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Victoria Beckham Criticised For Using 'Skinny Models' In New York Fashion Week Show

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With gingham prints, oversized florals and surfer-inspired designs galore, Victoria Beckham was praised for the collection she showcased at New York Fashion Week.

But while her style may have been applauded, many people were less than impressed with the former Spice Girl's choice of models.

Denise Hatton, chief executive of YMCA England, which is coordinating the Be Real body confidence campaign, called Beckham's show a "prime example of selecting models based on the outdated premise that the only way to sell products is by presenting an idealised view of the female body".

Meanwhile, journalist Piers Morgan described the models in Beckham's show as looking both "painfully thin" and "painfully miserable".

The reaction from the public on Twitter hasn't been much better.

victoria beckham spring summer 16

In his MailOnline column, Morgan said the models "looked in need of a damn good meal and a Joan Rivers joke book to remove the unrelenting scowl from their faces".

He went on to claimed that Beckham once objected to being called "Skeletal Spice" by the British press, on the grounds that it would put undue body image pressure on young women.

But, he said, she is now guilty of the exact same thing.

"What bothers me is that all the young kids will see the photos from her new show and think that’s how they want to look. Is this what she, or we, really want?," he wrote.

"A world of young women radiating sullen-faced misery and sporting bodies only one removed from size zero? I know I don’t want my own young daughter, only a few months away in age from Harper, growing up thinking that this is what she should aspire to."

Many on Twitter have echoed Morgan and Hatton's thoughts, by saying that "skinny" models should not feature in catwalk shows.







But not everyone agrees banning slim models is the right way to encourage healthy body image.

Rivkie Baum, editor of plus-size magazine SLiNK tells HuffPost UK Lifestyle: "The way to greater diversity and representation in fashion and the media is not to pit one type of body against another.

"Piers is right that the use of just very slim models both on the catwalk and within mainstream media gives many young girls unrealistic body ideals, but it is not about banishing very slim models altogether."

Baum adds that New York Fashion Week is "quickly becoming a leader in using a more diverse set of models", with a number of a curvy figures taking to the runway alongside their straight-size model counterparts this week, in shows such as the Chromat one.

She says: "It is these designers and catwalks that demonstrate to young girls that fashion and the media accepts different bodies and this will ultimately play a huge part in re-educating young women about the relationship they can form with themselves. Let's not use skinny-shaming as a way of calling for greater diversity."

Sarah Pedersen, a communications professor at Robert Gordon University, agrees that segregating plus-size and straight-size models is not helpful.

"It’s positive we have plus-size models but it’s not positive we’re not using them throughout fashion. It would be better if we had plus-size models within the general fashion industry rather than have some 'special area' for them," she told The Telegraph.

"It sends a message to women who are plus-size that they’re not normal. They can’t be involved in the real or normal fashion industry."

The Huffington Post UK has contacted Victoria Beckham for comment, but has yet to hear back at the time of publication.

SEE ALSO:

Plus-Size Model Ashley Graham Stuns On #NYFW Runway

Mum Stands In Bikini And Blindfold To Promote Body Acceptance



Sustainability With Chinti and Parker

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This blog is part of a month-long focus around sustainable fashion across HuffPost UK Style and Lifestyle. Here we aim to champion some of the emerging names in fashion and shine a light on the truth about the impact our appetite for fast fashion has around the world.

Can fashion be sustainable and sought-after?

Of course. Like for many other things, we can't help but think of the Henry Ford quote, "whether you think you can or whether you think you can't, you're right." It's up to everyone involved to create mass change.

With Chinti and Parker, ethical fashion is something we approach in several parts.

Firstly, we consciously design with longevity in mind. We choose not to focus on seasonal trends, but create strong signature designs. It's all about creating classics that can remain in your wardrobe for years and years. If you look after them, forever-pieces will see you through to the next 30 or more.

Next, it's about materials. When we started it was much more difficult to make the clothing in an ethical way, certainly with the fabrics, so there may have been more compromises. Now, you can pretty much get any yarn in organic and as well as the softest, finest cotton. We use only natural, high-quality materials such as cotton-cashmere, bamboo and organic cotton in our designs and we also try to source as much as possible from Europe.

In regards to production, we always say that we'll do what we can where we can - even it's a small step. It's always better to do something. Clothes are made where workers are most knowledgeable about the materials: woven cotton pieces and knits in factories that are safety-check approved in India (where we have family) as well as Portugal. Proceeds also go back to Jamghat, an organisation in Delhi focused on enhancing the lives of street kids. Our cashmere sweaters are crafted from Italian yarn on a family-run mill in Mauritius.

We also believe it's important to change consumer psychology. There needs to be more transparency as to how clothes are made so that customers can make more considered choices. Well-designed ethical clothes do cost more, but with longevity and cost-per-wear in mind, not by so much.

There's also no need to assume that sustainability is achieved at the expense of aesthetics. We hope our brand breaks down the notion that ethical doesn't go with covetable. One of the biggest misconceptions about and roadblocks to sustainable fashion is that you need to compromise on style.

The topic of ethical creation has started to matter even more to us as we have recently become mothers, as we can't help but think of how we're leaving the state of the earth for the next generation. We want to leave a positive mark.

Why should other fashion companies be making more efforts to do the same?

At the end of the day, they don't have to - and they know that. Why they should is purely for the priceless peace of mind that they are contributing to a positive world movement. It may be hard for some business owners with a more dog-eat-dog worldview to see how the issues impact them and their families directly, but in the end, everything is interconnected. If we all contribute to mass change together, then no one has to lose out commercially either.

The only way to create this widespread change in the industry is to make less, make it right, and make it last.

HuffPost UK Lifestyle is running a special series around Sustainable Fashion for the month of September. Livia Firth is creative director of Eco-Age and founder of The Green Carpet Challenge, and will be guest editing on 18 September. If you'd like to blog or get involved, please email us.

Feminism and Lipstick

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Ladies, we can all relate to the emotions entwined with purchasing a new Mac lipstick right? Now, up until last week, I was unaware that the pleasure I received from this exchange made me unworthy of feminist status. If you can't detect the sarcasm you're either a misogynist or haven't been raised in cynical old Blighty. I'm hopeful it's the latter.

I was rendered speechless (rare, very rare) when a friend of a friend (this breed is always hit or miss) piped up about how 'if you feel the need to change your appearance you can't be a feminist'. Oh I'm sorry, wanting to look my best means I have no right to social equality. Wearing clothes I like equals no say on politics. Spraying perfume means I couldn't possibly give a toss about being paid the same as my male counterparts. Rather than rage in on this woman, I pitied her. How awful that there are women out there who believe they need to choose between self grooming and registering to vote. Surely we are past this sort of nonsense by now.

It comes down to choice. The beauty industry thrives on us feeling inadequate and pressured into buying this, lathering that and applying those. I don't love the beauty industry, but I love what the products can do for women. Beauty is powerful and if used correctly products can make women feel strong. The idea that we are all trowelling on makeup to hide away because we feel so insecure about ourselves is ridiculous. There are cases of that, of course there are, but most of us just like to take pride in our appearance, which filters through to our mood and mindset.

