United Kingdom

For sustainable fashion advocates out there, the impressive reality of recycling in fashion today is not big news. However, to many (including myself until recently), the words recycling and fashion, especially in the context of aesthetics, present somewhat of a paradox. While the necessity to recycle and the urgency for change cannot be overlooked, when it comes to what we look like, these crucial ideals are often not enough to lure open the purse strings.

The union of soggy cardboard boxes or half rinsed milk bottles with the expectations and desires of the fashion forward seem an unnatural match. And the concepts of desirable fashion and discarded waste appear destined to be mutually exclusive. Or at least until now.

The concept of recycling in fashion is no new kid on the block, but its often bygone style and hint of piety can cause it to be unpopular. But now, a new wave of interest and innovation has it leaping and bounding up the style stakes. 'Waste isn't waste until we waste it', said Will.i.am recently, and while I'm not a devoted fan, if Will says it, it must be cool.

There are three ways to recycle in fashion. The first and perhaps the most familiar, is by customising clothing you already own and thereby giving it a new lease of life. The second is by using raw materials composed of recycled fibres and/or products to make something new. And the third, and perhaps most interesting, is by re-imagining waste that would otherwise be thrown away, to create an upcycled product.

Antonia Edwards of The Upcyclist says, 'To be able to create beauty and elegance from waste takes imagination, innovation and skill.' I know very well the limits of working exclusively with responsibly produced raw materials, and they can be considerable in terms of realising design ideas. To make the desirable out of the undesirable is certainly a valuable skill in this competitive industry.

Image courtesy of mosevic.com

British brand Mosevic is one such label working to embed the concept of recycling into their manufacturing process. The designers behind the brand began by sourcing countless pairs of second hand jeans from charity shops to develop a material they call 'Solid Denim' (layers of 100% cotton denim bonded together with resin resulting in a strong, tactile material suitable for eyewear). During this process it occurred to them that using these recycled materials could in fact be part of their business model. Mosevic are working towards finding a steady supply of waste denim and an eco resin in order to provide a 100% recycled and biodegradable product in the near future.

Image courtesy of lostpropertyoflondon.com

Lost property of London is another home-grown brand incorporating recycling into their classic and minimal accessories collections. Last autumn they used offcuts of wool from a Scottish mill and this winter it will be quality canvas from a theatrical supplier.

According to research at the Ethical Fashion Forum, about half of the textiles we throw away in the UK can be recycled. That's a lot of waste, and these two labels are demonstrating the crucial part brands have to play in the fight to dispel the negative connotations associated with recycled materials.

It's time for designers to look at waste as an ally, offering innovation and opportunity and for consumers to give their rubbish a second chance. Not only is this important for the wellbeing of our planet but these visionary brands show us how original and beautiful it can be too.

This post was originally featured on the study 34 blog

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When shopping for work clothes in a local shopping mall, I realised that I no longer knew what I was meant to 'be' in society's eyes. I should go to the gym and squat but also fit into skinny jeans perfectly.

I should be good at contouring (which up until a few days before, I assumed to be the body kind). I should be girly and innocent. I should take control and be strong. All these images and concepts have bombarded me day after day from the age of 10, when I first picked up a 'glossy' teen magazine. I have struggled, like many, to feel good about who I am without pushing myself to fit society's current 'it' body shape and way of thinking.

As I have grown older, shopping has become more of a chore, than the enjoyable experience marketed to us. It would seem this rang true for many, judging from the dialogue my Open Letter to Topshop started. That is why I started my campaign, to ask for standardised sizing across all clothing retailers. At least that way, we could have one less way for society to shame us.

Now aged 25 I've discovered that in fivd different stores I varied from a size 6 to a size 12. I reached my limit of tolerance. In Topshop, the mannequin was raised on a podium and haunting in its stance. It stood for everything I despised about the way women are portrayed.

My girlfriends, my mother, my sister, cousins, aunties and peers, have all struggled with body image at some point in their lives. Some have been affected worse than others, with their insecurities fuelled by the media representation of the 'perfect body'. In western culture during the 50s, societies 'perfect body' was all about hips. In the 90's it was all about bigger breasts.

Move on to 2015 however, and there is no one 'perfect body' courtesy of the media and fashion, but multiple. You would think this would make it more acceptable to be yourself, but no.

Instead it has created havoc with the way we perceive ourselves. How many times have your peers or women close to you uttered the words "I wish I had...longer hair/ a flatter tummy/ curves/ bigger breasts/ a bigger butt/ more tummy/ less cellulite/ no facial hair"? Image being just the tip of the iceberg of hate we throw at ourselves each day for not being what we THINK we should be.

The fact is though, there are so many issues like this that we as women, face every day. Did you know women are TAXED on sanitary items? That's right. Tampons. The government tax your tampons. The things that help you crack on with life whilst Aunt Flo comes to visit. Laura Coryton stood up and started a petition with Change.org to fight this. The petition 'Stop taxing periods. Period.' currently has 242,623 signatures and has sparked a conversation across all walks of life with plenty of media coverage raising awareness. Kiran Gandhi fought the stigma women's bodies and periods have in society, when she chose not to wear a tampon during her marathon run this week.

Of course we also have the 'No More Page 3' campaign. Lucy-Anne Holmes stood up and fought for The Sun to stop publishing images of topless women in their family newspaper. Personally I find it amazing that women are still 'sold' using this image. With so many strong amazing women, why are we still taxed, shamed and photoshopped to within an inch of cartoon like proportions for the enjoyment of others?

Recently, Protein Worlds 'Are you Beach Body Ready' billboard hit the headlines after Charlotte Baring started a successful petition on Change.org asking for it to be removed. Quite right too! As she said 'what is 'Beach Body Ready'? And who would not be?' These questions sum up exactly how I feel about the advertising of 'the perfect body'.

What is the obsession with 'the perfect' body and what even is it? It's not just weight that is the issue here either. I considered how many hours' women spend plucking, waxing and shaving their body before wearing a bikini, in order for society to not yelp and freak out. Hours and money spent on rituals that are so tedious and yet lead to insults and abuse if not obeyed. By the way, those 'for women' pink little razors with the delicate blades; we pay tax on those too. We are taxed, not only for the little essentials relating to our bodily functions, but also on the things society tells us we need to do to our bodies to make them acceptable.

What do the women above, you and I have in common? The hope for change. If something doesn't feel right or is offensive to you and others, stand up and fight it! Starting a petition on Change.org gave me the chance to stand up and start a fight against the concerning lack of standardised sizing regulations within the UK (we only follow EU guidelines). It will be a long process, but worth it to know that one day; we might actually be able to go shopping and find everything we need in our size. Without being made to feel like we are too 'fat' or 'thin' for certain stores that claim to stock our size. I no longer question my looks, weight or anything else about my body.

Instead I embrace my hips, my hairy legs (always a winner in the winter months) and my little flecks of grey hair. This is who I am, I like to enhance the way I look, but I no longer feel the need to change it to suit anybody other than myself. There is a lot more to me than my 'imperfect' body and by taking control of that, I can concentrate on the rest of my being. Something many of us have forgotten holds more value than being 'Beach Body Ready' as the corporate giants would have us believe (which can really only be achieved by wearing sunscreen and a bathing suit on a beach).

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We're living in cookie cutter times. We all wear the same clothes, mass-produced for the same stores, we drive samey-samey, personality-free cars and are we're slaves to our smartphones that are virtually identical in terms of functionality and aesthetic. Very little is unique anymore. Restore to factory settings.

Choosing Cath Kidston et al, or our favourite band tee (from Primark, natch) might allow us to feel like we're expressing ourselves but the reality is that every High Street in the UK looks and feels the same. Drop you in blindfolded and you could be anywhere. We're all consuming the same goods. Individuality is in short supply. It's understandable that in these circumstances, our need to express our creativity and personalities can be overwhelming.

The cool kids are shunning the bland ambiguity, and are embracing recycling and up-cycling as a fashion led way to express their individuality, whilst appealing to their social conscious.

2015-08-10-1439247032-5553776-GoThroughYourWardrobeMakeDoandMendposter004773.jpg

Not only does making good and mend - refashioning what's already in existence - fulfil us creatively, it's also economically, socially and environmentally beneficial. In 2012 almost 14.3million tons of textiles were send to landfills. Huge deliveries of used fabrics and clothes are shipped to developing countries, inundating them with cheap and often unnecessary textiles that stifle emerging local economic development in textiles. It is certainly far more eco-friendly on a many number of levels, to give your existing wardrobe a bespoke makeover than to commit to the bin or charity shop without a second thought.

