THE ART OF UPCYCLING

THE ART OF UPCYCLING

From scraps to style statement 

Upcycling is a way to transform old worn-out pieces into something new. The damaged clothes, scraps, or waste fabrics could easily be repurposed as your next wardrobe staple. It is an inventive process that significantly reduces the adverse effects of waste production and the constant demand for new clothes if done on a large scale. To get an insight into the art of upcycling clothes, we spoke with Kanika Jain, the founder and creative head of our label Kanelle, about her journey in the sustainable fashion space, the philosophy behind her work, and the brand’s one-of-a-kind upcycled collection ‘Scrap to Rack’.

When and how did you decide to set up a sustainable fashion label? 

A few years into the business, we decided to pivot towards sustainability and adopt new practices. It led us to start a new journey towards being a more eco-conscious brand. The sole reason was to be a responsible business considering that truly is the need of the hour and of the future since fashion is one of the major industries that exploit the environment, and we wanted to be wise about the carbon footprint our business leaves behind.

What is your philosophy behind Kanelle? 

Kanelle is an easy-to-wear fashion label created for the free-spirited woman of today. With the use of handcrafted indigenous textiles, Kanelle embraces wardrobe staples that are luxurious and feminine while being unique and wearable.

We would love to know about your new collection ‘Scrap to Rack’, your motivation behind it, and how you think it will bring a change in the sustainable fashion space. 

The Scrap-To-Rack collection arose from the rising need to induce the drive of sustainability and dazzle it with the creative and free spirit of Kanelle. The sole reason to have this edit as a constant over the years is only to repurpose the waste, as we call it, that the production process leaves behind. We make sure to use the surplus, small scraps, or sometimes even unsold stock to reuse and create the collection and repurpose the materials that are left behind. I feel if all businesses think in such a manner, then there would be no need to keep utilising additional materials. All things will be in use fully, leading to lesser waste.

Where do you source waste materials or scraps to create clothes? What are the fabrics that you usually enjoy working with?

All our materials for scrap to rack collection come from our production waste which at times are smaller scraps or surplus materials left over from previous collections. We enjoy working with cotton, linens, silk blends, sustainable viscose, etc.

How easy or complicated is the art of upcycling? What are the challenges that come with this method of creation? 

According to me, the art of upcycling is complicated but in a beautiful way. It is the most challenging collection that we create out of all others we work on because there are limited possibilities that we have to work with. The major challenges that we face while working on the collection are with respect to material availability and the type of design we can create out of that, and deciding what size that can be made into. Since we cater to many sizes, we can’t just create specific types of sizes, so we have to make sure we are fully size inclusive across the collections in various styles.

How have people responded to your brand’s upcycled collection? 

The collection is very well received by our customers, as they truly appreciate the story, effort, and design behind it.

How does the label keep up with the ever-changing fashion industry? Is this something you take into consideration when designing your new collections?

Yes, absolutely! Any business must keep evolving with the changing times and try multiple things in their working and design process while maintaining its signature and sensibilities as a brand. If you don’t cater to the need of the hour, then things start to be more challenging.

Can you share with us any other plans or initiatives Kanelle would like to pursue in the future? 

As I mentioned above, there are many things we keep trying as a business and try to become ever-evolving to have a fresh perspective with such changing times. We have started collaborating with other brands, and I am sure in the future, you will see many more collaborations coming from Kanelle.

CREDITS

The making of timeless fashion

The making of timeless fashion

A look into the intricacies of minimal and versatile silhouettes

Garments made using quality materials go a long way in protecting us and our environment from harm. Timeless and mindful fashion is the way forward as a sustainable practice, unlike fast fashion that eventually ends up in landfills. At IKKIVI Zine, we had an inspiring conversation with our designer Khyati Pande, founder of Itr by Khyati Pande, about her journey of building a sustainable brand and the creative process of making timeless apparel, and the challenges faced in the process.

How did your journey of creating conscious fashion begin? 

The creative seed was genetic. As an introvert, visuals have always been my first language of communication. From summer holidays spent witnessing my grandmother draped in crisp Jamdani sarees, hand embroidering and home stitching home linens to inheriting my mother’s collection of timeless handloom silks and Banarasi fabrics, textiles have always been my point of fascination. These led to me pursuing my graduation from NIFT Mumbai and my master’s from NID Ahmedabad.

 

What does your everyday production process look like, and how does the label master its timeless style? 

My design process is very organic. The starting point is always the textiles. With every new collection, we try to add a weave, cluster, or hand skill to the brand design vocabulary. These are shaped into timeless silhouettes, finished with finer details that don’t superimpose the human effort that has gone into handcrafting that piece of textile. These textiles are the basic building blocks of every collection. As a made-to-order brand, the production capacity is increased based on the organically growing demand. It has been slow but sustainable and stable growth, which doesn’t lead to overproducing or piles of dead stock.

How do you find and translate the phrase ‘comfort in chaos’ in making mindful apparel? 

Itr is not a trend or season-specific brand. The idea is to craft stories because stories are timeless and transeasonal as they bring a sense of comfort and ease, just like our clothing.

The three top areas of our minimal and handcrafted essentials lie in:

Comfort: It should bring effortless ease to the wearer, whether the setting is home or work.

Textiles: The silhouette is designed keeping in mind the nature and character of that piece of fabric. To be mindful of resources, embrace the simplicity that doesn’t overshadow the skill and effort in crafting that one piece.

Functionality and Utility: The garment should have the ability to adapt according to the occasion, space, or time zones.

Can you tell us about the artisans you work with and how they have helped shape your vision of sustainability for your brand? 

Every year we try to add a new craft cluster on board. Working with artisans comes with its own set of challenges, which is why I visit the cluster in person to understand the resources and scope of their skill set better. We usually begin with a small pilot sampling which helps build a rapport with the artisans and an understanding of the timelines.

Today we are working with three different clusters. 80% of the textiles we use at Itr are woven on handlooms, hand block printed, and hand embroidered. So far, we have been working with extremely fine and lightweight Bengal khadi muslins, airy Katan silks from Benaras, coarser cotton from Karnataka, and block prints from Rajasthan.

Whether it’s the hands involved at every step in making the brand or the women who have consistently made us a part of their wardrobe, it also matured us to be more compassionate towards each individual. As we grow slowly and mindfully, I hope we support more craft communities and reach out to more wardrobes.

What are the challenges you face in the process?