The routines and rituals of applying makeup are comforting, special and often the only time in a woman's day when she is concentrating solely on herself. This moment is sacred. Let us not forget that just like clothes, makeup is a form of self expression and creativity. The freedom to express ourselves through our appearance is liberating and should not be shamed or belittled.

The idea that we are doing it for men also sends shivers up my spine. Of course there are women whose whole look is discernibly designed to court male attention, but they use clothes too, are we saying that everyone who wears clothes is 'doing it for men'? Those women, no matter what tool they use to achieve their 'I'm an object for your pleasure' look, make me feel sad because they are rendering themselves powerless and destined to attract a not-so-lovely type of man. When I think of my mum, sister and girlfriends, all strong and beautiful, NONE of us own 27 lipsticks for our boyfriends or husbands who can't tell the difference between Chanel Rouge Allure and Benefit Airkiss.

Last, is the poor argument I dispute most of all; that women who care about their appearance are shallow or unintelligent. Because I know my Nars from my Bobbi Brown doesn't mean I haven't read War and Peace. Because I have made a careful selection of my favourite Essie nail varnishes doesn't mean I can't reel off Latin verb patterns. Because I take ten minutes to perfect my eyeliner cat flicks each morning by no means prevents me from understanding Pythagoras's theorem. It would be the intelligence of the person suggesting such a ludicrous idea, that I would deem questionable. I don't think a love of beauty products is shallow in any way. People can be shallow, of course, but those people will be so in whatever they do. Beauty itself is inspirational, powerful and creative. Marian Keyes (lovely Irish author of the best chick lit EVER) has said (in an interview in Sali Hughes brilliant 'In The Bathroom With' Youtube series) that during her lowest point of depression, whilst browsing a department store, she spotted a Chanel nail varnish that gave her a sudden, immense surge of happiness in what was otherwise, an awfully dark time. Since then, her loved ones have always bought her these glass bottles of joy and she remembers where each one came from, who gifted it and why. For 30mg of liquid to prettify hands to give someone hope whilst in a suffocating, clinically depressive headspace is absolutely wonderful.

I can speak for myself and the women I know, and trust me, we are not wearing make up for men or because we hate ourselves. It simply elates and empowers us. In what is sometimes a testing world to endure, it gives us the strength we need to battle through. They don't call it war paint for nothing.

This post originally appeared on Lily's blog here

London Fashion Week SS16: With a New Venue Comes New Expectations

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In April, it was announced that London Fashion Week would be relocating to Soho, and Brewer Street Car Park to be exact. Following six consecutive years at Somerset House, this came as a surprise to many, but, while it's a bold move, I feel it's a very clever one. Labelled by some as the 'Fashion Park', the multi-storey set to play host this month is actually an iconic art deco building from 1929, with a rich history of its own.

The British Fashion Council says it has always been their goal to host LFW in the West End, describing the area as 'an epicentre for a city-wide fashion celebration with close proximity to major retail spaces' (http://www.londonfashionweek.co.uk/news/717/London-Fashion-Week-moves-to-S).

According to the BFC, this more central location will help boost support for the fashion industry, which employs nearly 800,000 people and is worth £26bn in the UK alone. From an events perspective, the BFC has been tasked with catering for the very best international fashion talent and accommodating the global press, industry buyers, bloggers, photographers and fans flocking from around the world, so the pressure is very much on.

LFW SS16 will need to pull out all the stops to make this the best event yet, and prove that this new venue is not just an ample replacement to Somerset House, the event's previous home. In Brewer Street Car Park, the organisers have an event space already proven in hosting successful events, but also one with a lot of potential.

In March, London Fashion Week announced a deal with new principal sponsor Sunglass Hut, which will span the next three years of the biannual event. We'll be looking after the design and production of the Press and Buyers Lounge for Sunglass Hut - part of the Luxottica Group, which also produces eyewear for brands such as Ray-Ban, Chanel, and Burberry - and also creating an industry tea party celebration, to be hosted by Georgia May Jagger in another new venue for LFW, separate to Brewer Street Car Park.

But an event like this is not just about each show - it should be an all-encompassing experience from the moment visitors set foot in the venue to the moment they leave. The experience of how the event flows - and this includes the logistics of the catwalk - will stay with people for a long time, and it's here that the event planners need to excel to leave a positive lasting impression which ensures the venue's reputation is upheld for the long term. In that sense, it's as much a PR exercise for the venue as it is for the brands in attendance.

Expectations from the press and consumers will be extremely high, and people can be quick to criticise something new. At the heart of the event will be a management team striving to deliver a memorable overall experience for every single guest.

A new setting brings new demands and expectations, so there is certainly an extra layer of suspense around this year's event. The buzz around London Fashion Week increases every year, a clear sign of the creative and commercial importance of British fashion.

With a schedule designed to showcase the world's most innovative emerging talents, heritage tailors and global brands, it's no surprise excitement is rife, and we're very excited to see how it unfolds.

The Silver Lining Beneath Fashion's Dirty Supply Chains: Three Innovative Solutions to the Industry's Sustainability Problem

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This blog is part of a month-long focus around sustainable fashion across HuffPost UK Style and Lifestyle. Here we aim to champion some of the emerging names in fashion and shine a light on the truth about the impact our appetite for fast fashion has around the world.

Consumers across the globe care about whether their clothes are ethically produced, and they want to be able to make purchases that match their values. According to a recent Nielsen report, 55% of consumers surveyed across 60 countries want to buy brands that are committed to social and environmental responsibility, and the "sustainability mainstream" is increasing.

Yet, most likely, the clothes you're wearing come from a sweatshop. While a few brands like Patagonia have truly committed to ethical sourcing, today's apparel supply chains are largely no better than they were in the 90's, when sweatshop exposés triggered a wave of outrage among consumers. In fact, modern supply chains are even more gnarled and opaque, and rife with human rights abuse. Most clothing products are still produced in horrendous and life-threatening conditions, and by exploited labourers who are often trafficked workers or children.

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Image: A still from the documentary, The True Cost; Credit: The True Cost

Fashion is also one of the worst offenders when it comes to pollution - textiles are the second greatest contributor to global water pollution, according to the World Bank. And the apparel industry is only second to oil when it comes to environmental impact as a whole, according a 2013 report by the Danish Fashion Institute. Synthetic fibres like polyester are derived from petrochemicals, and natural fibres like rayon and viscose are contributing to the destruction of ancient rainforests.

The problems are manifold and well-documented by the industry. Yet, brands - including companies committed to sustainability, like Patagonia - still struggle to have full control over every step of the garment manufacturing process. And, everyday people remain largely unaware of the trail of harm that led to the creation of their clothes.