Make Do and Mend obviously isn't a new concept. It was a pamphlet issued by the British Ministry of Information in the midst of WW2, to provide housewives with useful tips on how to be both frugal and stylish in times of harsh rationing. With its thrifty design ideas and advice on reusing old clothing, the pamphlet was an indispensable guide for households. Readers were advised to create pretty 'decorative patches' to cover holes in warn garments; unpick old jumpers to re-knit chic alternatives; turn men's clothes into women's; as well as darn, alter and protect against the 'moth menace'. An updated version of the book was recently released to coincide with the economic recession, offering similar frugal advice for 21st Century families.

In our throwaway society, with cheap, pretty tee-shirts that cost less than a loaf of bread, we're so far removed from the challenges faced by our war time sisters in terms of looking polished and fashionable, however that doesn't mean that we shouldn't employ their tenacity for looking good on a budget. We may ask ourselves why we'd upgrade or mend a frock when you can simply chuck it away and buy a new one as you do your weekly food shop. Particularly as we all lead such busy, stressful, time poor lives. But as consumers are realising the devastating effects of fast fashion they are beginning to look for innovative ways to change their wardrobe, and express their individuality. Upcycled apparel can be a part of this revolution - helping people make meaningful choices with their clothing.

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© AB Kellow #dareyoubare

When I was 15, I wore so much makeup you could've chiselled it off with a sledgehammer and I kept that up for a good 10 years, my favourite being blue glitter eye shadow and red lipstick with rosy excess blusher (nice).

But being on a detoxifying bender of late I've looked into not only everything that goes into the body but what happens on the outside. And make-up is far grosser than a beige baby wipe dumped in the bin after a couple of Babychams...

Here are my top ten reasons to have a breakup with make-up (even just for a couple of days a week)

1- Make-up fills your pores with silicon.
A lot of make-up brands have silicon in it, which is known for its plumping benefits (mostly used in other enhancing areas of the body, ahem) but stuffing your pores everyday with silicon and other toxic chemicals can start to break down the pores and enlarge them, resulting in open pores that never shut. When you sleep the pores open and breathe, which is why it's good to make sure your face cream is the exact science of your skin so as not to cause aggravation and keep the pores in tiptop condition.

2- You're not that old (are you?)
Your young fresh teenage skin does not need tons of make-up. It really is more beautiful than you can imagine. We tend to pick out every flaw on our face then maximise it by 100. Maybe you are older? Don't hide your wrinkles, make-up only seems to get stuck in them. And as Lucille Ball said, 'the secret to staying young is to live honestly, eat slowly and lie about your age.'

3- What you're putting your face on it goes into your blood stream- quite literally!
I'm sure you've heard the stories about swallowing approximately 25 lipsticks in your lifetime (gourmet dinner a la Mac anyone?) but did you know using eye make-up remover and inhaling your perfume is just as toxic if it goes into your blood stream- coconut oil as a remover is a good alternative and a none spray perfume dispenser.

4- Make-up drains your wallet.
I once tried to watch a contour make-up YouTube video, then there was another one underneath it, and another and another... all sweetly stating to just buy these rather large quantities of make-up and then perfect sloshing the products onto your face. Well, I'm all for learning new techniques but I'd probably never leave the house because it would take me so long to master it and who cares anyway when your in a dark bar dancing under a sweaty blue light?

5- You can develop allergic reactions.
What many people find surprising in life is that they suddenly get an allergic reaction to something- whether that is bread, cream or a beauty product. The reason is because your body has taken the said harmful product for so long and the immune system automatically fought off the nasties, that it decides to pack up and have a holiday- literally! Allergies in and he's taken up full residence now!

Also anything ending with Sodium Benzoate or acid is normally attacking your skin rather than nurturing it and watch out for BHA and BHT, research has shown this contributes to major illnesses.

6- Confidence at all times?
Make-up covers a mirage of flaws, which actually aren't flaws but just a little tic that has been developed over time. I was often told I had crazy curly hair as a child and for a while I had a love affair with constant blow-dries, tongs and GHD's, until my hairdresser quite tactfully said, 'Er, your hair is breaking in half!' Now it really doesn't matter, big hair don't care! Love yourself; whatever you look like and the confidence will radiate more than any Benefit Highbeam ever will.

7- The Animals.
It can be assumed that if there is a 'Not Tested on Animals' sign it is safe. Yet some products still have animal products in their ingredients and it is often shady whether they are acquired legitimately. Researching each company is important, whilst that may sound long-winded, the thought of animals being in pain far outweighs. The same goes for food, and there are many online documentaries that show the beauty testing and cruelty in farms to our cute little furry friends. Aesop, Aveda and Charlotte Tilbury are all great brands that are natural in their resources.

8- Inner Peace.
I don't have any desire to start wearing hemp trousers and rename myself after a star but feeling peace within yourself, by not wearing make-up is a wonderful thing. I love full on glamour, hair and make-up I won't lie, but it's quite liberating going out a few times a week with no make-up on. Going make-up free take's courage and for that it is a very rewarding experience being happy without it. People will see your natural beauty. Besides, where else can you wear those oversized Audrey Hepburn glasses?

9- Time.
Time is always of the essence and although I can do a brilliant vintage cat eyeliner on the central line at a record speed of four minutes (with a few catty looks heading my way over Metro newspapers- meow) it does eat away at your schedule and time. You could be busy learning French or going to a new class or staying in bed with your partner for another scrumptious hour.

10- A little goes a long way.
I know that sounds rather odd, but by going make-up free you get used to it faster than you can say sticking-out-tongue-mascara-face. So when you do get back on the wagon you can often just use the essentials. You will also notice your skin starts clearing up on it's own, producing it's natural oils and blemishes diminishing, therefore not needing the full whack to go out and but a pint of milk. My favourite is mascara and lipstick, and that's it. Easy to take off and still got a lot of va-va-voom!

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Holiday is booked, bikini is purchased, legs are shaved. Ok legs aren't shaved, but we're not going for a couple more weeks... We are heading back to the fabulous Gloria Resort in Turkey for some last minute sun and the holiday prep is well and truly underway! From hair protection to stylish sunnies, check out my break down of this years holiday essentials...

1. Huit Dressy Foam Triangle Bikini, £77

Simple and elegant, you can't beat a triangle top bikini but always go for a foam cup to offer more support and to give a smoother shape.

2. Beaded Tusk Necklace, Accessorize, £19

A subtle gold chain against a sun kissed décolletage gives just enough bling for instant poolside glam.

3. Seafolly Gili Island Striped Kaftan, £53

Seafolly do a great range of colourful kaftans with these gorgeous tasselled trims, they are so easy to throw on over your bikini whilst you enjoy cocktails by the pool.

4. Paul Mitchell Sun Shield Conditioning Spray at Hairtrade.com, £9.99

Hairtrade.com is my first stop for all of my hair needs, this conditioning spray will protect against the suns harmful rays to stop your hair getting too dry.

5. Ray-Ban Clubmaster Sunglasses, £125

The celeb sunnies of summer 2015.

6. Tigi Bed Head Totally Beachin Shampoo at Hairtrade.com, £8.99

This shampoo is really hydrating, perfect for your summer holiday wash bag and can be picked up at discounted prices at Hairtrade.com.

7. I+I Jewellery Crescent Moon Ring, £160

I discovered this brand on instagram and am lusting after this crescent moon ring.

8. Elemis Frangipani Monoi Body Oil, £34

An alternative to the after sun lotion is this luxury body oil for intense rehydration and to moisturise your skin. It also gives you a gorgeous dewey glow to compliment your holiday skin.

9. ESPA Skincare Optimal Skin ProDefense, £35

I keep this handy little pump in my hand bag and apply daily for instant protection from the elements. It's great peace of mind whilst working as an intense moisturiser.

For more posts like this, please check out my blog at Scarlett and Me!

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As a London-based stylist, t his season was my first to attend the Paris Haute Couture shows, Automne / Hiver 2015-2016 (or Autumn / Winter 2015-2016, as it is otherwise known). Rest assured, it still confuses me what season we're up to as much as it might you! Being a newcomer, I wasn't prepared for how visually captivating the whole experience would be - from the designer hotel interiors I was whisked into - to the couture collections themselves. Yet again I left Paris feeling inspired, as can be expected!