Itr started in 2014 without any blueprint. With a small budget in a room on the roof of my home with a team of two. Today we have grown into a cosy studio with a small but ever-growing in-house team of 15.Coming from a nonbusiness background, whether it was restricted capital or human resource, the brand has organically bloomed and learned to be self-sustained within the limitations. The humble beginnings taught me to be mindful, to have an immense amount of patience and empathy, and to be compassionate not just to the people who help us build our basics but also towards the people who have constantly made us a part of their wardrobes.

The brand has purely grown through word of mouth and positive consumer experience. It perhaps helped the brand hold its foundation even in current times.

What does the future of the label look like, and what would you like the future of fashion to look like? 

Time is the true luxury now. To slow down is the need of the hour in every aspect, not just fashion alone. It is a conscious choice to grow towards being a mindful brand. To be sustainable in any field of work can’t be achieved in a day, it needs to be an everyday practice.

While it is often perceived that slow or sustainable comes with a heavy price tag, the cost is always a crucial point in conscious fashion. It is, however, never disproportionate to the time and effort that has gone into making that garment.

As a designer, I also believe that it is important to make handwoven handcrafted luxury more accessible. To truly bring change, it needs to be relatable to more people.

What is your process to design a collection? How has it changed over the years, if so? 

Being a small brand built from scratch, one has a lot of emotions invested in everything you make. Every collection I have done has taught me something new, either about the trade itself or life.

What advice would you give to a young brand starting out in the sustainability space? And what is something you wish you knew before embarking on this journey as a designer? 

It requires never-ending patience and being honest to yourself and the people you work with.

There is no rule book or defined method for building a brand/business. We all have our own unique journeys.

CREDITS

Why waste is the way forward

Why waste is the way forward

Changing the narrative around the culture of disposability

By 2050 landfills are estimated to have over 150 million tonnes of clothing waste if we continue on the current trajectory of production and consumption. In this environment, young designers and labels are looking to create from waste and resources which already exist. At IKKIVI Zine, we spoke with Akshit Bangar, the creative mind behind the label Urban Darzi on the brand’s journey so far, the philosophy behind their products and the pertinent need to create with waste.

Where and how did your journey with fashion and waste start?

I think I’ve always liked the idea of clothes and fashion in general, even when I was a kid. Coming back from Nottingham after graduation, my dad offered to start a denim brand from one of his trading stock lots lying in his factory and I took that up. We ran a mass market denim wear brand for about 4 years supplying to major multinational retailers like Walmart and ITC till about 2017, right around the time when demonetisation hit and the conversation around fashion industry’s implications towards climate change & global warming started coming to the fore, especially in the Indian subcontinent. Although we were using seconds and discarded fabric lots even back then, we were still guilty of contributing to the problem at large. Post which I shut that arm down and focused on building an individual custom clothing company, with the last mile fabric remnants taken from big/small retailers and even individuals who used to sell on barrows. This is where the groundwork in my brain actually started taking shape towards imagining an overarching fashion company (and subsequently the whole industry) that runs entirely on everything considered as ‘waste.’ After a lot of research, trial and errors, failed investments – I finally launched Urban Darzi, as we know it, towards the end of 2020 with the ideology of creating a circular economy, where waste is looked upon as a valuable resource/raw material and used to create everyday lifestyle products, and where a closed loop system is created to have that initial set of waste coming back to the ecosystem till it is down to the last shreds and eventually recycled into newer material.

You mention that you use ‘jugaad’ as a philosophy to repurpose all that you find laying in dumps. Could you tell us a little about how and where this philosophy finds expression in your production process?

The idea of jugaad is one we, as Indians, know very well. It is seeped into our systems from early childhood by our mothers and society at large, on how to make use of everything and how to make everything work through jugaad. It’s in our vocabulary, in our understanding, in our day to day functioning. So when we say we use ‘jugaad’ as a philosophy to repurpose all that we find laying in dumps, we aren’t doing anything out of the ordinary, we are simply applying that idea, to make use of everything, into our design process and often re-imagining design in a non-conformist way. For example, we used single use plastic bags and food and consumer packaging waste, that we picked up from roadside dumps, and put it in between the lining of a jacket — which does pose an argument of microplastics going into water stream after washing — for which we put in our conscious design principles in place and make sure we are doing that on products that you can go on wearing without washing for months, such as a jacket – how often do you wash a jacket in winters? Another example, we worked with Khamir to upcycle single use plastics found on the streets into raw material, from which we made small holdalls and totes.

It’s not just using plastics, though. We recently did a collaboration with Urban Monkey where we made a sac cover from age-old fabric folders (the ones fabric suppliers send to manufacturers/retailers for sampling and no one seems to care about). We are working on an object’s line where we use the same jugaad ideology, to make decor pieces from all kinds of waste material that we can find on the streets/dumpyards/landfills.

Do some of the conscious values at Urban Darzi seep into your way of living? What does that look like in your everyday life?

Simple things, really. Generating as little waste as possible. Being conscious and mindful of your ways in life, not just from an environmental perspective, but as a human being overall. Being grounded. Being responsible for yourself, for the things around you and extending that thought process onto as many people as possible.

A fundamental part of building a business is developing an aesthetic for your brand. How did you decide yours, and how did you know it was right with your ethos? 

I’ve been a brand fanatic all my life. I love the idea of how a brand you look at, interact with, can impact your life in more ways than what you actively see and feel. When closing in on the aesthetic for Urban Darzi , I didn’t really set anything in stone other than the fact that it had to be completely different from the clutter we had at that time. A mix of raw, honest offbeat and transparent approach to the idea of fashion and clothes in general, was the cornerstone of it all. And who doesn’t like good visual design when they see it, so the editorials, the photography, the conversational aspect of the brand just blended in all naturally.

We often talk about waste from an environmental perspective. We’d like to know more about its artistic and visual aspects. What do you see and feel when you look at it? And what is your creative process like when designing from it? 

To create from what the world seems to have discarded – is often where creative genius lies. That’s what I tell all the design team members. For me, it literally is a playground. And the best part, there is always a new variety/kind of waste to play with and figure out how to upcycle and make a new product from it. Like yesterday only I found a lot of iron mesh sheets at a construction site and I am already thinking about what and how to make something valuable and aesthetically cool out of it. Creative process? It’s just about making the best possible use of it in the most efficient and radical way possible.