"The label in a garment may tell us where it was produced, but it doesn't tell us whether it was made from child-picked cotton in Uzbekistan, spun by bonded labourers in India, dyed using hazardous chemicals in China, or cut and sewn in an unregistered factory in Bangladesh," according to an annual report by C&A Foundation.

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The International Labour Organisation (ILO) estimates that 11 percent of the world's children are engaged in child labour, with many employed in garment manufacturing. Image: Child workers at a small garment factory in Jakarta, Indonesia; Credit: ILO in Asia and the Pacific

But could there be silver lining under fashion's dirty garments? Absolutely. An array of solutions - including improved laws and enforcement, revamped traceability processes, and a true commitment to sustainability - are being unlocked by a handful of forward-thinking brands, initiatives like the Accord on Fire and Building Safety in Bangladesh, and non-profits like Canopy and Verité. Campaigns like Fashion Revolution Day and a new documentary film, The True Cost, are engaging consumers and renewing the call for change.

Moreover, social entrepreneurs are driving fresh approaches that could help the apparel industry truly clean up its act and achieve both style and substance. From the toolbox of social entrepreneurs, here are three more reasons to be optimistic about the future of fashion:

1. More industries can get involved to end human trafficking in fashion
Fashion's extraordinarily complex global supply chains might make change seem daunting, but perhaps that's because the industry has largely looked to itself for solutions. What if more players - like finance, transportation, health, and agricultural R&D - got involved? Through activating a network of industries, solving sustainability issues in fashion could potentially be accomplished more effectively and with fewer resources.

For example, Truckers Against Trafficking trains everyone in the trucking industry - from trucking students to shipping partners - to become active opponents of trafficking and to learn how to spot and support victims. The organization works with law enforcement and uses existing infrastructure to combat modern slavery in sweatshops (in addition to other contexts). Another organization, Finance Alliance for Sustainable Trade, matches lenders committed to environmental sustainability with agricultural producers that share the same values. Ethical producers, such as organic cotton farmers, can thus access financial services and become more economically viable.

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Image: Inside a garment factory in Bangladesh; Credit: jankie

2. Workers can be empowered to make supply chain traceability a reality
Modern supply chains involve multiple tiers of contractors, and brands that care about sustainability often only have full transparency with tier-one suppliers. When it comes to the fourth or fifth tiers, it can be next to impossible to track labour conditions. LaborVoices, however, is tackling this challenge by enabling workers to send real-time data on working conditions through their mobile phones. Available in 50 countries, the system also helps workers access information on their rights and how to resolve workplace grievances.

LaborVoices' founder, Kohl Gill, sees the industry's lack of on-the-ground information as a key hurdle to change on multiple fronts. According to Gill, "If you don't know what the labour conditions are, then you can't make proper trade policy decisions. You can't navigate your way to a good job, as a worker. You can't choose a great supplier, as a buyer. And even as a high road supplier, you can't really differentiate yourself against your competition."

LaborVoices plans to expand its services so that workers can self-report and access information on factory conditions and wages, and become empowered to make choices about their employment - "like a TripAdvisor for workers," says Gill. LaborVoices is also moving toward a subscription model for brands, so that companies no longer need to commission a specific investigation, but can simply pay to access real time information about a spread of factories. This model is scaling up this year in Bangladesh, Cambodia, and China.

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Image: A still from Canopy's Fashion Loved by Forest campaign; Credit: Canopy/Grewal

3. Other pressure points, besides consumers, can disrupt business as usual
When it comes to buying ethical clothing, consumers have limited options. (Try doing a search for verifiably sustainable brands, and only a few widely recognizable names crop up.) And without the ability to access sustainability information and to make ethical point-of-sale decisions, consumers have a limited power (at the moment) to cast an economic vote for change.

But there's more than one way to incentivize (and pressure) brands to be proactive about social and economic responsibility. The citizen advocacy organization, PODER, for example, builds relationships with prominent investors and helps communities make a business case to them for sustainability. Investors can then raise their voices to calls for better working conditions and monitoring programs. "Investors stand to lose a lot of the brand price falls," says Ben Cokelet, founder of PODER and an Ashoka Fellow. "We get them to join us in encouraging brands to come to the table."

Another organization, Canopy, targets highly influential brands and designers who can then "institutionalize sustainable purchasing decisions" across the industry. Founded by Ashoka Fellow Nicole Rycroft, the organization has signed up big names in fashion like Stella McCartney, Eileen Fischer, Marks & Spencer, and Levi's to commit to eliminating rainforest deforestation from their supply chains.

"The top ten viscose producers in the world control 80% of global production," Rycroft explains. "It's a very concentrated supply chain, and it gave us a very neat place to basically create a tipping point." In the past year, by working with influential brands to develop forest-friendly policies, Canopy has been able to shift the top three viscose producers - representing 50 percent of the global supply of viscose - away from sourcing fibre from endangered forests.

This post was written by Kristie Wang for Ashoka Changemakers and Fabric of Change, a challenge in search of solutions for building a fair and sustainable apparel industry.

HuffPost UK Lifestyle is running a special series around Sustainable Fashion for the month of September. Livia Firth is creative director of Eco-Age and founder of The Green Carpet Challenge, and will be guest editing on 18 September. If you'd like to blog or get involved, please email us.

Sustainable Materials: Discovering the Best at the Future Fabrics Expo

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This blog is part of a month-long focus around sustainable fashion across HuffPost UK Style and Lifestyle. Here we aim to champion some of the emerging names in fashion and shine a light on the truth about the impact our appetite for fast fashion has around the world.

It goes without saying that the fashion industry is one of the most visible, captivating, and lucrative industries in the world. Alongside the constant revelations of more and more beautiful fashion collections though, we're also seeing a rising awareness and concern for ethics and sustainability in fashion, both from those who work within, and out of, the highly complex fashion supply chain, who all share in common the buying and wearing of clothes.

Since fashion has the potential to be so widely visible, and being one of the highest employing industries globally, the increased action and dialogue surrounding sustainability and ethical issues are positive developments, helping to bring the transformative work of countless organisations, initiatives and brands in to view - but there is more to be done.

The Sustainable Angle is one such organisation, initiating and supporting projects that contribute to minimizing the environmental impact of industry and people, and that help make it easier for companies and consumers make informed decisions when it comes to sustainability. Over the past five years we've been focusing on showcasing world-leading sustainable materials and research at the annual Future Fabrics Expo, to fill the gap left by conventional textile fairs which still don't pay enough attention to these essential developments.

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Future Fabrics Expo, photography by Jessica Alexander

Regardless of knowledge of the inner workings of the fashion industry, most people are aware of at least some of its environmental, social and ethical issues, issues that touch the production of virtually everything we wear. The Future Fabrics Expo is here to inspire, motivate and show opportunities that come with more sustainable choices, particularly innovative textiles and materials with a reduced environmental footprint.