When we think of haute couture, most of us might think of famous brands such as Chanel and Dior, but I found it interesting to see the many sides of couture by attending such extremely different shows. We can see how couture can cater for different tastes.

Ilja AW15/16, "Ingenium Existere": modern haute couture. Structural silhouettes exemplify an attitude of strength and individualism. Trends: feminine lines but structural, rather than floaty, fabrics. Image Stylist's Own.

Rami Al Ali AW15/16: Modern-day Hepburn. Hollywood's Golden Age, 50's silhouettes enhanced by haute couture. Image Totem Fashion.

As a Personal Stylist, a common problem people come to me with is feeling they are 'stuck in a style rut', or like the look of something on the rails, but would like more confidence to carry it off. Sometimes change is not an easy process. We might go home after purchasing an item, thinking 'that's not me, I can't carry it off', and the negative self-talk creeps in. But my job is to push these boundaries - even a little, so they might escape the rut they're tired of, and come away with a fresh look. This is not to tell someone it looks great if it doesn't - but encourage them to try something different, which nevertheless may be slightly out of their comfort-zone.

Couture shows can guide us towards new trends, but show how they can be worn to suit the individual, no matter what their style preference. The aim: to be a trend-setter, not follower.

Serkan Cura AW15/16 : Street couture, haute couture focusing on one half of the body. Trends: oversized crystals (featuring Swarovski), combining day and evening elements. Image Totem Fashion.

Designer showcases are the most extreme examples of individuality and fashion artistry at play. Even down to the flamboyantly-dressed characters in attendance, who are creations of art themselves. But most people don't want to look flamboyant, or stand out from the crowd. So how do we adopt the trends so they are 'wearable'? This can seem complicated, not to mention time-consuming. A good personal stylist can help by doing the leg-work to find trends that would suit the individual (so you won't have to!).

Before we even begin thinking about escaping a style rut, however, the first step is attitude.

Designer Bowie Wong's message from his AW15/16 show 'Metamorphosis': "Free yourself from restrictions and don't get stuck in one shell. Be inspired to transform. Go your own way and fly free." Image Stylist's Own.

The designer believes the magic of haute couture is it's ability to transport us into a fairytale. It's not only enjoyable to be transported out of every day routines and realities but needed. We can see the power of haute couture to inspire not just stylists or people who work in fashion (or the elite few who can afford to buy it), but everyone.

Julien Fournie AW15/16 "Premiere Nuit". Parisian Couture of dark enchantment, featuring winged headpiece. Image Stylist's Own.

Eva Minge AW15/16 'Black Butterflies'. Butterflies are symbols of change, growth and freedom. Her empowering vision of the modern woman: whilst black butterflies might be soft and beautiful, they are bold and strong. Me (left) pictured with a "black butterfly", lead model. Image Stylist's Own.

Looking at the shows can help us adjust to emerging trends, so by the time we see them in stores we can more easily imagine ourselves wearing them. I think sometimes we're too scared to try on something different to what we're used to, and from what we've liked in the past. Seeing each designer's stretch of imagination - taking risks through fashion, will hopefully make us more confident to take, even the smallest one.

Charlie Le Mindu AW15/16 'The Male Gaze'. A grand spectacle of Hair Couture, fusing digital and live performance. Image Totem Fashion.

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You may have seen in the news that over the weekend three of the biggest model agencies in the country are being investigated for price fixing in the modelling industry.

For reasons that I will explain shortly, the demand for models is increasing and as a result the price clients are willing to pay is dropping. The accusation is that three of the top London agencies have colluded in order to fix prices across the industry and make sure that they keep their slice of the pie in the face of a changing industry.

As someone working in the industry, while I found the news interesting it didn't particularly shock me. For those who've never read my blog posts I run a boutique modelling agency called Sapphires, working primarily with the high street and commercial brands. While we certainly aren't in the same league as the likes of those being investigated, we are a well-respected agency working with some big names in British retail.

Our agency relocated to London in 2010 after operating successfully in the Midlands for several years. I'm not one to name and shame but I can tell you that since relocating to London we have been 'warned off' by several of the larger agencies. Our working with - or even in some cases just approaching - clients or models that the big guys felt were rightfully theirs have resulted in several nasty emails and phone calls essentially telling us to get out of their way or face the unquestionably bad consequences.

A major problem is that it's very easy for these larger agencies to use their clout to essentially steal models and clients from the small guys. While there are contracts in place to stop this, as many people know having a contract and enforcing a contract are two very different things. The small guys like us are constantly in a state of survival as we are always at risk from the large agencies deciding they want our models and clients and swooping in, using their sheer size to barge us out the way.

It's not just the agencies though. Many models suffer from something we call "grass is greener syndrome". We are by all accounts a strong, working modelling agency. Our models are working and are making a decent living through us, in fact many of our models are earning several times what I earn a month! But regardless of that, for some models the glamour of these big, world renowned agencies will always be too much to resists.

But in reality these big agencies really can't focus on an individual model's career unless they're making them money - they are just too big to provide a personal service to each model like we are able to. I'm not saying it's their fault - as a company grows so do financial targets and of course the low earning models are going to be a casualty of that. As the pressure to make money grows the top agencies will cast their net far and wide, scooping up as many models as possible. Some will go on to make big money but most will sit on the books of the agency doing very little until they give up or get dropped.

Of course, no big agency will tell a model this... and why would they? Their jobs are to sign the models and they'll say whatever they need to in order to get them on the books; if that means poaching them from a smaller agency like us then so be it. It's underhanded, unethical and since models are contractually signed to an agency it's often plain illegal but like many aspects of our society, might is right and for the small guys to actually confront the top agencies is very difficult, if not impossible.

As much as the large agencies have used their size to push their competitors around, what they haven't been able to do is control the direction that fashion and retail has headed. The problem they face is that the modelling industry is changing; the price of model bookings has dropped because the demand for website imagery has increased. When brands are booking models every single day they can't possibly expect to pay the same as they used to for shooting a catalogue or brochure once a season.

This change in the modelling world has given the small guys like us a break and now we're in our element. Our agency was founded on a small personal service with great customer service and friendly models, something that these clients booking models every day really appreciate. I don't imagine that the owners of these modelling behemoths at the top have taken kindly to this seismic shift in the modelling industry which has seen their former strengths turn into weaknesses as so many clients turn away from 'named' models, high prices and the prickly fashionistas working at these agencies.

So as I read these articles they didn't particularly surprise me at all - these guys have been throwing their weight around with their competitors for years, it's only natural that eventually their focus would turn on their clients.

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A teen model who became the centre of controversy when she was put in low-cut dresses for a Vogue Paris photoshoot at just 10 years old has returned to the spotlight and been branded a "child model all grown up".

With a career spanning 10 years Thylane Blondeau could be considered to be a veteran of the fashion world, but at just 14 years old a "grown up" she certainly is not.

A photo posted by Ŧhylane Blondeau (@thylaneblondeaureal) on Aug 12, 2015 at 10:51am PDT

Discussion of Blondeau's age comes after she landed a spread in Teen Vogue and follows the furore caused by Dior's choice to send 14-year-old model Sofia Mechetner down the catwalk in a sheer dress through which her nipples were visible.

We have blurred the appearance of Sofia Mechetner's nipples in the image above, as she is under the age of 16

Mechetner's appearance among older models in the Christian Dior Autumn Winter 2015 Haute Couture show kicked off a debate about child models being treated like adults in the fashion industry.

So how young is too young?

Blondeau has her own opinion on the matter.

"Well, Kate Moss started modeling at the age of 15, and that was a little while ago. So no. I'm not too young," she told Teen Vogue.

"If you have a good agency and people who take care of you... it's perfect."

However, citing Moss as an example of how starting young can work out well for models is problematic.

Yes, Moss is now one of the most famous faces in the world, but she has previously admitted that pressure to pose in sexualised shoots at a young age contributed to her having a "nervous breakdown" at the age of 17.

"It didn't feel like me at all. I felt really bad about straddling this buff guy. I didn't like it. I couldn't get out of bed for two weeks. I thought I was going to die...It was just anxiety. Nobody takes care of you mentally," she told Vanity Fair.

"There's a massive pressure to do what you have to do. I was really little, and I was going to work with Steven Meisel.

"It was just really weird - a stretch limo coming to pick you up from work. I didn't like it. But it was work, and I had to do it."