A new product’s value is considered to be much higher. And waste has somehow largely had a negative connotation attached to it. The frequent perceptions around it are that it is a re-utilized byproduct or fad to work with. Can designs made from waste come to have a similar value to fresh pieces? What have your experiences been with this in your practice?

We’ve been conditioned to believe this. It’s only a small section of the crowd today that has opened up to the idea of upcycled products and substituting them from a regular purchase in their everyday lives. Personally, I like to believe that products made from waste should actually have more value than a regular product, owing to the simple fact that the design process is much harder ( we can be at it all day to prove how) and takes much more creative thinking whereas the production is equally and painstakingly difficult in some cases. But it requires an overarching systemic change in the way people think and interact with products and their wants/needs in general; something that only collectively can be achieved with all stakeholders actively involved.

What are some of the ways in which we, as consumers, can use or connect with ‘waste’ – our personal waste and the waste that we generate, apart from recycling it?

I am no expert and am learning on the job everyday, but I believe it’s something as simple as being mindful of the waste you create. Seeing where and what you can put back to use, what you can avoid using. Seeing where and how you can collaborate with brands and give them the waste you collect for them to use it further in making new, circular products. Just simple, small things – repeated everyday, by everyone that will eventually account for a larger, societal change.

CREDITS

How ‘Fast’ Can We ‘Slow’ Down?

How ‘Fast’ Can We ‘Slow’ Down?

A Glance Into the Problematics of Change

With slow fashion trying to change the dynamics of the fashion business, our designer Neha Kabra from our sustainable brand Maati by Neha Kabra, speaks about the contradictions the trailblazers of the ‘slow’ industry are recurrently met with in the face of the insatiable demands of fast production and consumption.

What does a fashion revolution mean to you, and how does that play a role in the way the brand keeps evolving?

A fashion revolution is where we address the real problems, the core matters, and not just use it as a fad word or keep it as a trend. It’s where we talk about the raw material problem and the landfill problem, and how to tackle it.

What are some of the problems that you’ve seen come up in these everyday processes of sustainability?

Each process has its own problems. And when we talk about slow fashion, when we talk about sustainable brands,churning four or five collections, a year is practically not possible. I mean, there’s nothing slow about it. And in fashion, I think each process, say even if the fabrics are produced, the weavers I work with, it takes nearly two months to produce 50 meters of fabric.

One loom only produces around 12 meters of fabric in one go. And that takes nearly a good one month. So there are multiple looms working to do that and if the fabric only takes two months to come and then the actual production takes place. So it has its own timeline and the constant need in fashion to have something “new” constantly has unfortunately become a cultural practice. That we see something and we want it and to produce that design immediately is something beyond my imagination as production takes such a long time. And to bring that change I think is more of a challenge at the moment. Yes, people are aware about sustainability, people are aware about the story and where it’s coming from, but still, constantly wanting something new is a very, very big challenge.

 Do you feel that that’s a change that might be coming soon? Or do you feel that it’s gonna be a really slow shift where we’re actually able to become accustomed to or understand that we need to consume more mindfully? That it’s not just that production needs to be slower, but the rate of consumption needs to be slower.

I don’t want to sound pessimistic but sometimes pessimism is what supports us to reaching toward that goal. But I do feel it’s far away for everybody right now. By the end of it, everybody looks for business. For everybody, it’s easier to produce at a larger scale  money wise. They say it’s easier to produce 50 pieces in one design than producing one of 50 new designs. And the constant need of needing new, new, new – how do you let that go completely? The culture we are living in is a very fast culture. So it’s not only fast fashion, but fast lives we are living in. With the social media impact, I’m not saying it’s all bad, always, but by now in our culture, there’s so many other brands which are even expediting fast fashion. Even if you want to reverse the phenomena, there are a lot of brands on the opposite side. So while we are actually running into the direction of slow fashion, there is also a lot of expedited fast fashion. I don’t see it happening, fast, but I’m hoping that the change will come because this is exactly like when I started – people were not aware about what sustainable fashion is. Especially in India, I think four or five years down before the word was just becoming a trend. But now I think most people, after having been affected by Covid – 19 are much, much more aware about it. People have become wiser on their spending. They’re not just buying for the sake of it. So I think change will come. It’s taking its own sweet time, but it will come, it has to.

When you’re exploring new fabrics or materials, what kind of input do you get from the artisans? Do they often already know about it or are they also exploring them with you? 

It’s both. So when there was a fabric like bamboo, there was still awareness that the fabric is being made. We get the samples, we all touch, feel, see what works for us, what doesn’t work for us. But in bamboo there are so many weaves that are coming in. And when we get those and when we all sit together that’s what amazes them and where we all explore together.

They sometimes really can’t believe that our world has so much technology that is a boon. That’s what strikes them. They feel that this is going to be for the better. And at the same time, it’s slightly worrisome for them too because they are concerned that if people will shift to different styles given the state of fast fashion. There are pros and cons of both. But you have to constantly tell them that “no, (y)our practice is completely different”. You still have to make them [artisans] believe that what you are doing is absolutely fine because they’re growing everything organically. For example, kala cotton is a wild cotton grown naturally without any pesticides and insecticides. So you have to constantly assure them that what you are doing, your process is good and it’s not going to go anywhere. But of course, they (and all of us) do have to accept some of the changes we see coming in fashion – whether for better or worse.

CREDITS

For the Love of Fabrics

For the Love of Fabrics

Telling Tales of Threads

High quality materials and craftsmanship are the cornerstone of all our brands. At IKKIVI Zine, we spoke with Aarushi Kilawat, Founder and Creative Head of The Loom Art about her deep connections to fabrics, what a revolution means for her, and how she believes we can cooperate in the face of competition.

What does a fashion revolution mean for you and The Loom Art?

A fashion revolution is a larger word with a lot of weight. From when we started to where we are now, we have mellowed down with the word and how we use it – sometimes a revolution doesn’t have to be put out in such big letters. As people, our own journey with a fashion revolution is one where we are trying to understand what it means in which context. But for us at The Loom Art, what a fashion revolution really means is that we need to keep re-doing ourselves and the ideologies we have been working on. What we see is that post the pandemic, people are more aware of slow fashion and slow living, and how we can sustain ourselves with bare necessities. Our challenge now is to see how long we can sustain that lifestyle.

