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It's Time for the Fashion Industry to Stop Making Excuses and Accept Its Role in Promoting Body Confidence.

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In an interview for The Telegraph earlier this week, Victoria Beckham defended her decision to use 17 year-old Peyton Knight in her Spring/Summer 2016 show. "Our casting director spoke to the [model] agencies, and we know that all our girls are healthy" the Spice Girl turned fashion designer said. "They're young, they're thin, but that doesn't mean they're ill".

Her comments come two months after her New York Fashion Week show prompted women's groups, body-image charities and even Piers Morgan to accuse her of using "painfully thin" models to present "an idealised view" of the female body, with Lorna Garner of the eating disorder charity B-eat pointing out that while shows like Victoria Beckham SS16 "do not cause eating disorders" they certainly "escalate and exacerbate existing conditions". According to her, "There is overwhelming evidence that points to these images having a very negative and damaging effect."

It's quite possibly the most tiresome subject in the fashion industry; our obsession with skinny, thin, underweight models and the impact of these models on young girls in particular. Yet what's frustrating about Victoria Beckham's comments is that they are just another example of the fashion industry's textbook response to questions about the health and wellbeing of the women and, more often than not, girls, they use in their shows: "They're thin because they're young" and, anyway, they're still "healthy".

As various fashion weeks roll out around the world, these are the same excuses we hear repeated year after year after year along with more recently accusations of "
skinny shaming and, only yesterday, Victoria's Secret model Bridget Malcolm took to Instagram to complain about the latter. "I am extremely fit and healthy and am not in the slightest way anorexic. I have worked hard to look like this and am proud of my body" she wrote on the social media site.

Malcolm probably is. In fact, most models are and one of the main reasons the British Fashion Council hasn't joined Paris in banning models with a BMI of less than 18 (a BMI of 18.5 to 24.9 is considered healthy) from London Fashion Week is that research has indicated that it is an inaccurate measure for young women. But the problem in the first place isn't that all models are anorexic stick insects (they're not). The problem is that these "skinny" models are quite literally put on a pedestal for other young girls, women and potential models to wish to emulate.

Of course, that's not to say that fashion shouldn't be aspirational. That it is and should be is undeniable. But its role in empowering women is just as undeniable, and so is its role in inspiring confidence. Karl Lagerfeld, creative director at Chanel, might think that anorexia and other eating disorders have "nothing to do with fashion" (he's also described Adele as "a little too fat" and said that only "fat mummies" hate "skinny models") but when what the fashion world tells us to aim for is unattainable, problems are inevitable.

I was 15 when I was scouted to "model" for an American fashion brand (I'll give you a hint, it's the one with the topless models that reeks of overpriced aftershave). A size six and weighing in at just over 50kgs, I also had early-stage bulimia. I was told that I was too young for the job so, after my sixteenth birthday, I tried again, this time with an agency. Over the course of those six months I'd gained 2kgs, going up to a size 6/8 and, when I didn't get the job, it was this fact I blamed. I was healthy again, sure, but if you'd given my teenage-self the choice between being health and fitting in with the androgynous figures I idolised on the catwalks of London, Paris, New York and Milan, I know exactly which one I would have chosen.

Last month, in an open letter, former model Charli Howard summed up the longing I felt. "The more you force us to lose weight and be small, the more designers have to make clothes to fit our sizes, and the more young girls are being made ill" she wrote to her modelling agency after they called her "fat". At seven and a half stone, she "still wasn't thin enough" for her agency and her experience, along with the experience of other models, is now the subject of an All Party Parliamentary Group inquiry into body-image.

"I am increasingly concerned about models working in the industry and young people who feel pressured to conform to this unrealistic standard of beauty" MP Caroline Nokes, the leader of the inquiry wrote yesterday. Conducting it, she admits that she was contacted by many people "with grave concerns about the industry, including models themselves, their parents and those who suffer from eating disorders", as well as modelling agencies defending their "difficult decisions".

In the world of the latter, fashion as it stands reflects not the average consumer as they are, but as they want to be, a reflection that presents models who are "down to the bone" as an empowered alien elite, marching down a runway with their half-moon totes in hand. The reality, as Nokes' inquiry is beginning to discover, is not so simple.

As the same excuses are repeated, it's hard to forget the words of one fashion CEO, who famously said of his brand, "Are we exclusionary? Absolutely".

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Why I Am Shunning Black Friday in Favour of #GreenFriday

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27th November or Black Friday is almost upon us. That recently popularised annual event when retailers slash their prices in anticipation of a buying frenzy like no other. Last year there were arrests, injuries and probably a fair obscenities muttered as shoppers grabbed and grasped at electricals and other non essentials (that they possibly didn't need or even want) like their lives depended on it.