And Moss isn't the only fashion industry insider to voice concerns about the pressure put on young girls in the fashion industry to "grow up" too fast.

Model turned model scout Rebecca Pearson, who was "discovered" when she was 16, wrote in Telegraph: "A 14-year-old's body being used to sell clothes to people who can actually afford Dior - adult women - seems wrong to me."

She added: "The modelling industry can be brutal. And that's why I never approach people who have modelling potential if they look under the age of 15.

"I might be able to see the potential in their Bambi-like features, but I'd hate for them to lose potential in their developing adolescent and academic lives for such an unpredictable job."

There is a time and a place for child and teen models (and Teen Vogue is certainly it), and the fashion industry is taking steps to protect young models - all 21 international Vogue magazines have agreed not to use models under 16 to represent adults, and the British Fashion Council has issued guidelines that require designers use models who are at least 16 for runway shows.

But the language the media use when discussing teen models is part of the issue.

Blondeau's latest photoshoot is age appropriate, but by calling her "all grown up" it makes okay to treat her like an adult and to hold her up to the same level of judgement as we would an adult - and that's a lot for a 14-year-old to take on.

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Actually, let me rephrase that title, 'Best Eyewear Brands for Men, with personality'.

I started wearing glasses about fifteen years ago and now there is no getting away from the fact they are well and truly part of my identity.

Now, I want Brits to be braver with their choice of eyewear instead of stumbling instead of just stumbling into Vision Express for the best 2-1 deal. It doesn't happen that way with our European friends in Germany, France & Holland, where eye-wear is seen as an extension of an individual's identity and thus frames, quite frankly, have more flair and personality.

So, to encourage chaps to start getting a bit more creative, I've profiled seven brands that hopefully can inspire you to get a little bolder with your choice of specs.

Cult Eyewear

You may not have heard of this brand yet, so if not, I'd like to introduce to you New Jersey based designers Cult Eye-wear. They crossed the pond and entered the U.K market in December last year with an emphasis on recreating some of the most iconic frame designs of the 20th century.

New Jersey already comes with a rich heritage in optical manufacturing and Cult seems to be continuing the trend with their flagship frame, The Fairmount and new for 2015, The Fontana frame.

More frames at: Cult Frames

Oliver Peoples

Oliver Peoples, probably the widest recognised brand on my list, makes the cut for holding our hands for the last decade and telling us that vintage inspired eye-wear is O.K. Since leading the way, they've continued to produce modern models, for the modern gent. The brand was founded in 1987 with a distinctive culture rooted in California, with each frame still meticulously hand-made.

The O'Malley and Sir O'Malley frames are the pick of the bunch, both available in a range of colours to suit your complexion.

More frames at: Oliver Peoples

Lotho

Another big player in the boutique eye-wear market is Lotho, and definitely one of my favourite brands. Seven years young and head-quartered in Paris, Lotho have produced a variety of frames perfect for the Dapper Chapper with personality.

The Zacharay and Rene frames are leading the way.

More frames at: Lotho

Harry Lary's

Let's stay in France a little longer and go over to Harry Lary's. The French eye-wear house produce original frames that combine creativity & elegance. The brand mainly features retro-futurist shapes, all hand-made, with an 'unconventional & timeless chic.'

Definitely one of my favourite eye-wear brands out there, check out these epic Hosty and Manifesty models.

More frames at: Harry Lary's

Andy Wolf

Handcrafted in Hartberg, Austria, Andy Wolf is another brand that creates unique glasses. They produce an array of classic and contemporary frames all of which are coded by a number/letter system and I love the 4511C & 4515A:

More frames at: Andy Wolf
TYG

TYG Spectacles is an up-and-coming Italian eye-wear line. With TYG standing for Three Young Gentlemen, naturally I was interested in what types of frames they produced.

The eye-wear is timeless and current but exudes personality and I particularly like the Indro and Mr Ripley frames.

More frames at: TYG

Glints

Last but by no means least on the list is Glints. Handmade eyewear from Japan, Glints works for those on a stricter budget. They produce decent frames with bold identities, just without the big price-tag. This is done by cutting out the middle man and sending the glasses to the consumer straight from the factory,

Check out the Nelson and Trego frames.

More frames at: Glints

I'm always on the hunt for new brands so please comment to tell me if I've missed any brands you think should have made the cut?

Also, if you are a chap with more creative eye-wear I want to see so tweet me at @dapper_chapper

Photography credits:
Cult Eyewear - www.cultframes.com
Glints - www.glints.london
Harry Lary's - www.harrylarys.com
TYG Spectacles - www.tygspectacles.com
Andy Wolf - www.andy-wolf.com
Lotho - http://www.lotho.fr/
OLIVER PEOPLES - www.oliverpeoples.com/

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A better understanding about the shocking environmental implications of low-cost garment production may finally move customers to push companies into improving their ethics, pay and working conditions.

That's because the environment directly affects the customer, and any children they have or intend to have. Presently, customers are more likely to encourage more of the cost profits to be passed onto the manufacturers.

To put the environmental impact into perspective:

The fashion industry is the world's second most polluting industry, after oil.

25% of the world's chemicals are used for textile production.

Around 10% of the world's global carbon emissions result from the apparel & textile industry.

The textile industry uses more water than any other industry apart from agriculture.

All this serves to release toxic chemicals into our air, water and soil. It also results in the creation of greenhouse gases and depletes our water and fossil fuel energy resources.

Fabric Production

Each year close to 90mT of fabric are produced. This consumes 1.5 trillion kWh of electricity. Table 4 below puts that consumption into context:

The energy life cycle of one single 100% cotton t-shirt consumes around 30kWh.
According to the EIA (Energy Information Administration) fossil fuels account for 87% of global energy consumption. Coal accounts for 33%. This is considered the 'dirtiest' of the fuels given its use in electricity production releases sulphur dioxide, nitrogen oxide (which causes respiratory problems) and toxic heavy metals (such mercury, lead and cadmium).

Coal is the primary source of energy in China & India, accounting for around 70% of each country's energy needs. Collectively China and India account for over 50% of the world's annual coal consumption. They use coal to produce electricity.

These countries are the world's largest producers of textiles at US$274bn and US$40bn of exports respectively for 2013. As highlighted in the following chart, polyester (over 50%) and cotton (around 30%) account for the bulk of fibre production.

Cotton is grown and uses large-scale industrial processes. Its production is chemically and water-intensive. The chemicals it uses are agrochemicals - herbicides, pesticides, insecticides, fertilisers, etc - many of which are not absorbed by the plant but which disperse into the air or leach into the soil and water. Cotton production requires a great deal of water - 6400-15,500 litres per pound of cotton. Most (around 70%) of global cotton uses irrigated water, i.e. it is not rain-fed. This leads to depletion of water resources.

Water consumption is already outpacing population growth. Over the next 10 years water demand is expected to grow by 40% versus population growth of around 10%. This implies that ⅔ of the world's population could be living in areas categorised as water-stressed. Post cultivation cotton also undergoes various processes to create yarns suitable for textile production. Again this requires energy and chemicals, including sodium hydroxide (which increases water acidity).

Polyester production has grown considerably - by an average of 7% per year since 1975. Its main raw material is petroleum. Therefore its production leads to a depletion of fossil fuels. It requires a large amount of energy. 1 tonne of spun polyester requires 29,000-35,000 kWh of energy. The equivalent amount of cotton requires around 7,000 kWh. Polyester is also a larger emitter of CO2. It emits 7.2-9.5kg/tonne of fibre versus cotton which emits and equivalent 2.35-5.89kg

Once the base products have been converted into yarns, those yarns are then woven or knitted into textiles. This, again, requires energy, water (e.g. for repeated dye baths) and chemicals (e.g. for bleaching, dyeing, printing, finishing).

Around 200 tonnes of water is required per tonne of manufactured textiles. The average textile manufacturing facility uses 1.6m litres of water per day.

In 2010, 7 trillion litres of water were used in global textile production. According to the WHO (World Health Organisation) 17-20% of all industrial water pollution resulted from textile dyeing and finishing.

Around 8,000 chemicals are used in the various textile production processes. The main problem with many of these chemicals is that they can be carcinogens, contain heavy metals and can be slow to biodegrade.

Unsurprisingly water effluent from textile factories is highly toxic. This is partly because not all the chemicals fix to the fibres during processing. Instead they end up in the wastewater pipe.

China is an example of where air and water pollution resulting from industry has proven a major social and political issue.