Our focus on materials came about as they are a hugely important and visible component of fashion, with the potential to be a vehicle for great change in the way we create clothes, alongside the holistic improvement of the wider fashion supply chain. Currently, cotton and polyester account for more than 80% of materials produced worldwide - an unsustainable balance that contributes to significant environmental problems such as excessive water consumption and contamination, pollution, loss of biodiversity and soil fertility, and an over dependency on depleting resources including oil. This highlights the need to diversify the fabrics we use, and to thoroughly interrogate the entire textiles supply chain to ensure that designers, buyers, textile technicians and countless others can have an accurate understanding of how our products have been made - to in turn help consumers gain a better understanding.

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Future Fabrics Expo, photography by Jessica Alexander

Via the Future Fabrics Expo we aim to change the outdated image still believed by many, that more sustainable materials are of lower quality, not as soft or strong, dull, and not as colourful or varied. The expo is improving the knowledge, perceptions, and use of sustainable materials, gradually ridding them of their negative reputation for being low quality, undesirable, and unsuitable for fashion. It has become an increasingly impactful platform to learn more about the efforts of global textile mills to design, manufacture, and function more sustainably; to discover new fashion textiles and innovations for the future; and to extend networks in the fashion and textile industries. On show at the expo can be anything from toxin-free outdoor materials to luxurious low impact dyed silks, chrome-free tanned fish leather, or the highest quality Supima organic cottons - we have a diverse range spanning more than 1500 materials.

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Piñatex pineapple leather prototype products

To date the Future Fabrics Expo has achieved a winning combination of increasing the visibility of sustainable and innovative textiles, and effectively communicating them to designers, buyers, press, and global organisations in a setting that is designed and curated to introduce textiles for the future in a jargon-free manner that clearly shows the difference between these innovations and conventional textiles.

We're currently busy curating our fifth edition of the Future Fabrics Expo, which along with our sustainable materials workshop will be held on the 29th - 30th September 2015 at Olympia Central Exhibition Centre, London, inside Fashion SVP.

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Tencel®, Seacell®, Smartcel™ from Taiwan, photography by Meike Baum

We'll be showcasing a diverse range of hundreds of individually selected fabrics with a reduced environmental impact sourced from dozens of international mills, displayed with individually researched sustainability information. We're also introducing a new innovations area to share some of our more unusual and boundary pushing discoveries, and are therefore featuring the Taiwan Textile Federation with leading Taiwan eco textiles, showcasing hundreds of new sustainable technical textiles. By sourcing fabrics from such varied locations, materials on show are suited to a wide range of markets and products, making this the largest and most diverse showcase of commercially available materials with a reduced environmental impact - and one with the potential to reach far outside of the fashion design offices and factories.

You can register to attend the 5th Future Fabrics Expo in London here, and access hundreds of sustainable materials, resources and tools online at www.futurefabricsvirtualexpo.com.

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Organic hemp silk, photography by Jessica Alexander

If you'd like to find out more about sustainability in the fashion and textiles industries, stay up to date with our blog, Twitter, and occasional newsletters.

The Future Fabrics Expo is supported by Kassim Textiles, Elmer & Zweifel, and Avery Dennison.

Charlotte Turner, Nina Marenzi

HuffPost UK Lifestyle is running a special series around Sustainable Fashion for the month of September. Livia Firth is creative director of Eco-Age and founder of The Green Carpet Challenge, and will be guest editing on 18 September. If you'd like to blog or get involved, please email us.

The Overestimation of Fashion Weeks

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Have you seen Givenchy SS16 show at New York Fashion Week on 9/11? You might have seen it live, as the brand, who is showing at NYFW instead of Paris this season, has invited 1000 'real people' to become the spectators of the fashion and art extravaganza. Which by the look of things has loosen the perception of what is acceptable for a high-fashion show. The shift towards humane fashion makes me happy. Regardless the hype, Mr. Riccardo Tisci has presented a fabulous collection.

I have started contemplating about the exaggeration of the four fashion weeks (New York, London, Milan, and Paris). I know I am not being careful with the bold statement but facts are on my side. With London Fashion Week few days ahead, all the designers, PRs and even bloggers go mental. No one has time, no one is available, everyone is 'so stressed-out'. Everyone at least slightly involved in the industry has drawn themselves in the endless marathon and (sometimes unnecessary) stress. With a number of colourful fashion weeks/weekends happening around the world each season the big four seems to be unbeatable.

The obvious reason - all the big names and respected fashion houses are showing their new collections at one of them. Second obvious reason - these cities have produced those big and respectful fashion houses. Third obvious reason - the organisers are trusted and respected industry veterans who can deliver. A bit of a hidden reason -all the 'it' girls and 'that' guys will be mingling in these exact fashion weeks, very often, in more than one show (this one goes for celebrity hunters).

However, every argumentative essay must have a contra argument. My essay has a few. Following FWs, grand shows and creative catwalks worth hundreds of thousands of pounds/US dollars/Euros, I can't help but ask - who is the main beneficiary of this? Is it a public, needy fashion media, a fashion house, a Creative Director? Well, not a Creative Director for sure. The poor guy (let's say Riccardo Tisci of Givency) must be getting grey hair (to say the least) before each show - all eyes are on him. And this guy, who's just moved from PFW to NYFW is not even French or American, he is pure Italian born and raised in Southern Italy. Have you praised the town of Taranto for nurturing this talent? So, is the public the beneficiary of the grandioso fashion shows? Very unlikely - they can't even get access to these shows (Givenchy SS16 is a nice exception), unless they know someone who knows someone or work really hard to become the chosen ones, as this blogger explains in her FW tutorial.

The aim is to sell the collection, right? But is it really? Are the 100+ guests the only customers of RTW collections? Is it to please the press? Can't find a counter argument for this one. Inviting the well known 'bob' and a recognisable 'up-do' to sit at the front row of your show, you can't go wrong. But is it really about pleasing the influential fashion editors? Why do they have to be pleased? To become their flavour of the season and be featured on their glossy pages? Isn't the collection itself a good enough validation criterion? The designers and their teams have been working for months to make a 15 minute impression and they have to try harder because the clothes don't play the major role anymore.

Following from that, I have even more questions to stick into your head. Why do we care so much about the show, not the clothes? Why are we mad about the big four cities? Why do we follow the brands, not the designers and their teams? Why are we scared to say Riccardo Tisci's Givenchy and always have to add 'Hubert' to it? Why don't we celebrate the legacy by embracing the change, by celebrating new names? Why don't we relax a little?

Not to be a hypocrite, I am quick to note that Fashion Bloc team will be attending London Fashion Week and looking forward to it. As always, we will be meeting our designers (Agnes Ignacz this season ) and scouting for new names to add to our family - looking forward to meet Belgrade fashion stars at Fashion Scout and see Natasha Zinko show on Saturday. And off I go - I need to plan my LFW outfits.

Creating Transparent Fashion Supply Chains in Rural Ecuador

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This blog is part of a month-long focus around sustainable fashion across HuffPost UK Style and Lifestyle. Here we aim to champion some of the emerging names in fashion and shine a light on the truth about the impact our appetite for fast fashion has around the world.