None of us can always do the right thing in every direction, and so with a fashion revolution, it’s important for us to find our own direction. For The Loom Art it’s about people who work with us. I am someone who loves being involved with my people, not just professionally but also emotionally. The whole essence of people who work at the ground level – our artisans – are our backbone. It’s about being able to offer them a livelihood, and encourage their younger generations and communities to pursue careers and be part of this craft.

Have you been working with the same artisans for the last 5 years?

Yes, the team I started with is still with me. We’ve grown ofcourse. And we’ve all been very emotionally involved in the growth of the team. There’s a different high to that altogether – we’ve gone from a team of 3 to 25 now. And all of them know what we (The Loom Art) are about, even though they weren’t all from the same background when we started.

What are the fabrics you work with and why do you choose them?

Until 3 years ago, we primarily used only khadi as it is a fabric that can last a lifetime. Now we’ve expanded our range, but only to include other handwoven fabrics. Along with khadi, we now do a variety of silks and linen. I love to hold and smell the fabric and I love how India is so rich in craft. Each of these fabrics has a tremendous amount of potential to be made into different silhouettes, and with each, the pieces would still be gorgeous.The fall, the texture, everything comes through with these fabrics. I also choose to work with them as the garments made from these fabrics are exceptionally durable and each piece of clothing can be passed on from generation to generation. I like the feeling that it travels a journey and passes on to another person, to have another story.

There is a general notion that sustainable businesses should stay or be small; that when they scale up too much it becomes harder to maintain sustainable practices. Do you think there is some truth to this idea?

Yes, but not completely. You need to be able to follow certain practices and maintain quality over and above everything. You never want to lose our essence due to the pressures of quantity, and if you get too wrapped up with the numbers game, you might lose your ground. The middle ground is always there where you can do your thing, offer it to others at a growing scale domestically and internationally, and still stay sustainable. That middle ground is key.

Customers and consumers were limited to shopping online during the pandemic. We consequently see a lot of competition for attention in the digital space for lower price points from customers over what may be sustainable. Does this ever have an impact on your work?

Yes, sometimes there is a fight for attention. But what we are trying to do is create a conscious community, not force anyone to do something. Keeping up with trends works for some people, and that’s okay. There are people who love what we do at The Loom Art as well as in sustainable fashion, and want to know more. Those are the people we want to work for and are working for. People have lost the idea of touching and feeling and knowing the garment and understanding why it costs what it costs, especially when made ethically. It becomes a challenge and I have also struggled with it. But we have been able to create a valuable section of consumers who know what we are, see our brand value and support our work. For them and for us, it’s not just about sales. It is about having  a conversation and narrating your story, as well as building a community through physical interaction. What I think is most important to understand is what you do and why you do it.

CREDITS

Changing the Ways in Which we Work

Changing the Ways in Which we Work

Tracing New Trajectories in Fashion

Cultivating change and correcting large scale issues at the systemic level in the fashion industry is often thought to hold more power and potential to make a real difference in how the fashion system works. While this may be a truth true in its own right, we want to share with you how we’re inspired by our brand Em and Shi and their founder Mansi Bhatia about the qualitative change working differently and more mindfully can bring to a brand’s artisans, people and the environment – making change just as potent at the micro level as at the macro.

What does a fashion revolution mean for you? What are the ways in which it has taken shape through your brand?

For us, the revolution would kind of mean in the smaller steps because, if you talk about things at large or if we really require things to change, they kind of have to change at a much more macro level, such as in terms of regulations and certifications. For us at Em and Shi, what it means is to do the best for everyone. To create our processes in a way where it is the most sustainable, and by sustainable I mean, it’s good for the people who are working for us, it’s good for the people who are gonna be wearing the garment, it’s good for everyone involved at every stage. Often when we try to achieve that sort of perfection in terms of what we’re trying to do. It’s like, if today I was supposed to shut everybody who’s working in fast fashion, we would have so many unemployed people and they would in turn, go somewhere else, you know? So I feel like a revolution kind of has to come from smaller steps. And what we do is to kind of make our processes easier on everybody, including the environment and the people whom we can take care of on our level.

I think I learnt that only because when I started, I came in with this whole revolutionary mindset to “do this and do that.” And what I found is that most of it is not possible because either it would be beyond our means as a growing business or it wouldn’t make sense for the people who are working for you. So when we came in, we kind of wanted this sort of approach where everything is super systematic, but what I’ve realized and found helpful is that we mold our structure according to the people that are working for our brand – to kind of change what we are doing to suit them more.

Does it feel like it has made a difference for your artisans and team, and for the brand?

I believe so, yes, because we still have the same people that started working with us from the beginning. Our pattern making hasn’t changed at all. Not even one of them has left or gone away. The fact that they haven’t felt like they need to step out and look for anything else, or even when they are trying to voice their voice, or if there’s anything that’s not working for our and their system – a few minor things obviously – they come to us and we accommodate that. And we really want to.

Could you share with us an instance where molding your ways of working to suit the needs of the artisans hold an impact on their everyday life, and consequently, beyond?

In the villages and spaces, anywhere where the women are working, their kids are hanging out in that area and they are often playing there too. Sometimes if they feel like blocking a piece of cloth, they are blocking it as well. I can’t stop it. The children are by no means involved in the production process, but rarely if they want to do it for play, I don’t discourage it. At the same time that’s their community. That’s literally the name of their community. They’re “printers”. We too have gotten a little more comfortable with them doing it as a community and not having to hide the fact that their children also hang out at their workplace. This is the reality, and we don’t have to modify it to show a different picture to someone, for the very reason that this is the way they work and people need to understand it. It also helps them to have their children around as there’s no one to take care of or be with them at home, and they are too young to be alone.

CREDITS

Creating Honest Change Through our Individual Paths

Creating Honest Change Through our Individual Paths

Why Being Who We Are Matters

Our sustainable brand Ahmev started out in 2019, unaware of the pandemic that was to strike us all. Finding their ground in the midst of uncountable challenges, they’ve carved a unique place for themselves as an ethical fashion brand in the last couple of years. We, at IKKIVI, spoke with co-founders Kanchan Sharma and Manish Garg about what revolutionizing the fashion system looks like, issues that small ‘sustainable’ brands face, why standing our ground and following our hearts matters, why they work the way they do, and the many things they are exploring.

What does a fashion revolution mean to you?