Garment Manufacturing & Distribution

Manufacturing requires machinery which again consumes energy.

There is also the issue of fabric waste. Around 15% of fabric is wasted during the garment manufacturing process. Once produced garments need to be transported. Globalisation has resulted in wide transport footprints certainly for larger brands.

For example, cotton can be grown in Egypt, the textile can be woven in China and the manufacturing can be undertaken in Indonesia. Globalisation has also resulted in trade across continents. For example, of the clothing sold in the US and UK at least 95% is imported. Again, transport requires energy via lorry, rail, ship, aeroplane and each releases CO2 along with other emissions.

When garments are delivered to a brand they will then subsequently be distributed to various retail outlets. Aside from the resulting transport energy needs, each of these outlets will consume energy in the form of heating, lighting, etc. Packaging and marketing materials will also be required.

Customer Ownership

Once a customer has bought a garment they may or may not choose to wear it. If they don't wear it the energy consumed along the process and up to the point of delivery to the customer has effectively been wasted.

There will also be the associated energy required to dispose of it (see later section). However if the customer does choose to wear the garment then washing, drying or dry cleaning will need to be accounted for. Each consumes water and energy. Indeed this part of the garment's life cycle can account for up to 80% of a garment's carbon footprint.

Based on an average 400 loads per year the average washing machine consumes around 75,000 litres of water.

Also to be borne in mind are the chemicals, e.g. laundry detergents and softeners which generally end up in wastewater. These chemicals are often resistant to water treatment. The shedding of fibres during washing, especially from synthetic materials, can also add to chemical waste accumulation.

Washing machines also require energy - electricity from coal or other fossil fuels. Around 90% of this energy is used to heat the water during the wash. Drying using a machine is the most energy-intensive step during the customer ownership period. Dry cleaning uses chemical solvents which again can be difficult to eliminate.

Disposal

At the end of a garment's life the customer can either donate/recycle their clothes or dispose of them. It is interesting to note that, in the UK, only around 15% of unwanted clothes are donated or recycled. The balance - 85% - ends up in landfills.

Around 80% of landfill ends up being incinerated. Again this consumes energy. For the balance decomposition of organic materials releases methane. Methane is 20 times more powerful than CO2 in terms of climate change. Landfills, of course, emit other toxins.

As the saying goes - waste not, want not.

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There's nothing quite as luxurious as lingerie...or even bed wear for that matter.
Whether it's a pair of silky pyjamas or a little lacy negligee, you can be sure to feel comfortable whilst glamour never takes a holiday!

The word Lingerie originated from the French, pronounced "linge" meaning "linen" and was not frequently spoken until the late 1850's. A soft linen was popular during the Middle Ages and were worn by nobility for the sheer function of modesty, hygiene and keeping warm, but all that changed with the ever changing silhouettes of the 20th century.

Wearing underwear as outerwear has never been hotter now, with catwalks worldwide celebrating this normally hidden garment.

If you don't want to go full va-va-voom you can always relax in a more casual number,
And besides, when you get home you can simply sidle between the sheets when you head for slumber city, what's not there to love?

Here are my top 10....

1- The Strap Basque
If you like uplift, support with straps aplenty, then try Nichole De Carle or Coco De Mer. Wearing black strap lingerie means business, whether in silk or leather, is a place where science and art break even.This piece is from Nichole's Black Label Onyx collection.
Team it with; High-waisted black trousers or dark mini skirt

Ⓒ Lia B Photography

2- The Soiree bra!
The French revel in luxury, and started taking lingerie seriously in it's Belle Epoque era. Followed by the early century uprise of silent movies, then the twenties flappers glamour, it has always been held high in their regard.
Investing in good underwear is an ingrained necessity of their life, so a soiree bra i.e a bra to party in, is no exception! This one is made of the lightest silk pleats and gives a lot of uplift so no chicken fillets needed, perfect for any soiree!
Team it with; a luxury cashmere cardigan or a see-through shirt (oh la la!)

Ⓒ Lia B Photography

3-
It isn't all about the money honey! Often a simple body suit is a staple classic with an air of sophistication- it orginates from the 80's and 90's, and has taken a huge following in recent years. It can also fit into almost anyone's budget. Pass me the Bollinger would you, sweetie?
Team it with; a wrap pencil skirt and huge diamond earrings.

Ⓒ Daniel Sroga | Dreamstime.com

4- Silk Pyjamas
O.K so not technically underwear but some people just want to be comfortable, O.K! If slipping on your p.j's, reading a delicious book and cosying up in front of the fire is your idea of heaven (here, here!) then this silky number is your calling card. They make an excellent outfit for attending a cocktail party or entertaining at home. I wore mine out for National Pyjama Day- yes, there is such a thing!
Team it with; Heels and tons of bangles!

© Kicsiicsi | Dreamstime.com

5- The Waspie Suspender
A waspie suspender number is function at it's very best. Holding the stockings up, accentuating the waist to give the allure of an innocent flower whilst the wonderbra style cups give the game away! Try delicate pastels for the ultimate in femininity.
Team it with; A demure pencil skirt to the knee for that saucy secretary look.

Ⓒ Lia B Photography

6- A corset
Corsets are often known for their vintage burlesque style and the corset is the first lingerie to be worn as outwear- the first being in the 16th century.
In the Victorian times they were fitted with whalebone busks, and at exclusive balls could be presented to a suitor as a prize if he was interested in a female.
In modern days, a corset bustier goes well for any lover of a coiffed roll or a red lipstick!
Dita Von Teese wears them so well and even indulges in an 18th century practice of waist training to get hers down to a 20-inch waist. But if you just want to dabble, there are many boutiques which do a less severe type, hugging the curves in all the right places whilst still being able to eat that delicious cheesecake.
Team it with; a slick pencil skirt and some 'bitch' glasses.

© Elisanth | Dreamstime.com

7- The Swimming Costume
Who needs to go in the water when you can simply sparkle in a beautiful swimsuit? Once used as a necessary bathing costume to cover one's modesty, the swimsuit has evolved to a centrepiece and has a whole list of names including one Piece, monkini, bikini, tankini and even Burquini. Try see-through mesh sides or a sequin detail, and you will dazzle wherever you go.
Team it with; High-waisted shorts and heels for a glamorous night out.

© Tatsiana Shypulia | Dreamstime.com

8- The Lace Dressing Gown
Lace dates back to 3000BC in Egypt and was the first woven silk threads (instead of cotton). The word lace is from middle english and means to entice or ensnare.
For a current lace look, a long wrap over is a perfect match. You can also wear a fancy bodysuit underneath and team it with heels. it's the perfect addition for any summer holiday. (pref whilst sipping a champagne cocktail on a St Tropez yacht!)
Team it with; luxurious lingerie and a bouffant blowdry

Ⓒ Eamon McCabe

9- The Big Frou-Frou Knickers
Yes, you did just hear me mention big knickers! In the last six years, Sarah Shotten, Creative director of Agent Provocateur, has seen a huge surge in larger knickers being sold and the thong has taken a back seat all the way to chaf-land. With skirts being shorter this is understandable, and even a pencil skirt looks nice pref with a flat cinched cinch knicker that lifts the derriere.
A new look is to wear underneath a slightly see through Fifties style or couture skirt, this will give the perfect hint of good girl gone bad.
Team it with; a pair of pointy Louboutins for full on glamour!

Ⓒ Eamon McCabe

10- The Nightdress
For centuries, nightwear was made like female smock or long shirt, but became more feminine in the late 18th century. In the mid 19th century, ready made night dresses began to be sold in mass productions whilst companies such as Victorias Secret pioneered the satin babydoll.
A fitted silk nightdress to wear out is perfect for holidays or to just show off your tan, and detailed straps are just too good to wear in bed!
Team it with; a belt, your favourite heels and style hair away from the face to see that fabulous neckline!

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'Every Lithuanian helps' - this is what comes into my mind when I reflect on the mainstream British media perception of the Eastern Europe. It was a cartoon by the British newspaper The Independent that portrayed migrant workers (i.e. Lithuanians and Poles) as a value pack of cheap meat in Tesco. This cartoon with the above mentioned slogan (mimicking Tesco's original slogan) has been published after one of the many debates about Eastern European migrants who come to Britain and become cheap labour 'stealing' vacancies from the British.