The current lack of transparency in fashion supply chains makes it virtually impossible for people to know who made their clothes and accessories. Without knowing #whomademyclothes, how can we know in what conditions they were made?

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At Pachacuti, we believe fashion needs to rediscover a traceable narrative. We worked for three years as a pilot on the EU Geo Fair Trade project which has brought an unprecedented level of traceability to our supply chain. The project aims to provide visible accountability of sustainable provenance, both for raw materials as well as production processes.

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This level of traceability data is far from easy to collect - it cannot be achieved by a few clicks on the computer - but it is essential to guarantee that our supply chain is as transparent as we can possibly make it. Despite the remoteness and inaccessibility of the region of Azuay where our Panama hats are woven, we traced the production of our hats back to the GPS coordinates of 154 of our weavers' houses - not easy data to collect when only 45% of homes are accessible by road, located high in the Andes. Pachacuti's weavers are delighted that this research data helps correct a historical misnomer and Panama hats can now be tracked back to their country of origin - Ecuador!

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But it doesn't stop there. We then traced the straw back to the communities on the coast of Ecuador in Guayas province where it is processed. Next, a bumpy hour by truck from the nearest paved road, we mapped the GPS coordinates of each plot of land in the coastal cloud forest where the straw is harvested on community-owned plantations. The community has been working hard to protect their area of land and to increase sustainability and biodiversity in the area. They are now seeing a lot more toucans, armadillos and monkeys in the plantation.

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Once established, the carludovica palmata plant can be cropped monthly for 100 years - surely one of the most sustainable sources of raw material imaginable. The plants also help to a prevent erosion and improve air quality. Our straw is gathered by 32 harvesters who form the Love and Peace Association - maybe a rather incongruous name for men who spend most of their lives wielding a machete! The straw harvesters are keen to point out:

"We are producing oxygen for the world"


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But traceability is just the first element of creating a transparent supply chain. Transparency also implies openness, honesty, communication and accountability. Regular, ongoing monitoring of the supply chain to measure both the social and environmental impact is essential if we are to claim that our products are truly sustainable.

In 2012 UNESCO declared that the art of weaving a Panama hat in Ecuador would be added to their list of Intangible Cultural Heritage. Intangible Cultural Heritage is a term used for knowledge, traditions and rituals which permeate the everyday life of a community, passed down through generations and forming an intrinsic part of their identity and culture. The art of creating Panama Hats is woven into the fabric of daily life in rural Ecuador: women weave on the bus, walking to market, on their way to the fields. For the women who weave Pachacuti Panama hats, weaving is more than an art, more than a skill; it represents the cultural heritage of an entire community.

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However, the historic exploitation of weavers by middlemen means that this timeless skill is under threat as young people are searching for alternatives. This has led to the small, rural community where we work in Ecuador having one of the highest levels of migration in the country, with 60% of children having at least one parent living overseas. The destruction of family and community life has led to high rates of alcoholism, double the national rate of youth suicides and teen pregnancies are the norm.

Unlike the journey taken by most Panama Hats in the world, which pass through the hands of around seven different intermediaries (known as 'perros' or dogs due to their unscrupulous purchasing practices) Pachacuti works directly with women's associations in Ecuador through every step of the process, weaving, dyeing, blocking, finishing, to ensure that as much of the final value as possible remains in their hands. Our work on the EU Geo Fair Trade project involved the collection of 68 social, economic and environmental indicators which enabled us to track progress on our Fair Trade impact. Pachacuti is working to prove that the a better Panama hat industry is possible.

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Fashion Revolution believes that transparency is the first step in transforming the industry and is a way to bring wider recognition to the many skilled artisans within the fashion supply chain. This, in turn, will help ensure their work is properly valued and justly remunerated in the future. #whomademyclothes

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Join millions of people around the world and ask #whomademyclothes. Watch the video by Sienna Somers, the Savvy Student, and and follow these instructions for asking brands and retailers #whomademyclothes

Carry Somers is a Director of Pachacuti and Fashion Revolution

Paloma Faith On The 90s Trend Being Her 'Worst Nightmare' And Why Feminism Isn't Just A Women's Issue

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Over the last few years, pop stars in underpants have become so ubiquitous on stage, you’d think they were part of a special BOGOF deal for female singers.

One person who won’t be wearing them anytime soon is singer Paloma Faith, who once said in a Stylist interview: “I celebrate my curves but don’t believe I have to sell my music by selling my body.”

paloma faith

The singer has always been on our style radar – and she’s a regular at London Fashion Week - but we’re also loving her strong feminist stance which has attracted the likes of UN Women, who will be involving her in their #HeForShe campaign.

“I think it’s important that we realise feminism isn’t just a women’s issue, it’s a global issue for both genders,” she said talking to HuffPost UK Style. “I’m doing a radio show for them which is all about music that’s empowering for women.”

When asked about diversity on the catwalk ahead of our #LFW4All, she’s hopeful things are changing. She’s says there are designers such as Vivienne Westwood who have always championed diversity, and after seeing more Asian models in Armani shows, thinks it may be changing.

She also says people are also more aware of how they talk about models being thin. Skinny-shaming is not the done thing anymore.

“I think if you look at (models) like Cara Delevingne – okay, she’s thin but I’ve been out to eat with her and she eats like a pig. And I know she wasn’t sicking it up afterwards! It’s the ones that don’t eat who are worrying.”

paloma faith

Strong women have always been a part of Paloma’s life: she got her sense of style and presentation from her mother and aunts.

“My mum was a child of seven - five of them were girls and they were very close in age. They were a solid group of fashion fanatics: mildly competitive and also in allegiance with one another.”

“They talked about clothes a lot when I was young. My mum was always determined to dress me well – she comes from a lower working class background and it was in-built in her and her family to always be well presented.

“It wasn’t about status – my mum was always anti-branding because she was very left wing but it was more about saying you were well groomed and clean. Every night before school my mum would lay out my outfit. So I’d know what I was wearing before I went to bed and I didn’t go to a uniformed school.”

When Paloma entered her teens, she took charge of her own fashion, jumping from one sub culture to another every 10 months or so. “I was grungy, I was a yardie, hippie, a rude girl – all of them.”

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Paloma famously held a lot of jobs before landing fame including working as a singer in a burlesque club and a sales assistant at Agent Provocateur.

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When asked if her many jobs impacted her style evolution, she said: “Everything influences your sense of style - it informs the person you’ve become. I’m not into burlesque style anymore - I’m in a 60’s early 70s phase now. I’ve always looked a bit back in times of style. I prefer themes that are classic and timeless.”

At the moment, she’s pushing towards contemporary mixed with a bit of nostalgia. Brigitte Bardot is a big influence on her look right now.

Interestingly, considering how intricate her outfits and look appear, she’s fairly low maintenance. Her stylist proclaims her as one of the easiest people to work with because once they decide on an outfit, she doesn’t change her mind. This is something she credits her mum with, harking back to her laid-out-outfit days.