Kanchan: The fashion industry has played a major role in impacting the environment. In the world of fashion, everyone has done their part – they’ve shown the different meanings and definitions of sustainability and slow fashion. We have too. We recycle and make different things from scraps as well as waste material. However, an important part of what a fashion revolution means to me is showcasing Indian heritage and supporting different artisans by being personally involved in each part of the process. Whenever I create a collection, I personally involve myself by connecting deeply with the inspiration of every collection, working with organic fabrics, supporting women and karigars, and amalgamating modern and Indian sensibilities together. This makes a big difference for us, and being able to now have an international presence is a milestone for us. We only aim to go upward and impact more lives through our work.

What is a challenge that you see conscious fashion brands are likely to experience over the next decade?

Kanchan: People have attached sustainability with restrictions too. Nearly everyone requires certifications that are expensive and processes that are long, and are not clearly marked or very straightforward. We ourselves have had to change our terminologies and how we speak about a fabric because they are patented. An example of this is khadi.

Manish: For small businesses that are actually sustainable and committed to doing more, this presents quite an issue right now, as this is not a one off case for when you are establishing your brand’s name and its credibility. Whenever you want to apply for B2B or competitions, certifications have become a preliminary requirement.  Each country has their own certifications, and they don’t always connect across the world as there aren’t always standardized guidelines. We think this is a large challenge that we expect conscious businesses will continue to face in the coming years and will have to find ways to overcome.

How has the last year been for Ahmev as a brand? 

Kanchan: We started Ahmev in 2019, and I was never a dreamer. Manish pushed me to pursue my dreams and showed me what I can do, and having worked on them consistently, we are glad that the last year has been a very successful one for us. I have enjoyed the process – working with the karigars and my business partners Manish and Anchal. Our karigars are growing, and with them, our brand. We’ve been partaking in the making of each garment ourselves, and being involved in the small everyday practices has been so therapeutic. That’s really been the beauty of our enterprise being a start up.

The color white has been so important to you and to your brand Ahmev. How has your relationship with the color developed in these years, and how do you feel about adding other colors to your collections? 

Kanchan: I still face the issue of people asking me to make the same design in a different color. Even Manish used to suggest that we should make our garments in other colors if there is a demand for it. But people have come to accept it, and so has our team, as this is our brand’s USP. I have never used color, and I have even been afraid of them. Over time, I have been coming to understand color a little more and really worked on it with this new collection. But white is still our trademark, and we want to see that forward.

We’d love to know of some of the new things you’ve been doing at Ahmev

Kanchan: We’ve been doing more capsule collections as our customers enjoy them a lot. We’ve also been experimenting with menswear and doing trials on Manish!

Manish: I too have been exploring myself more through this, and hand painting some of our clothes with Anchal and Kanchan. In fact, I think I’m now becoming quicker at it than them!

CREDITS

Fashion Revolution Week

Fashion Revolution Week

How You Can Be Part of the Movement

The catastrophic collapse of the Rana Plaza Factory (24th April, 2013) in Bangladesh that killed over 1130 garment workers manufacturing clothing for several major fashion brands has revealed the vast complexities that have prevailed in the fashion system for over half a century, and has become a caveat for the fashion industry in the last few years to take measures towards the betterment of the working conditions of its people and within their factories. The industry’s complex value chain and systemic inequalities compel us all to be(come) vitally involved now in reforming its structural practices and building awareness about sustainable and ethical fashion – both as producers and consumers.

As the industry is starting to change slowly, this Fashion Revolution Week, a time where brands and producers are urged to give consumers an insight into their production processes – what goes on behind the scenes at their brand – we’d like to share with you how you can be part of the revolution with us.

1. Do research on the brands you (want to) shop from and asking them questions 

In order for us to be able to make conscious choices when shopping, it’s important to understand the processes of production and supply chain through which our garments or products are being made. Asking the brand questions about how the products were designed (whether they were handcrafted or mass produced), what kind of materials were used in their make (were they organic or include chemicals, vegan or utilized animal products/ residues), where they were manufactured (locally or globally), what kind of techniques their design processes included, the amount of waste generated, minimized and reutilized in their creation, the number of hours it takes to produce one product, the working conditions of their artisans and fair pay are some of the most direct and immediate ways in which we can inquire about what went into the making of their goods and services, and prevent us from being influenced by greenwashing. It’s okay if you may have previously purchased from a brand that you love without knowing about their methods of production, learning about them today is still valuable, as, in the long run it will help to make more informed decisions.

2. Use the #whomademyclothes hashtag on social media 

The #whomademyclothes hashtag has come about as a way to encourage people to ask brands where their clothes come from, who makes them, under what kind of working conditions and pay. One way you can partake in this is by taking a photo of your brand’s label during Fashion Revolution Week, and asking the brand #whomademyclothes? by sharing it and tagging the brand in your post on Instagram or Twitter. Many brands may not respond to the question or share only limited information about it, but brands that are genuinely aware and involved with the people who work with them are likely to show transparency of their processes. If a brand doesn’t respond, we encourage you to keep asking them and exercising your consumer rights.

3. Learn about the impact of fast fashion

The social, economic and environmental effect of fast fashion is nearly irreversibly damaging for both our environment and people. More than 60% of clothes are made of synthetic materials derived from petrochemicals that do not decompose, but instead break down into smaller and smaller particles called microfibers and microplastics. Discarded clothing made of synthetic fibers now sits in landfills for 200 years. 97% of fast fashion is produced in developing countries with poor labor laws, human rights protections, forced and child labor under dangerous working conditions and abuse and unlivable wages. While knowing about such injustices and labyrinthine difficulties that surround the fashion system can feel discouraging and induce in us feelings of anger, guilt and shame, we hope that knowing the realities of these situations can strengthen your resolution to consume and create differently, and shift consciousness by learning about the workings of fast fashion more frequently.

4. Understand the scope of slow fashion and climate consciousness

It can be difficult for brands to start out 100% sustainable in all their practices. But a label’s openness to evolve with time is a characteristic that is bringing on a lot of innovation and advancement in sustainable practices. Learning about how certain slow fashion brands are innovating and challenging themselves to do better with each collection can inspire our curiosity and build trust in participating and supporting a fashion revolution at the micro, everyday level. For example, our sustainable brand ‘Doodlage’ wields scrap waste and recycled materials, ‘SUI’ uses organic fabrics made from hemp, and ‘Mishe’ employs orange peel fabric to create novel designs – all of which are taking them – and us – a step further in understanding sustainable production and studying the influences of diverse materials on the natural world. At the same time, following the work of world leaders, climate activists, organizations and policy makers can educate us on the agency and power we hold at a collective level and how we can initiate action and change, as both individuals and businesses.