This is the mainstream vision of who I am. It is not worth fighting stereotypes, they don't exist without a reason. Other legends say that Eastern girls are tall and pretty (Irina Shayk, Edita Vilkeviciute, Emily Ratajkowski), the beer is cheap and the language is Russian. And just the latter is false. Even if these facts are partially true there is so much more to Eastern Europe than that. Geopolitically, Eastern Europe is often referred to as Eastern Bloc - former Soviet countries that have been formed or reformed after the collapse of the Soviet Empire. These are relatively young countries with unique history and quite different projections of the future. Together and separately they can offer a very rich cultural and artistic scene that is usually underestimated or overshadowed by other subject matters (hence, cheap labour). It might be a good timing to see the less popular part of the Europe in a different light.

Although one might think that Eastern European fashion is glitter and gold chains (yet another partially correct stereotype) it is so much more than that. It has been almost 25 years since the collapse of the Soviet Bloc, which is enough time to seed and cultivate an independent sense of creativity in fashion. Ukrainian fashion scene is a perfect example of the creative potential in Eastern Europe. Ukraine has been hosting two separate fashion weeks and both have become the to-go destinations for the international fashion publications. Every year Ukraine is raising a new generation of talented and super original fashion designers from the colourful Anna K to the conceptual Dzhus. Poland, Lithuania, Czech Republic, Ukraine, Bulgaria and other former Eastern Bloc countries are the ones to watch. Fashion is so much more than New York, London, Milan and Paris. It is enough to open the eyes to see more.

A London based creative project Fashion Bloc (standing for Eastern Bloc) is bringing Eastern European fashion scene closer to the International audience. By introducing hand-selected designers, fashion and culture news and hosting a gallery-like curated online shop Fashion Bloc is trying to shed the light on the brightest talent and most interesting fashion happenings from Eastern Europe. With a mission to spice up the European fashion selection it also aims to bridge the gap between Eastern and Western Europe. Fashion in this case has become a tool for cultural enlightenment. Although migration debates and cheap-labour is still prime-time topics related to Eastern Europe it is time to open the horizons and discover new fashion destinations.

Ieva Zu, Founder of Fashion Bloc.

http://www.fashionbloc.co.uk

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There are so many different things we're killing the planet and our own future for, and while some of them are going to be difficult - perhaps ultimately impossible - to stop doing, some are simple. Throw-away fashion is one of the latter.

You can probably guess what I mean by "throw-away". Something bought because it was cheap or on sale or in a magazine or just appealing, that got worn once or twice or a few times, and never again. Maybe you got bored; your tastes changed; you worried what people would think if they kept seeing you in it (especially in your selfies); trends moved on. You might have passed it on to charity, or just forgot about it, or had to throw it away because it wasn't made to last. And repeat. We get through clothes on a monumental scale, with four times as many of them in our wardrobes compared to 1980, prices rapidly dropping to meet cheap greed, and over 80billion garments now produced each year.

I'm not going to go into detail about the numerous environmental/human costs of the global fashion industry because they've been covered expertly elsewhere. I'll list them though:

High water use

High chemical use

Chemical pollution in waterways and oceans

Greenhouse gas emissions from production

Greenhouse gas emissions from transportation

Fabric pollution in waterways and oceans following washing of petrochemical-based fabrics (likepolyester and acrylic)

That's not even covering other issues like sweatshops (more on that later).

Humans need clothes, but humans do not need the ridiculous amounts of them that so many of us get through now. It's not polemical to use the word "ridiculous" - how else to describe something that is so pointless, yet is part of the reason we keep overshooting the planet's resource budget earlier and earlier each year? (It was 13 August this year). Climate change, biodiversity and wildlife crashes, humanitarian crises - we know why these things are happening.

Fashion is written into the fabric of cultures and societies across the globe; a creation that in itself has no less worth than any other kind of human expression. But it's become perverted. The fashion most of us know is not Alexander McQueen at the V&A, it's a top for £15 at Zara, and glossy magazines telling us how to be better by looking good - an endeavour that is absolutely dependent on constantly buying lots of things. The fashion industry is one of the most cynical there is, arguably less honest than oil and gas. It's a global feat of peer pressure, staring out at us from the countless eyes of hollow-cheeked models, making us itch with the fear of what others will think of us as people under our attire.

We don't have to keep following. Saatchi & Saatchi's art director, Matilda Kahl, has gone to work in the same outfit for several years now, mostly to dispense with the daily stress and time-consumption of deciding what to wear - something, she notes, men tend to face much less pressure for because it's simply accepted that they'll always wear the same suits to work.

There are other ways too to cut down on your clothes consumption, or at least the related environmental impacts. Buy more of your wardrobe from charity shops - although this isn't a sustainable solution alone, since the second-hand market still depends on the new market. Learn how to care for clothes better - there are a surprising number of ways in which we're unwittingly reducing the lifespans of our clothes as well as damaging the environment. And, of course, there's the golden rule of buying higher-quality clothes, and less clothes overall. Basically: love your clothes, for as long as you can (I've still got a pair of Tammy pyjamas bought when I was 10 - though I'm not sure I should be proud of that).

Buying less clothes and keeping them for longer isn't in the interests of the fashion industry, and the trouble is, it might not be in the interests of the countless people in developing countries who make the majority of our clothes, either. The general Western belief is that sweatshops are very bad (though funnily enough, that doesn't translate into our consumer choices), but as altruism philosopher William MacAskill points out, sweatshops are currently the best option in a crap world for many. If consumers as a collective start to buy less, that means less jobs, in both developed and developing countries. The human population is forecast to rise to 10billion by 2050, and all those extra people will need to be able to make livings to make lives.

But here's the thing - if we don't change habits like our fashion gluttony, the resources to sustain those habits are going to run dry anyway, and the jobs too. Undoubtedly, most of the water and the arable land needed by industries like fashion is going to be lost to climate change and overpopulation.

We can't change everything and we can't change it all at once. But we have to start somewhere. More and more of us are starting to wake up to the fact that we eat too much meat - and now we need to realise the same about clothes. It's time for a fashion diet. Permanently.

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A few days ago, I noticed an advert on my facebook newsfeed telling me "make sure you look good" when at the gym. Later, I see an article in the Telegraph explaining why fashionable workout clothes are all the rage. Both things left me a bit stumped. Correct me if I'm the one in in the wrong here, but when I'm exercising, looking good is the last thing on my mind. Or if I am thinking about it, it's in terms of the long term benefits that exercising will have.

However, looking around in the gym or even having a scout about online suggests this isn't the case for many people. This is largely more obvious in women (full makeup, hair carefully coiffed, tiny bikinis for the pool), but I suspect men are victims of this too. Indeed, many forums centre on making yourself appeal to others whilst at the gym. Why?

Considered from one standpoint, one might argue that evolution teaches us to go for the strongest in the pack - so working hard at the gym becomes an act of peacocking to attract a mate. The thing is, if one were really exercising for this reason - really physically exerting ourselves in order show suitability as a mate - we'd care less about looking 'pretty' and more about lifting the most, running the fastest, jumping the highest. We'd all be covered in sweat and, to put it bluntly, looking pretty fucking terrible.

But what about survival of the fittest in modern culture? It's clearly no longer the case that we simply go by base instinct in our choice of partner; instead we base attraction, at least at first impression, on physical appearance. And sure, whilst everyone has their own 'type' about what features they are and aren't attracted to, I think generally we can agree there is definitely an 'ideal', portrayed most commonly in the media. This more closely aligns with what I see at the gym.

Going back to the gender difference, this is probably why one notices it more in women - and indeed why I received the ad on Facebook whilst my (male) partner would never be subject to sexy gym wear. For men it is OK to be grunting, panting, and sweating excessively. These are all signs of strength and working hard. Apply the same features to a woman, and they become unsexy and disgusting. This can even be related to other parts of life. Recall the photo of Angela Merkel a few years ago with sweat patches under her arms - the media reacted with horror. But a similar photo of Barack Obama was welcomed, highlighted as indicating his manly efforts.

And so whilst men's gym clothes remain baggy and pretty separate from fashion, women are expected to purchase tight leggings, tighter tops and sports bras designed for appearance rather than just holding the sisters in place whilst you go for a jog. I can already hear the objections: "but leggings are flexible", "tank tops are breathable", etc. Well answer me this: why then haven't these things gained as large a traction in men's sportswear markets? If they are so suitable and practical, why do men not wear such items when exercising (excluding thermal leggings)?