She only uses a professional hair and makeup person if she’s doing television or a photoshoot but for everything else, she does it herself. It takes her 45 minutes.

“It would take other people two hours but I have patience and a ‘that’ll do’ attitude.”

She’s been doing a lot of 60s looks, so her beauty bag contains “a really great mascara from Benefit called They’re Real – it makes your eyelashes really Twiggy-like and you can layer it up.”

Lipstick favourites include Dragon Girl from Nars and Ruby Woo from MAC, and she only uses The Body Shop’s aloe vera skincare range as it’s “the only one I can put on my face without getting spots.”

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One trend that she won’t be touching with a bargepole is the current resurgence of 90s fashion.

“It’s like my worst nightmare. I learned how not to dress because I was a teenager in the 90s. When I look back on pictures – every picture from the 90s looked terrible and people are recreating that as a trend as we speak.

“Terracotta lipstick is just not good, on any level. Or lipliner with lipgloss in the middle.”

When I mention we’re running a sustainable fashion month that aims to shine a spotlight on re-using clothes and buying clothes that last decades, she mentions her love of vintage clothing.

“There’s too much stuff in the world and we should reuse it. Recently I went to the Eden Project and I met the guy who opened it (Sir Tim Smit who co-founded it) who said people are under the impression that whatever damage is done to the world is irreparable but the world rejuvenates. He said we have a responsibility to change things now because nature is a very strong force.

“When going to a vintage shop you’re better off because you’re not tapping as much into the industry that could be damaging the environment. I also think that it’s unlikely some the stuff we buy now will last as long as pieces did in the past – they were better made.”

One of Paloma’s favourite pieces is her aunt’s Burberry mackintosh from the 70s. She prefers pieces that are timeless and says that buying vintage is a brilliant way of looking unique.

“Most of the fashion houses are working out of the same manufacturers and mindset so it’s all quite generic.”

Kylie Jenner Goes From Minimal Makeup To Mint Green Hair At NYFW

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Kylie Jenner's famously overlined lips may have landed the reality star her own makeup range, but it seems brother-in-law Kanye West convinced her to swap her signature style for a more understated one.

Jenner was picked as one of the models to walk in his Yeezy II collection for Adidas Originals at New York Fashion Week with a downplayed look by makeup artist Pat McGrath.




Jenner walked ahead of fellow model-of-the-moment Bella Hadid in West's minimalist camel outfits and pulled-down caps - and was barely recognisable.




Later that day, the 18-year-old was back to her usual super-glamourous self, having dyed her recently blonde locks a bright mint green hue.




Jenner is no stranger to candy-coloured hair, having previously rocked a stunning baby blue wig (also created by her genius hairdresser Tokyo Styles).

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North West Steals the Show at Kanye West's Yeezy 2 NYFW Show

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North West's FROW tantrum during Kanye West's debut fashion show earlier this year will forever be remembered as one of the funniest moments of New York Fashion Week... and now she's done it again.

Luckily for her dad, and mum Kim Kardashian, the two-year-old didn't shed any tears, but she did completely steal the show with her hilarious toddler antics.

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The rapper's Yeezy II collection for Adidas Originals attracted a line up of star-studded guests.

Kim and Nori were joined by Kardashian sisters Khloe, Kourtney, Kendall and Kylie (who also walked in the show), along with Anna Wintour, Drake, Lorde and Jaden Smith.

A photo posted by Erik Maza (@erikmaza) on




As if North's front row appearance wasn't cute enough, Kim also shared the below video on her new website, which was then shared on social media by a fashion editor.

The behind-the-scenes clip shows North telling her mum that Minnie Mouse will be joining them at Kanye’s show, before adding that her name is actually "Minnie."




Too cute!

SEE ALSO:

Why Kim Kardashian Is Good For Feminism

Kylie Jenner Debuts Two New Looks In One Day

'Kanye' Just Threw A Right Strop


London Fashion Week: Catwalk Hair Trends To Try Now

MP Calls For Thin Models To Be Banned From Catwalk Ahead Of London Fashion Week

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As the industry gears up for this year's London Fashion Week, the size zero debate has once again been brought to the forefront - and one British MP is calling for a ban on very thin models.

Caroline Noakes MP, who heads the All Parliamentary Group on Body Image, is campaigning for a law banning models with a Body Mass Index (BMI) of under 18 from the catwalk.

Noakes hopes Britain will follow in the lead of France, which is the latest country to vote to criminalise the use of models who are dangerously thin.

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Victoria Beckham Spring/Summer 16


Victoria Beckham was recently criticised by for using 'skinny models' in her latest show at New York Fashion Week.

Denise Hatton, chief executive of YMCA England, which is coordinating the Be Real body confidence campaign, called Beckham's show a "prime example of selecting models based on the outdated premise that the only way to sell products is by presenting an idealised view of the female body".

Meanwhile, journalist Piers Morgan described the models in Beckham's show as looking both "painfully thin" and "painfully miserable".

And earlier this year a YSL advert was banned by the Advertising Standards Authority, who deemed it to be 'irresponsible' for featuring an "unhealthily underweight" model.

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A YSL advert banned for featuring an "unhealthily underweight" model


However not everyone agrees that a focus on BMI would promote health.

The British Fashion Council currently does not enforce BMI, as they believe it is an inaccurate measure for young women.

Instead, the organisation say they have "a focus on looking after models [and] encourage health and wellbeing with healthy food and drink provided backstage at shows."

Alice Dogruyol, founder of premium denim brand Beauty in Curves, told HuffPost UK Style "To criminalise a BMI of less than 18 and threaten models with legal action is ludicrous - BMI is not an accurate measure of a person’s health and fitness.

"Fashion brands do need to take more responsibility and represent diverse body shapes and sizes on global catwalks.

"Surely the focus should be on health, not just body size. There are other things above and beyond size that require stronger legislation and matter more, such as the issues of smoking or binge drinking."

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Many people have also spoken out about how a ban on certain body types would not be a positive step for women's body image in general.

Rivkie Baum, editor of plus-size magazine SLiNK told HuffPost UK Lifestyle: "The way to greater diversity and representation in fashion and the media is not to pit one type of body against another.

"Piers [Morgan] is right that the use of just very slim models both on the catwalk and within mainstream media gives many young girls unrealistic body ideals, but it is not about banishing very slim models altogether."

Baum adds that New York Fashion Week is "quickly becoming a leader in using a more diverse set of models", with a number of a curvy figures taking to the runway alongside their straight-size model counterparts this week, in shows such as the Chromat one.

She says: "It is these designers and catwalks that demonstrate to young girls that fashion and the media accepts different bodies and this will ultimately play a huge part in re-educating young women about the relationship they can form with themselves. Let's not use skinny-shaming as a way of calling for greater diversity."