5. Cultivate awareness with friends and family

Nothing makes being involved in creating change as fun as having trivia games, movie nights, book clubs and conversations with our loved ones! Coming together and thinking about the ways in which we can create a community around the subject, engage with it meaningfully, build a more conscious wardrobe and allow each other to learn a little more than we knew a day before goes a long way in making a real difference.

Sustainability and fashion revolution as a movement and practice, will always keep building and challenging us to be better – and with it, our methods. In our ideal to make fashion 100% sustainable and slow, together, as a community, we believe it is of key value to keep our eye on progress over perfection, and do as much as we can, when we can. Every step counts. Every decision makes a difference.

CREDITS

With Nivi Murthy

With Nivi Murthy

Conversations on Exploring Diverse Business Values

Working with our Founder, Nivi Murthy, we at IKKIVI, spend a lot of time together on different themes, ideas and intentions. In the everyday hubbub of our projects, we’d been missing out on some conversations we’ve wanted to have with her for a while – conversations around the heart of her inspirations, experiences over the last couple of years, and the processes she sees entrepreneurs and ethical businesses need to be a part of. We got to meet with her this month and have a heartwarming dialogue about all this and more, and even learn about what she has planned for our newest vertical – ‘The IKKIVI Podcast’.

1. IKKIVI is now 6 years old. Does the business look different from what you had envisioned when you first started out?

The business has definitely evolved over the last 6 years into also being a voice for conscious fashion and mindful living. But what has stayed with us right from the beginning is the vision and passion to support and promote Indian contemporary designers globally by being a trusted curated online shop. We are ever evolving and constantly learning to be better and all-encompassing, but our vision is clear and we look forward to making a larger positive impact on our planet and its people.

2. What key quality has helped you sustain and build your business over the years?

Perseverance and passion.

3. What does ‘business’ mean to you? Did you ever think you’d be a business owner?

Business to me is the ability to create something new for the benefit of the people and the world we live in. I have always been passionate about solving problems and finding solutions but the first time I knew with more certainty that I wanted to create something of my own was during an internship while studying at the Fashion Institute of Technology. I was exposed to the supply chain and its inefficiencies leading to the problem of overstock and harmful impact to the environment with little being done about it. That’s when I felt the need to create and build something of my own that would have a positive impact.

4. You’ve had a full time team join you this year. But everyone had to work remotely for several months right at the start, due to the pandemic and lockdowns. What was that like for you? As a Founder and business owner, how did you navigate through all the changes and hiccups that came with that time?

I am grateful for the dedicated team we have at IKKIVI. I personally enjoy working with people and understanding them so I would say it was difficult that we had to work remotely almost immediately but we made Zoom work for us. We set up some processes right in the beginning so we could work towards our weekly and monthly objectives and tried to just put our heads down and go with what we could do considering the situation we were dealing with together.

However, now, I am more than happy that we get to work together in the office, we enjoy each other’s company, laugh more than required (haha) and are most importantly able to create so much more together in person.

5. What is a challenge you think every ethical and small business faces, and how do you think one can stay grounded and steady through it?

The idea that everything must be perfect. I think as small ethical businesses we put a lot of pressure on ourselves to be perfect in all areas of the business and forget that it is a process of learning and evolving. I believe in the idea of progress over perfection and feel that one small step in the right direction is a start and those many steps over a period of time will only have a larger and larger positive impact. It is important to be kind to ourselves and commit to the idea of constantly learning and improving.

6. You launched a podcast this July and it’s been so refreshing to hear one on conscious living. What can we expect with it in the next few months?

I am so excited about our podcast! I thoroughly enjoy meeting people, having conversations and understanding the choices they make in their lives. This podcast has conversations with some very cool and interesting people on living very intentional and mindful lives. We hope through this podcast we can continue to encourage and empower our listeners to live more fully and craft the lives that they want to uniquely live. We have artists, entrepreneurs, activists and change makers lined up over the next few months and we’re really thrilled for you to be a part of this journey with us.

7. Any book or podcast recommendations on running a business that you can share with us? 

This past year I enjoyed listening to ‘The Farrynheight Podcast’.

8. A quote that you live by?

“Dripping water hollows out stone, not through force but through persistence” – Ovid

CREDITS

Disrupting the Status Quo

Disrupting the Status Quo

Conversations on Tackling the Problem of Size Inclusivity in the Fashion Industry 

The fashion industry has long run an ill fated discourse of excluding a mass of its prospective audience from its consumption – people with larger and diverse body types. Gripped by and in many discriminative and cultural practices, the normative fashion system has affected scores of us, objectifying and reducing us to little more than our bodies. As we at IKKIVI work to create changes around the politics of dress and the body, we spoke with six women from all over the world who are challenging the fashion business in influential ways and trailblazing powerful conversations on the subject, showcasing the urgency to look into contemporary models and issues that impact us at grassroot levels.

SOBIA AMEEN

It opens up a space to have these conversations. Tokenism needs to end, while the influence helps the brand gain clout by showing their audience the ‘inclusive’ tag- it means nothing if what is portrayed is not put into practice. If you notice, there is a certain type of plus-size that is celebrated, an inch more than that not so much. The audience is a lot more accepting now than it was in the past of people that do not look like what was once considered ‘conventional’. People that pay for these clothes want to see models who look like them. The change needs to start from the root level to the highest authorities. When people in power and in charge are stern about what they truly stand for, the ones that work for them have no option but to follow. Associating & collaborating with diverse size inclusive brands might help change perspective on how to interact better or remove the prejudice towards larger clients but there is so much more work to be done to cater to such a diverse set of audience. To stem size inclusivity into one bracket might be misleading because there is such a diverse range of bodies to cater to.

An area where I have seen progress for people of our sizes is to have tailored options. There are a lot of brands that have options on the rack and others that will do it specifically to cater to the individual’s style and body. A lot of brands still do not carry anything above an L size and it is inexplicable but I do think there is a shift between how insensitive people would be about mocking individuals of a larger size, it is unacceptable and people who might not even have the same concerns are a lot more sensitive about how to talk about it. The trolls are always going to be around, instead of being one of them, being an ally helps to make a difference.

