how we interact with the earth’s natural systems and nature. It calls for a paradigm shift away from a linear economy to one that is circular. The focus on a Cradle to Cradle philosophy in creating systems that promote an endless life cycle and celebrate an abundance of human creativity, culture, and productivity. Composed by Michael Braungart and William McDonough, it marries Braungart’s proficiency in chemistry with McDonough’s architectural prowess. Their excellence and expertise in their respective fields has seen Braungart lead Greenpeace’s chemical division as well as founding the German Environmental Protection Agency. McDonough’s international renowned design consultancy also sees him sit on the World Economic Forum’s Meta Council on Circular Economy. 

The High Streets and Town Centres 2030 report was the conclusion of an inquiry led by the Housing, Communities and Local Government Committee of the House of Commons. Town centres and the shopping experience have been reinvented with the next day deliveries, free returns and the comfort on not leaving your house, provided by online stores. This, combined with changing demographics, the trend of moving away from small towns to cities and the domination of chain commerce (how many Costa coffee’s do you walk past on your way to work?) has prompted a massive shift in the usage and scope for town centres and high streets to survive (and thrive )as our shopping habits change.

The Committee’s inquiry sets out to understand the role of high streets and city centres in sustaining social, cultural and economic health to local communities, and to evaluate the impact of the changing high streets on these.

On the eve of International Women's Day, it seems clearer than ever that women (who account for 49.556% of the world's population) need more than one day each year to celebrate their achievements and shout out the systemic issues facing what is after all, almost half the globe.

It was refreshing to see designers featured that don’t have sustainability at the core of their brand. Vital conversations about waste are being opened up. Louise Gray made a splendid patch worked dress whereby strands of trimmings were attached in layers. Halpern used various fabrics from past seasons, creating a mish-mashed version of his signature sequin all in ones and Richard Quinn created a red floral dress using spare sample fabric. While Dilara Findikolu used old toiles creating a Miss Havishamesque gown with an embroidered D on the neckline.

Shortly before he died, Roy Jenkins commented that political journalism was something of a repetitive challenge when there were only two significant figures, Tony Blair and Gordon Brown. He compared the barren landscape of the day with the fertile ground of the 1970s and 1980s when a columnist could reflect on the activities of Benn, Crosland, Healey, Owen, Williams, Thatcher, Joseph, Heseltine and, of course, Jenkins himself. 15 years on from Jenkins’ comment and the situation appears to be worse than ever. Can I be alone in hankering after the conviction and charisma of a Blair or the intellectual heft of a Brown right now? Looking along the front benches today, I’d have Cameron and Osborne back – true they may have set our country on this wretched course, but at least they had a certain swagger and sangfroid that the Brexit debate has sorely lacked.

We are working with BECTU to find a way to create a sector for creatives just like you and me. The assistants and freelancers in fashion, make up, hair, PR, the works! If this goes ahead (we need your support and there’s been quite the case of people showing support but not actually turning up) it would cost £10 p/month (same as Netflix and Spotify) and once you’re a member you can pay £38 for the year (April to April) to get full public liability insurance. If we started a space or means of contact which would allow us to share our expected day rates, warn anyone we needed to or advise each other where necessary then the constant problems we find ourselves facing could hopefully decrease and, who knows, maybe one day disappear.

John McNally is a Scottish National Party MP for the Falkirk Constituency and acts as the Shadow SNP Spokesperson for the Environment. John has been a member of the Environmental Audit Committee since 2015, is the Chair of the APPG for the Hair Industry and a Vice-Chair of the APPG for Textiles and Fashion.

For me LFW was all about an ease back with muted tailoring and an equal embrace of wild colour but worn in a grown up way. In a season marred by Brexit worries - fashion was seen as a defiant inclusive community - one capable of dressing in both a serious way and with a nonchalance that is almost recession proof. There was a return to heritage viewed in a refreshing way and the main theme of sustainability and inclusion was top of the agenda.

This season, London designers are taking it to a whole new level. They are showing more than cool ideas and fun tricks of over-styling. They’ve become more fortified and more powerful then ever.
The bar has been raised, and there’s no more room for fun and games. From Ricardo’s Tisci’s push into a more global and inclusive aesthetic of luxury from Burberry, Into Roksanda's consist climb to the top of elegant pret-à-couture. 
Yes bitch, she’s giving you Volume too, all day, and still keeping it a bit more youthful. Then the Parisians, just saying...

The fashion landscape is a rich tapestry of innovation saturated with revolutionary ideas that have the potential to propagate sustainability. Innovations today are the solutions of tomorrow. These innovations could be in raw materials, dyeing and finishing processes, manufacturing, retail strategies, end of use practices as well as transparency and traceability. Fashion accelerators are at the crux of providing a crucial platform for these innovations to drive value, whether it be economic, environmental or social to tackle the increasingly urgent issues of sustainability facing the industry. This may be mitigating social inequalities dispersed throughout global value chains or curbing devastation to the earths eco systems and biodiversity in order to ensure a safer operating space for current and future generations.

The EAC report is also wrong on the point that "Short lead times means that wash tests and wearer trials are often not feasible, with implications for garment quality". This is nonsense. Every single fabric has to be tested and approved. We make up to 10,000 garments a week and we have had to test every single fabric and if it fails the tests then quite simply we can’t use them.

Find me a fashion designer who hasn’t looked to Nature for inspiration, whether literally referencing flowers, trees, the oceans, the rainforests, animals, feathers or only the colours and moods of the wild or the weather. Bet you can’t, because our natural world is the source of the greatest, most diverse, most magical, spine-tingling beauty. It’s not just our home, but the source of all life. Including ours. We’d do well to remember this with every breath we take, because seriously, we’re trashing the joint. 

Attending the opening evening of the V&A’s Christian Dior exhibition was a dream within a dream, thanks to the milliner, Stephen Jones. Not only did Tamara and myself immerse ourselves in the world Dior, exquisitely curated by Oriole Cullen alongside set designer Nathalie Crinière, but we were also incredibly lucky to have a guided tour around the exhibition by Stephen Jones. Opening up the wonder of Dior, Stephen Jones (who has worked with the hour of Dior since 1996) shared his incredible insight into the history of the brand and the life of Christian Dior. The stories Stephen unfolded included how a classic black suit displayed in the exhibition was created for a lady who won a Daily Mail competition and the fact that Dior previously made stage make-up, including fake blood. Imagine, Dior Fake Blood - pure genius!