The Huffington Post has recently launched our #NYFW4All and #LFW4All campaign to highlight moments in Fashion Week that include people of all skin tones, genders, sizes, shapes and personalities - and we'll be shining a spotlight on shows that include models with a more diverse range of body types at this September's London Fashion Week.

SEE ALSO:

Victoria Beckham Slammed For Using 'Skinny Models' In NYFW Show

#PlusIsEqual Campaign Calls For Body Diversity In The Media

This 19-Year-Old Was Told She Was 'Too Big' To Be A Model


The History Of The Bra: Watch The Amazing Evolution Of Lingerie

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Ever wondered what bras looked like 500 years ago? This amazing new video from Glamour is about to give you a lingerie history lesson.

The vid chronicles every style of bra from 1800s restrictive corsets and 50s shape-enhancing bullet styles, to hilarious 70s 'nipple bras' and modern day stick-on inventions.

It even shows the evolution of the sports bra (which made us seriously glad we live in 2015).

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Models Carry Handbags 'Dripping With Blood' At PETA Protest Over What Not To Wear To London Fashion Week

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Models carrying handbags "dripping with blood" took to the streets of central London today to protest the use of exotic animal skins on the catwalk.

A day before London Fashion Week kicks off five models - Jenny Miller, Dani Thompson, Olga Vilchinskaya, Anna Buraya and Daryna Milgevska - paraded the handbags on Bond Street in what PETA calls "a plea for fashion to be beautiful, not bloody".

"Animals are not fabric – they're living beings, who, just like us, feel pain, fear and love and want to live", Milgevska told HuffPost UK Style.

"There's nothing glamorous about wearing the skin of tortured animals – vegan fashion is the future."

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PETA (People for the Ethical Treatment of Animals) is an organisation that aims to protect the rights of animals.

Speaking about the Bond Street protest PETA Director Mimi Bekhechi said:

"Fashion should be beautiful, not bloody.

"PETA is calling on kind people everywhere to skip the deadly snakeskin stilettos, crocodile handbags and calfskin shoes in favour of modern cruelty-free vegan fashion."

According to PETA tens of thousands of crocodiles, alligators, snakes, eels, kangaroos and other animals are killed for their skins every year.

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What It's Really Like to Work as an Intern During Fashion Week

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London Fashion Week is almost here, and behind the scenes there's a flurry of interns frantically scrabbling to try and prepare a month's worth of work in the space of a day.

In the glamorous world of fashion editorial - we're talking glossy magazines here - interns really do form the backbone of fashion week operations. How do I know? Because, dear friend, once upon a time I was one.

Been there, done that, got the bladdy t-shirt.



While this week will be one of the busiest for fashion mags and their editorial teams, it's the interns that really put in the graft. So, with this in mind, I'd like to blow a metaphorical trumpet for those unpaid heroes of the industry. 'Cause they're bloody great.

Here's a list of just some of the nightmare-inducing stuff interns have to do in the run up to fashion week:

:: Sift through a gazillion fashion week invites and create "invitation goody bags" for all of the editors. Cue, paper cuts.

:: Stay desk-bound until 9pm to ensure cars and transportation are scheduled ready for the editors.

(You know shit's bad when the drivers' phone numbers are saved on your personal mobile phone).

:: Create personalised Fashion Week schedules for every major editor in the company and ensure timings are bang on. Cars should be booked to work around the shows and to allow time for traffic jams and such. It's organisation on a totally different level.

:: Go on endless coffee runs for all staff members.

:: Trek to Bond Street to buy ridiculously expensive thank you notes so editors can thank designers for interview opportunities and/or the free shit they've received.

:: Pick up Krispy Kremes for staff on the way back from aforementioned Bond Street mission.

:: Stay late to upload hundreds of pictures of designer shoes and handbags to galleries.

:: Stay even later when the software crashes and you have to do it all over again. (FYI, it isn't fun).

:: Work your arse off and then be ignored by a handful of editors who think it's beneath them to acknowledge you even exist.

NB: These are a rare breed and most editors are decent human beings.

:: Fetch lunch for staff members, even though you've got a to-do list that's probably longer than theirs.

:: Return the designer clothes the editors have worn at Fashion Week (and not washed) to PRs.

Don't get me wrong, there are perks of interning too. You get to witness how a magazine operates during the busiest time of the fashion year. You get to attend shows (if there are spare invites knocking around). You occasionally get free stuff. And you get to work closely with the people whose shoes you might one day fill...

But when all said and done, it's a lot of hard work and dedication when you're being paid naff all and are relying on your overdraft to pay a month's worth of rent in London.

A message to interns: we know your plight, hang on in there baby(s).

London Fashion: Vintage Photos Show 60s Style In All Its Glory

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If you could flit back in time to any era, which would you choose?

For us, it'd undoubtedly be the 1960s, the age of Peter Pan collars, mini skirts and the birth of the IT-girl.

Even now, Sixties influences fashion are present on the catwalk - just look at Jeremy Scott's quirky Spring/Summer 2016 collection from New York Fashion Week if you need proof.

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While this summer was a salute to the Seventies, autumn/winter is very much nodding towards the 1960s.

Thanks to icons such as Jean Shrimpton, Edie Sedgwick and Twiggy; winged eyeliner, big lashes and voluminous hair (helloooo beehives) are still very much en vogue. For those who want to channel this wonderful era, stock up on mini skirts, coloured tights, turtle necks, pinafore dresses and anything covered in geometric prints.

Towards the end of the Sixties, Twiggy paved the way for a more androgynous look with her boyish crop of hair. Meanwhile Audrey Hepburn took to wearing straight leg capri pants with ballet pumps and a chic ponytail for a paired-back, boyish look.

While we're (sadly) not going to be transported back to the Swinging Sixties anytime soon, we can still ogle these stunning photographs and take inspiration for the season ahead.



SEE ALSO:

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Best Instagram Filter For Selfies According To Actual Science

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Choosing an Instagram filter is a serious business.

Not only do they have the seemingly magical ability to sharpen features, brighten tired eyes and wipe away uneven skin, they also have the power to make us very, very popular.

No really, it's science.

A photo posted by Gigi Hadid (@gigihadid) on




The people at Yahoo Labs and Georgia Tech have analysed over 7.6 million Instagram photos (that's a whole lot of selfies) to look at the effects of filters.

And the results weren't surprising - turns out, people love them.

Their findings showed that filters = increased engagement, with filtered photos being 21% more likely to be viewed and 45% more likely to receive a comment.

A photo posted by @lotstar on




The scientists also answered the ultimate Instagram question... which filter is going to get your photo the most double taps?

Turns out, filters that increase the warmth, exposure and contrast of your snaps are most likely to lead to more likes.

That means filters like Mayfair, Valencia, Hefe, Nashville and Aden will flatter your selfies, whereas Hudson and Clarendon are best avoided if you're after Insta-fame.

A photo posted by King Kylie (@kyliejenner) on




The study also found that even professional photographers are using the app's filters to their advantage.

See, we told you the world looks better through Valencia-tinted glasses.