The most ridiculous part about all this is that nobody else actually cares what you look like. Think about it: you get on the treadmill and, to borrow a slogan, Just Do It. No one goes to the gym to attract a partner, and no one is looking at you whilst you are beetroot red and struggling to breath. Nor is anything bothered that you opted for the blue crop top over the pink today.

So no, Facebook advert, I will not get my sexy on just to go exercise. If I wanted to get hot and sweaty in that way, it certainly wouldn't be the gym I'd be headed to.

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Now one thing that makes my blogging so much more worthwhile is I know so many of my readers are just like me. We are modern women darting around from place to place, we have too many jobs on our to-do-lists and we prioritise other things over ourselves, my business, your children, our friends. Whatever your story there are always remarkable similarities.

One thing I have private struggled with over the years is a shoulder issue. It is not to the level of keeping me up all night but it is enough to cause me stiffness and discomfort. As you know, I love a bit of pampering when time allows. I have had a number of massages and all the therapists said the same thing; the knots in my right shoulder are quite bad indeed. There are knots in both but significantly worse in one. Aside from being a lawyer and the usual stress associated with running business, I couldn't ever put the pieces together. What is causing this mysterious issue??? My HANDBAGS. Yes I kid you not. After years of mystery that is genuinely what this has been put down to. Specifically as I carry my handbag mostly over my right shoulder. This realisation shocked me a little as this must impact millions of women worldwide.

the perfect package!

The solution was easy and hard at the same time. It was obvious that carrying a backpack to distribute the weight evenly between both shoulders and the back would help. Great lets go out and buy a stylish backpack to solves said problem. Complete fail!!! Unless you've ever specially look for this elusive item that is both practical and stylish, you wouldn't realise just what nightmare it is to track down. I looked for close to twelve months before I happened upon this amazing find. My new Michael Kors backpack and I am in love!!! Its from an online store called Jules B. For those of you who haven't heard of this site, its a designer fashion heaven and I have my eye on several pieces from there for my collection.

Am I just being precious? Not really, it wasn't something that I moaned about on a regular basis. Trust me starting a business I had enough on my whinge. However it was a real problem for me and it made therapist gasp all too often during massages. I am ALWAYS going on and on about how important it is to take care of you! I also think personal branding is so important. There are loads of backpacks out there of course and if you aren't fashion conscious or in a client facing role maybe pinning down an item like this wouldn't have been an issue. I know when I go into a meeting a certain attire is expected. It is the same reason I don't wear my trainers. Accessories are an extension of us. I also feel the pressure (rightly or wrongly) to look fit in around London. Of course, not everything I have is designer but I have had loads of comments about my latest accessory and I'm starting to notice the difference in my shoulder already. I haven't had time to go for a massage yet but the test will be if they notice the difference.

I'm a little obsessed with this piece so its making an appearance in many areas of my life (and yes I am almost always too lazy to change bags for every outfit). Being in classic black means it goes with almost everything and I hope you like the pics of my recent weekend on the South Coast of England.

Something I never thought I would say, I am a backpack convert but if you see me travelling anytime soon it will most certainly be accompanied by a suitcase with four wheels, I'm not taking this trend global just yet!

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I recently read an article in the current issue of Vogue about glamcore, one of the new season's biggest fashion trends. Glamcore is the antithesis of normcore, 2014's most popular trend for wearing the most normal clothes possible (think plain t-shirts, tailored or denim trousers and pretty much anything without a logo). Where normcore was about nondescript dressing - even if that navy blazer did cost four figures - glamcore is the complete opposite; it's about piling on sequins and fur and colour. Basically, wearing statement pieces with statement pieces to make, well, a statement.

In the September issue of Vogue, Fashion Features Director Sarah Harris reports that glamcore is an over-the-top act of rebellion against the recession; after years of tightening our purse strings, we're so fed up of being sensible that it's time to do a 180 and go from Sandra Dee to Sandy Olsen in as little as one season. To celebrate how well we've behaved, sartorially speaking, over the last few years, glamcore is a flamboyant and bold way of flipping the bird at the economy; we're tired of investment purchasing (Harris describes this as 'purchases that had to be validated; they needed reason or context.'). Instead, this autumn we're going to proudly drop cash bombs on ludicrously expensive pieces of attention-grabbing clothing, thus telling the world in no uncertain terms that we've worked hard and now deserve to shop, shop, shop.

Frankly, I don't particularly like either trend. Normcore was, by its very own doing, so not normal that I found it irritating and try-hard. Glamcore is too attention seeking; as Harris mentions in her witty and very enjoyable report, it reflects our society today - we're so caught up in showing off our "perfect" lives on social media (yes, I too am guilty of this) that we've actually succumbed to a trend that, like everything else, is trying to be bigger and better than what went before it. Despite all of this, as opposite as they are, normcore and glamcore are fundamentally the same thing: a passing trend.

It's not that I'm against trends, not at all - I understand that fashion speaks volumes about society and can provide a fascinating insight into history. I enjoy working trends into my own wardrobe (seriously, who could resist the teeny-tiny but otherwise totally practical cross-body bags this summer?), but what ever happened to good old-fashioned (pardon the pun) style? Why can't we dress for ourselves? And by that I mean for our brains as well as our bodies. Does everyone really like the Valentino Rockstuds? Or do they wear them because they're the It-shoe of the moment? Why does fashion have to be about looking right, at the right time? For every Celine Luggage toting fashion blogger I see, there are a hundred women replicating the look. It's boring.

For me, it's important to buy the classic LBD, the staple summer white jeans, the basic strappy shoes (see, trendy!), the timeless diamond earrings and the reliable black leather boots. Yes, they can be by designers (I'm currently coveting this blue shirt by GANT) but they can also be from the high street (LK Bennett's Monique full spotted skirt, hello!). Surely, buying clothes that you genuinely like is the best way to shop? And then, after spending your hard-earned cash on your favourite pieces, you can feel good wearing them even after you've uploaded your #ootd.

Simply put, as Yves Saint Laurent once said: "What is important in a dress is the woman who is wearing it."

Images from top: GANT shirt on model, GANT shirt, Storm and Marie jeans, Marks & Spencer Best of British trench coat, LK Bennett skirt, Dune boots.

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Just like Hello Kitty, Barbie has an enduring appeal that is ageless. For the past 50+ years the iconic doll has both reflected changing fashions and inspired designers, amassing an international fan base the encompasses many age groups.

Admittedly you won't catch me playing with my (amazing) Crystal Barbie any more, but I'm definitely still partial to a Barbie tee or accessory. They make me smile and are a reminder not to take life so seriously. Plus, Barbie is always getting a super cool makeover courtesy of some chic brand or other, so there's that too.

For anyone wanting to get dolled up, these designer Barbie looks are just the ticket.

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Shoes: Barbie by Sophia Webster
Seriously. How good are these? Even if you're not a Barbie fan, the beauty in these reimagined Sophia Webster classics cannot fail to pass you by. The range - which also features children's versions of these adult styles - celebrates Barbie finally being able to wear flats thanks to a redesign that involves her perma-arches being dropped. Edgy, fun and so, so pretty, these encapsulate the Barbie spirit in a super wearable way.
Exclusive to Selfridges: Available in store and from www.selfridges.com

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Accessories: Barbie phone covers by Moschino
Designer Jeremy Scott always adds a touch of childlike magic to his work, whether it's his teddy bear trainers for adidas Originals, Rainbow Brite-inspired creations for his eponymous label, or by making Barbie high fashion through his role as Creative Director at Moschino. True they're not the most conveniently shaped phone covers but whatever. They're fab, fun and happy - and who doesn't want a bit of that?
Available from Selfridges for iPhones 5 and 6, £45-£55 each.

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Clothes: Adam Selman
Both the other collections featured here are official collaborations, whereas these latest drops from American designer (and Rihanna's costume designer) Adam Selman just struck me as something Barbie would wear today. His Autumn/Winter 2015 looks draw on the playful and rebellious teenage spirit of the 1960s and, despite Barbie being born in 1959, tie in perfectly with her aesthetic.
Available now from Browns www.brownsfashion.com

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Most of us have done the high street spree - buying tons of super cheap clothes that, for a brief period of time, make us feel good because we've got a shiny new wardrobe.

Some of us have been guilty of not even bothering to return ill-fitting clothes, because they are so cheap, it's not worth the effort.

To some of you, this is part and parcel of fast fashion. We buy it, it falls apart and we don't give it a second thought. But this cycle we are trapped in - excessive buying and discarding - is not just harming our planet.