I stayed quiet about the ‘fat tax’ for too long. I am certainly guilty of paying for it in the past as well. I would want a piece no matter what and then I would be charged extra for wanting it in my size. I think there is a form of shaming involved here; you are a bigger size, your clothes need extra fabric, hence more labour hours, etc. You would not charge someone less for a smaller size if that was truly the logic being stated. For most brands/design houses the markup is usually good enough to not charge you extra. Brands, designers and fashion houses must be called out by their consumers and audience when they show discrimination. I think that is the only way. When you cannot profit off of shaming people for the size of their bodies or how they look, it makes a huge impact & that might be just the start of the change needed for this problem to be solved.

LYDIA MORROW

I am 25 and I have only been fat for around 4 years. It’s funny to think that the experience I have in shopping as a plus size person is much better than it would have been in the past since it is so bad! I presume that the new advances in sizing are mostly to do with the fact that the majority of women in both the UK and US are what would be considered plus size, but it’s hard to stomach just how ill-equipped the fashion world is for the needs of this majority. It often feels like these advances have been just incredibly unwillingly made and it consistently shocks me how little businesses seem to care for the huge amount of profit they are missing out on but many businesses truly do not see fat people as their audience. I think social media has given us power to connect and act and attempt to fight for change, it also gives people regular access to contact businesses directly and repeatedly. Any advances we are having in this area are down to the tireless work of fat activists who have had to constantly educate and push and risk their own mental wellbeing for progress. Apart from being such a small proportion of businesses providing for any extended sizes, the ones that do, have a hard limit on how big they are willing to go. A lot of this is because willingness to listen is only extended to fat people that are considered ‘palatable’, ie: those with hourglass figures, thin faces, and, of course, less fat- essentially leaving fatter people out in the cold. People are remarkably good at forgetting the people who are less privileged than themselves, even those who think of themselves as radical. We need to not just be listening to fat people, but the fattest people, and within that group we need to prioritise those who sit at other intersections, i.e. race, disability, and gender and sexuality. Disabled activist group Sins Invalid say that disability justice cannot be enacted without ‘leadership of the most impacted’ and I truly believe that applies to all areas when trying to create a more equal world. While we are seeing fashion make progress, we are not yet seeing what I would call visions of true ‘fashion justice’ that include fat people and the fattest people.

I think the biggest direct impact my work has had is in helping individuals break out of the cycle of self hatred, people who are fat are taught to be their own bully, to push themselves into unhealthy mindsets and lifestyles, to think that they are undeserving of kind thoughts towards themselves. Over the years I have had many messages from people saying that the way I speak, learn openly, and present myself has given them more patience for themselves and their bodies and for that I am incredibly grateful and proud. When you spend a lot of your time exhausted and advocating for change with very little visible change it is wonderful to remember that to make even one person feel safer in themselves is an incredible impact. I don’t like to claim that my work has been the direct cause of bigger things like businesses extending their sizing but I do know a lot of fashion business owners follow me and I’d like to think that I’ve been a part of influencing some of these more widespread changes as well. I think seeing a fat girl be hot and stylish and confident without playing into the tropes of what fat women are expected to be in order to earn social desirability is an undervalued thing that truly does have a huge amount of power alongside other forms of activism.

In my opinion the two biggest drivers of modern anti-fat bias are racism and ableist classism. As I learned more about intersectional struggles and their history it became extremely clear that anti blackness plays a significant part in fatphobia, after this realisation I went on to read Sabrina Strings’ excellent book on exactly this theme called ‘Fearing the Black Body’ which is an incredibly useful, clear outline of how historical white ‘race science’ and the white religious and medical communities throughout colonial history have colluded to make fatness synonymous with both blackness and moral and physical inferiority, I think a difficult pill to swallow for the modern person is how much of our thinking is still based heavily around the made up, unresearched, and unproven ideas that evil rich, white, colonialist men had about who they deemed desirable. In a capitalist society we cannot get away from classism and the idea that those who are unable to make lots of money have no value, so many assumptions are made about the ‘health’ of fat people and implicitly, their ability to work and generate capital which of course produces a system in which fat people find it harder to obtain employment and earn lower on average. While many fat people are actually ‘healthy’, the problem doesn’t actually lie in whether or not they are, it’s in valuing people based on their potential for profit. In a society that sees fat people as worthless, moral failures, emphasis is placed on changing fat people into thin people rather than providing for them to have full and beautiful lives living in whatever bodies they have at the time. I believe this is a large part of the root of not making plus size fashion readily available. A lot of fat activists talk about the idea that a fat body is always considered temporary, so why provide nice things to someone who surely won’t look like this much longer? These are the attitudes we are up against. And the lack of investment in fat people having careers in fashion spaces is absolutely shocking. I have almost never come across fat people working in mainstream fashion and when they do it is often working on clothes that will never fit them. In fashion courses there is a distinct lack of fat students and absolutely no teaching in that area in the majority of schools. The lack of fat people in any part of the design process is so apparent in the way things are graded, fitted, styled, and fabricated and as a fat consumer I found that the only way I started getting clothes that properly fit me was by becoming an expert myself. I have had to learn a wild amount of information on construction and fit, knowing which measurements to look out for, learning to avoid any brand without a comprehensive sizing chart, learning to spot tell tale drag lines on models’ clothing in shoots that shows that the fit is not as good in real life, learning how to make my own adjustments to ill fitting clothes, and learning which types of pieces are not worth investing in without getting a chance to try them on. In shopping for my own needs and learning to make my own where shopping has failed me, I have learned enough to become a professional fit consultant and that should absolutely not have to be the case to be a consumer. In terms of shopping in person, I do not have options. There are 3 shops on my local high street that stock my size, all of which I would not want to visit due to style and ethical concerns. Because of this I only shop online and usually only with small businesses who I can give sizing feedback to which is often unpaid labour. I have seen a lot of smaller brands around me increase their sizing to my size and no bigger, which is disheartening because it lets me know that as soon as life throws body changes at me again I will be back where I started.

SPARDHA MALIK

I’m constantly surprised by the type of people who feel impacted by me just living my life. It’s such a strange concept for even average sized girls, teens and even older accomplished women to see a girl my size celebrate her body and play with fashion. I’m amazed that it’s not just the plus-sized girls. It’s everyone who doesn’t feel comfortable in their body that finds some positivity on my page. It brings me so much joy to help people see themselves in a new light. And it also drives me to unapologetically express myself, be kinder to myself and share my insecurities with my beautiful community.