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The Global Economy on a Sustainable Thread

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This blog is part of a month-long focus around sustainable fashion across HuffPost UK Style and Lifestyle. Here we aim to champion some of the emerging names in fashion and shine a light on the truth about the impact our appetite for fast fashion has around the world.

It's scary to think about the global economy today. Resource availability, social cohesion, our consumption model... We're about to exceed all their limits and what do we do about it? Not much.

The way economies are run is having catastrophic impacts worldwide. The truth is, we cannot continue to allow the exploitation of natural resources, fossil fuels, and cheap labour. We cannot continue to encourage excessive, obsessive demand. And we cannot support a supply chain that is always ready to anticipate and satisfy desire, regardless of the cost.

Yet - although it's clear to many that the current situation is unsustainable - we're still reticent about developing a coherent strategy to take us forward in a healthy way. We still manage to avoid these issues. It seems that for a society proud of being globalised, can't give a global answer to the problems facing our planet.

We've all been encouraged to believe that the problems we need to solve are not our responsibility. Just as bad, the problems have been separated into different boxes for us. We have the box of climate change, the box of poverty, the box of trade regulations, the box of slavery issues, the box of resource scarcity, and so on.... For each box, we're told there's a solution. But it's a different solution for each box, no matter if each solution is diametrically opposed for each box. Most importantly, it seems that we, as citizens, can do very little about it.

But is that really the case?

Here, I believe, is where we should bring into play our most powerful tool and agent. Something called 'sustainability'. Environmental, social, financial and economic sustainability. A 'method', or rather a framework, leading to a more equal and fair economy that's more respectful of people and more considerate of the planet and its resources.

Examples of sustainability as a methodology and as a framework are many and varied and are being applied to different fields around the world. All are delivering incredibly positive results.

Take Uruguay. Over the past decade, it's become the country with the lowest social disparity in Latin America. Around 90% of its energy comes from renewable sources. A policy based on environmental, economic and social sustainability has led the country and its economy to grow at rapid pace. Its debt has halved, while banks are now solid and businesses flourishing.

In the business world, there are certainly strong leaders to inspire us. Visionary CEOs like Paul Polman (Unilever), Francois-Henri Pinault (Kering), Elon Musk (Tesla), Marc Bolland (M&S) and Ivon Chouinard (Patagonia) - to name just a few. These individuals and their companies have been taking sustainability as a framework and methodology seriously. As a consequence, there's no doubt that their businesses will flourish in respect of significant shifts in environmental and social justice in years to come.

So clearly, taking sustainability as a wide and overarching approach not only leads to a fairer society and to a cleaner environment, but it makes a lot of business sense to shareholders and stakeholders too.

There's a thread connecting climate change, environmental degradation, over-exploitation of resources, social unrest and mass migrations, as well as economic and financial collapse. But there's also a thread connecting the solutions to all these issues too. The examples are plain and clear to see. This thread is where we can and where we must start.

This thread is 'sustainability'.

HuffPost UK Lifestyle is running a special series around Sustainable Fashion for the month of September. Livia Firth is creative director of Eco-Age and founder of The Green Carpet Challenge, and will be guest editing on 18 September. If you'd like to blog or get involved, please email us.

How Do You Define Sustainable Fashion?

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This blog is part of a month-long focus around sustainable fashion across HuffPost UK Style and Lifestyle. Here we aim to champion some of the emerging names in fashion and shine a light on the truth about the impact our appetite for fast fashion has around the world.

livia firth

How do you define sustainable fashion? The truth is, you can't. Or at least not in a few sentences. Words such as ethical, sustainable or ecological fashion have been so over used that they create more confusion than certainties.

The truth is we are in a situation today perfectly described by Carlo Petrini, founder of the Slow Food Movement when he asked a very simple question: "How did we end up in an era when we have to define and certify things that should be normal?"

To unpick that, we need to define unsustainable (and fast) fashion.

Fast fashion is a relatively new phenomenon. One that's caught us all, as consumers, in an absurd circle of micro trends. Think about it. Around two mini seasons a week in store. Disposable clothes that stay in a woman's closet for an average of just five weeks, before being thrown out - all in the name of the democratization of fashion.

In reality, this is exploiting not just us, the "consumers", but also the planet's resources and the people who produce them. The collapse of the Rana Plaza factory in Bangladesh in April 2013 showed the world the true human cost of production at these volumes and prices. And don't even mention the environmental impact. It's enough to say that between 11,000 and 20,000 litres of water are needed to produce just ONE pair of jeans.

Each year across the world, 1.5billion garments are sewn by an estimated 40million people, working in 250,000 factories. These are predominantly made in countries described by the UN as the world's least developed. All in all, the garment and textile industry is estimated to be worth some $3trillion. And the bulk of that goes into the pockets of the owners of those fast fashion brands. Two of them are at the top of Forbes rich list.

Fast fashion corporations have outsourced production to poor countries. In the process, they enslave them by addicting them to the idea of enrichment and start driving production costs down with volumes.

Like any good pusher, they offer their potential clients a great deal, only to get them addicted. Once they've succeeded, they're in the driving seat. In the case of poor economies, they addict them to the idea of lifting their people out of poverty. In fact, they're like the big bad wolf, lying in wait for the dependency to start.

At the same time, they operate as distributors and addict us, "consumers", to the idea of always faster, ever cheaper fashion, despite the human and environmental cost. It's the old problem. Out of sight, out of mind. It happens far away and so we don't see it. I think the whole system has been beautifully described by Andrew Morgan in his stunning documentary The True Cost, which I urge everyone to watch if they haven't already.

Benjamin Harrison, 23rd President of the US (1889-1893) once beautifully said "I pity the man who wants a coat so cheap that the man or woman producing it starves in the process". More than a century later, this happens to a scale which is completely out of proportion.

So the problem is much more complicated than simply finding a definition for sustainable fashion. Once you understand the mess we're in, the solution is very simple. Buy less and get more 'fashion mileage' out of each piece. Buy heritage pieces that will last. Become an active citizen through your wardrobe.

This is why I love fashion. It truly empowers you. But only when it allows you to carry beautiful stories woven into stunning clothes.

There is no legal or agreed definition of sustainable style or ethical fashion and there needn't be. Instead we need to buy pieces that are made with design ingenuity and innovation that prioritize social and environmental justice, along with the aesthetic - all three on an equal footing.

There are plenty of fashion brands today which are doing this and addressing complicated issues in their supply chain - but fast fashion will never be able to truly solve anything until it accepts to change its core business model - eg until it decides to produce less.We have a huge power as consumers - not only as we vote every time we buy something - but also because the change can and must start from us - from starting to buy clothes that we love.

Clothes that will sustain our wardrobe for years to come.

HuffPost UK Lifestyle is running a special series around Sustainable Fashion for the month of September. Livia Firth is creative director of Eco-Age and founder of The Green Carpet Challenge, and will be guest editing on 18 September. If you'd like to blog or get involved, please email us.
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