Sustainable fashion is first and foremost about people.

To quote designer Tom Cridland who is dedicated to creating sustainable items of clothing that will last 30 years: "In places like China, India and Bangladesh the working conditions for those making the clothing we take for granted are horrendous and they can often not even afford basic living expenses."

A survivor from the Rana Plaza garment factory collapse in 2013

Put bluntly, our fast fashion decisions are often at the expense of people who don't have any choice. And after you read Rachel Moss's piece on why any self-respecting feminist (or human) should consider the impact their fashion buying is having on women in far harsher circumstances than their own, you may want to find out more.

That's why we've decided to focus on sustainable fashion for the month of September. We want to redefine modern consumerism - in other words, how and why we buy the clothes we wear.

Because honestly, how did we get to a point where we care so little about our clothes that we're willing to throw it in the bin because returning it is too much hassle?

To amplify the message, we've asked one of the most powerful voices in sustainable fashion to be our guest editor for this month: Livia Firth, the creative director of Eco Age.

Livia's dedication to the cause is unquestionable. Some of you might remember her Green Carpet challenge begun in 2010, when she would only wear re-purposed, upcycled or outfits made with innovative fibres (recycled plastic bottles to be one of them) at red carpet events to prove how it was possible to create stylish, sustainable fashion.

A particularly memorable outfit was re-purposing husband Colin's old suit for the Paris premiere of The King's Speech. (She looked fantastic, of course, see below).

livia

More recently, she worked on documentary The True Cost, about the Rana Plaza factory collapse in 2013, where 140 workers died in a Bangladeshi garment factory.

Harking back to that powerful message that sustainable fashion is about people, she said: "We must respect these workers as we do our children; our friends. They are no different to us."

She'll be revealing, on 18 September, why she feels so passionately about this subject, as well as curating a special selection of features on the day.

We'll also be talking to designer and eco warrior Zandra Rhodes, who will be opening London Fashion Week, as well as interviewing Tom about his new project, the 30 year t-shirt.

Of course, in true HuffPost style, we won't shy away from some truth-telling.

Most of us buy fast fashion because let's face it, it's cheaper. But truthfully, it isn't actually cheaper because it falls apart much faster, which means you need to replace it more frequently.

So this is the perfect arena to discuss and share brands who are making affordable clothing that may be stylish, functional or both. Because believe us, they are out there.

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.

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

Catwalks have always been a space for difference, and fashion has always been a means for questioning convention. Androgynous shapes blend gender boundaries - think Gucci's show at Milan Fashion Week, which saw its men clad in blouses and floral prints - while out-there designs encourage individuality and present alternative visions of reality. Nothing about fashion is "normal", and conformity or sameness have no place.

It seems strange, then, that the fashion world has for so long held up an ideal, a homogenous vision of beauty and body image that doesn't necessarily allow for difference. While design has time and time again thrown the rule-book out the window, the runway hasn't.

But over the last year or so, change seems to have been slowly rippling through the industry. That was brought to our attention last week when Madeline Stuart, born with Down's syndrome, hit the headlines after it was announced she would be appearing in this year's New York Fashion Week. The Australian-born model is also the face of EverMaya's handmade bags and Manifesta's fitness wear - a range that deliberately avoids using numbered sizes.

She's not alone; in February, Jamie Brewer - star of 'An American Horror Story' - made her debut at NYFW.

America's Next Top Model star Chantelle Winnie - born with a chronic skin condition which saw her bullied as a child - was meanwhile named the face of both Desigual and Diesel for their spring/summer 2015 campaigns.

And designer Carrie Hammer debuted a collection last year ("Role models, not runway models") that saw CEOs, philanthropists and other high-flying women selected to stride down the catwalk in a bid to eschew negative ideals.

And that can only be a positive move. Runways have the power to influence and shape our conception of what it means to be beautiful, and designers should be embracing that power. Beauty shouldn't be defined by one aesthetic.

Jae West highlighted the damage that can have last week when she stood blindfolded in her underwear at Piccadilly Circus to promote acceptance of body image, after suffering from an eating disorder as a teenager. Such a story is inspiring, and overcoming an eating disorder is commendable. But not everyone does. Though I'm not suggesting the fashion industry is to blame, the idea of having to look a certain way can lead to obsession.

But Chantelle Winnie raised a valid point in an interview with the Guardian; we are arguably just as much to blame as the industry itself. Fashion feeds us with what we want to see. "If humans want to see the same types of people over and over that's what industries will give us. If we want to see something different that's what they'll have to give us," she said.

While that's partly true, it's also pure fact that we're a product of everything around us. If what we see around changes, then so too should our perceptions and aspirations. Madeline Stuart and Chantelle Winnie are two examples of fashion being used as a positive force for progress. While they might not be a solution in themselves, they're a step in the right direction - a nod to the notion of difference, innovation and non-conformity that every other aspect of the fashion world embodies. If the industry's biggest icons (think Alexander McQueen) have seen so much success because of the unconventionality they stand or stood for, so too should its faces.

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

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.

As the spotlight continues to shine on the fast fashion industry, the issues of mass consumption are rightly ever-present in our minds. And as we become increasingly aware of its realities, the need for an alternative is clearly paramount.

Director Andrew Morgan's movie, The True Cost, caused visible outrage amongst its audiences when it exposed the true face of fast fashion. After initial exclamations of shock and disbelief, the conversation often turns to the question of where to find responsibly produced clothing without sacrificing style.

Although I've been working in this industry for over five years, it is only relatively recently that my eyes have been opened to the riches of responsible fashion. So what are the alternatives and who are the people fighting for change?

There are more voices out there than you might think and separating the wheat from the chaff can be a disconcerting task. As someone who reads about and researches responsible design every day, it's easy to forget how long it has taken me to tailor my social media feeds, inbox and wardrobe to reflect my interests, values and taste.

I've lost count of the number of times I've hit unsubscribe or un-follow on this journey of discovery and while it is an ongoing process, I've now reached a point where almost everything complies with my personal interests and professional standards. So for those out there looking to engage with responsible and forward thinking fashion, here are some contenders worthy of your attention:

Take a look at:

Attyre, Blog
A gem of a discovery with bite sized features on the latest brands and developments in sustainable design. Freelance writer Rosie Clarke never seems to miss a story and updates the blog on a speedy basis.

ecouterre, Blog
Packed with a diverse range of features, ecouterre's on top of what's happening in the sustainable design sphere, from the newly enterprising through to the long established. Sign up to their newsletter to get a summary of the best articles straight to your inbox.

Centre for Sustainable Fashion (part of the London College of Fashion), Blog
A weekly blog post from the CSF team offers insight into the nitty gritty issues beneath the surface of the fashion industry today, often from the perspective of London College of Fashion students themselves.

Subscribe to:

Not Just A Label, Newsletter
A virtual haven of independent designers, NJAL is the place to buy truly original style. Their newsletter is short and concise; they'll send an article and a style edit; you take it from there...

Eco Fashion Talk, Newsletter
Clear but compact, Eco Fashion Talk offers you a snapshot of the world of responsible and cutting edge design from one of the leaders in the field, Sass Brown.

Shop at:

Gather and See, E-commerce shop
Stocking brands concerned with 'aesthetics as much as their ethics', Gather and See offers a curated collection of accessible and responsible style. Check out 'The Gatherer' for the inside scoop into where, when and how the collections are put together.
Good for: Jersey basics with an edge
Brands to look out for: Kowtow/Beaumont Organic

The Acey, E-commerce shop
With a focus on 'innovation and integrity', The Acey offers a mix of effortless style as well as less conventional pieces. No high street prices, no high street style.
Good for: One colour basics and timeless outerwear.
Brands to look out for: Brawl/Collective

Rêve en vert, E-commerce shop
Founded 'in response to the evolving nature of contemporary style into something a bit too consumptive and trend-based' Rêve en vert's style edit offers something for all. Check out their editorial section for 'sustainable city guides' and style inspiration.
Good for: Underwear and jewellery
Brands to look out for: Baserange/Odette New York

Not Just A Label, E-commerce shop
A haven for new talent, NJAL supports new designers starting out on a small scale. Their 'ethical/sustainable' category offers individuality and exclusivity with pieces for both the understated and the bold.
Good for: Seasonless style and masculine silhouettes
Brands to look out for: THISISNON/Hanger Inc

This post was originally featured on the study 34 blog

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.

-- This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

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