I think it’s important to understand that curvy bodies are shaped differently and need a more detailed understanding when creating the perfect fit for them. It’s not just about scaling the size, but also adapting a silhouette to drape the body better. I think designers need to work with a fit model to adapt better designs that don’t simply “hide the fat” but celebrate the curves.

I really like what you’re doing at IKKIVI. It’s delightful to shop on a website without that looming fear of size rejection! I think it’s important to shoot on diverse body types to see how an outfit looks on different sizes. Curvy girls find it impossible to find quality basics that are so easy for straight sizes. It’s a good category to look into. T-shirts, shorts, shirts, LBD, pants, blazers… I think sizing is such a variable when it comes to Indian designers. A standard size chart would be ideal!

LILLI HINGEE

I started my blog because Australian plus-size women weren’t being catered to by Australian brands and I wanted to provide personal reviews for people who were unsure about whether to take a gamble on the few International brands who were doing plus sizes. After a while I started to receive emails and messages from women thanking me, and I realised that simply being a visibly fat person in the public sphere was giving others the confidence to stop hiding themselves, and to try styles they hadn’t thought would suit them because they’d just never seen other fat bodies wearing them. My mum once described my blog as a “place for people learning how to make friends with their bodies” which I love.

There’s still issues around the representation of broader inclusivity. We’re seeing plus-size women in advertising and the media, but they’re predominantly white, young, and able bodied. There’s also a strong bias towards ultra-femme styles, which often excludes people who are queer, non-binary, trans, or aren’t comfortable with their bodies being reduced to a conglomeration of boobs-waist-hips. Plus size fashion is still fairly homogeneous. It’s full skirts and dresses, floral prints and polka dots. The trends are often several seasons behind, and they outstay their welcome. There’s also the issue that many brands have been dragged kicking and screaming into size inclusivity and it shows: They don’t offer everything in extended sizes, they add unnecessary embellishment to the “plus size” versions of things, they don’t show plus size women in their social media or advertising, and even if they have bricks-and-mortar shops they almost always make their plus sizes ranges online only. It’s like plus size women are being told “we want your money, but we don’t want to have to actually see you in our shops”. In addition to that, in the past it’s been virtually impossible to find plus-size fashion that is made well, from premium quality materials, or even natural fibers like silk, cotton, and linen. Where the positive change is happening is with small, independent designers and labels. They’re the ones with inclusive size ranges, more interesting cuts and designs, and more quality materials. FINDING those brands is the hard part though, which is why over the past few years my focus has really narrowed in on promoting small, independent labels.

Simply adding centimeters to seams is a lazy way of increasing size ranges, and it results in poorly fitting clothing that fit in some places and not in others. The hems are too long, the sleeves are too baggy, the necklines are too wide. Bodies come in lots of different shapes and sizes, and for a good plus size fit you usually need to start with a new block. As a plus size woman I’m more likely to trust that a plus size designer will understand the needs of my body, but at the very least I would hope that any designer looking to expand their size range would enlist a plus-size fitting model to ensure that their sizes sat properly on a human body. IKKIVI’s custom-make option – where you provide your own measurements – is amazing, and increasingly I won’t buy online from a business that doesn’t offer the same unless I know from experience that I can trust their size chart.

DIYA BASU

The shift that we see in recent years is because of the awareness generated by various mental health platforms and vocal people in India. People who understand the nuances and the consequences of imposing a linear mindset onto something as subjective as dressing. It’s through their own lived experiences that people understand the drastic effects of aspiring for a particular body type. The idea of absolutism is redundant since the more we understand body types and style choices of people, the more we understand how personal fashion is. So the collective experiences of people in their personal struggles of fashion, style as well as expression has given activists and designers a much needed push to bring about this level of normalcy in the fraternity and the larger population. Something that still remains unsaid, or I would like to say less explored, is making this more widespread at the grassroot level or making size inclusivity more acceptable in highly competitive areas of work. Especially having an understanding of size inclusivity in the early years of fashion education and creative fields would be beneficial. Also having a deeper understanding of body types and a clear distinction between healthy living and the extreme levels of fitness to fit body types are some things that need more executive action amongst the general population.

What’s considered fashionable, trendy clothing for leaner people is rarely acceptable for fat people. Any fat person with even a bare interest in fashion knows this has always been the case. Thin women in tight clothes are probably empowered;  fat women in tight clothing are criticized for being overly sexual. The only development that I see is how people are becoming a little conscious and respectful towards individualistic choices.

Mid and plus sized clothes have always been very difficult  to find. The market has never been exactly what people think of when it comes to fashion, glamour, and trendy clothing. It barely allows women to look sexy and fun. With garments being mostly made in a way to disguise the form of the body, it’s very difficult for us to accentuate our beauty. I’ve had terrible experiences when it comes to shopping for myself. For what I found sexy and chic, I’d end up pushing myself extremely hard to get in it.

LYNDSEY DEMARCO

My body has changed a lot over the last 8 years as I have been in recovery for an eating disorder. So for most of my life, it has been less about whether I can find clothes that fit me and more about finding clothing that I feel good and confident in. With more size inclusion happening in recent years, it has allowed me and so many other people to find clothes that fit our personal style and make us feel cute and hot no matter what our size is. Giving people more options to choose from at larger sizes is so important in helping to build a sense of personal style, which helps to build confidence and improve mental health.

Fit is so key for true size inclusion – no one wants to wear a garment that isn’t designed with their body in mind. Poor fit could mean gaping buttons over a chest, not enough room in a pair of pants so the waistband doesn’t sit straight, or pant legs that are graded too widely. No one wants to feel like their size was an afterthought, and it is often in these small fit details where that happens.

I have loved seeing how small brands enthusiastically prioritize plus sizes in their lines. It is so refreshing and encouraging to watch the brands that have made an effort in terms of size offerings, fit testing, marketing, and imagery really prove to everyone else how it can be done and how it can also be very profitable to do so. Plus size folks make up half the consumers in the US, yet have such a small fraction of options, and it’s refreshing to see brands realize this. It is also really wonderful to see brands make clothing in larger sizes that are also fun, trendy, and brightly colored.

The six beautiful women we interviewed here are –  Sobia Ameen, Lyndsey DeMarco, Spardha Malik, Diya Basu, Lilli Hingee and Lydia Morrow.

CREDITS