What I really despise about Black Friday, apart from the rampant consumerism that it represents, is the loss of manners, concern for others and sense of civilised society that it seems to engender.

So this year (and every year) I am shunning Black Friday in favour of #GreenFriday!

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I will be wearing secondhand kimono jacket upcycled from a dressing gown, staying at home in the warm, away from the craziness and queues of Black Friday and well away from any online stores, except perhaps some of my favourite online second hand clothes stores.

For those looking for a get out of Black Friday, there plenty things happening next week, which also happens to be #secondhandfirst week, a decidedly more sustainable annual event organised by the charity TRAID. There will be late night charity shopping in TRAID stores around London, talks, upcycling workshops and lots more. If none of this takes your fancy, why not drop into your local charity shop to see what they have on offer, you might be surprised by what you find.

Join me by tweeting about your fun and eco friendly alternatives to Black Friday with the hashtag #GreenFriday. Wouldn't it be great if we could get it trending!

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Five Grooming Gadgets Every Man Needs

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Electric razors today look more like Jetson props than mid-century machines. With so many options settings, and styles it can seem a daunting task just to choose one. I have tested the top brands to see which electric razors gives you the best buzz for your bucks. Choosing just the right electric shaver for you or as a gift for someone can be difficult. With the huge range of makes, models and price points to choose from it can quickly become an overwhelming task. So, I have tried and tested the following products.

Firstly, when it comes to rotary electric shavers, Remington is the ultimate by far. This Remington HyperFlex razor gives you a close, confident shave every time. With precision Plus heads smoothly and comfortably cut long hairs and stubble. The HyperFlex technology also allows the entire head to adjust to any angle and also lets you shave dry or in the shower with gel or foam. Plus, the name couldn't be more accurate for this new rotary shaver. Although I've only had this rotary shaver for two weeks I didn't need to recharge the razor at all, it's so quiet that I thought I hadn't given it the initial 24 hour charge time. Rotary shavers worked really well for me due to the circular motion across the face and extremely pleased and highly recommend it.




CruZer Shavers & Trimmers



The CruZer6 beard&head is a powerful tool for styling your beard and head exactly the way you want.

The CruZer6 also includes a small precision trimmer especially designed for beard styling in hard-to-reach areas. It allows effortless moulding of shapes and contours to add the finishing touches to your look.

Delicates & Body Hair Trimmer by Remington

Manscaping is the modern term for when a man removes unwanted body hairs through shaving or trimming. The new BHT250 Delicates & Body Hair Trimmer by Remington is perfect for all the tricky situations and complex areas, this groomer will do tremendous job. I just make it a point to be a little careful in the areas where the skin is loose or uneven. That said, application of cold water helps tighten the flabby skin. Though this groomer can be used wet or dry.

This is an all-in-one grooming solution, with a dual-end design and super lightweight to mention. I love the design of this hair trimmer -it's smooth and sleek and very easy to maneuver.

For any guy who has tried to shave his back with just a regular razor, you know how difficult that can be, not to mention the awkward stretching of your arm muscles (which you'll still feel a day later). The new BHT250 Delicates & Body Hair Trimmer by Remington makes this a non-issue and ladies, this would make the best present too.



Braun Series 3 3040s Wet and Dry Electric Shaver



My current must have, is the new Braun Series 3 3040s Wet and Dry Electric Shaver rechargeable electric shaver is for the man who settles for nothing less than the best. It's 100% waterproof, provides the closest possible shave and will even clean and lubricate itself in the charging station after every use.

This is an ideal shaver for anyone who suffers from sensitive skin or is making the change from a manual razor to an electric. I have sensitive skin and would highly recommend this to anyone similar.

It's also rechargeable so it's great for use on the move. Some can be used both cordless or from the mains - giving you an extra option if you've run out of charge.

Remington Virtually Indestructible Hair Clipper HC5880



Remington's most powerful clippers with Japanese stainless steel blades deliver a professional finish. This to me is one of my ultimate hair clippers and most powerful one I have ever used. Designed to last a lifetime, this compact Remington clipper delivers two times the cutting performance. The reason I'm suggesting this one, apart from the fact that it comes with so many accessories is a combination of a strong motor, the fact that you don't need to lubricate it, and how easy it is to use, because of the low vibration this particular motor puts out.

Let me know what your thoughts are and if you've used any of the following above.

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Dress for Our Time: Transforming the Way We Think and Act Upon Climate Change

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This week my team and I launch Dress For Our Time, the world's first digital couture dress dedicated to exploring climate change and its human impact at St Pancras International - the gateway to Paris - the city hosting the pivotal United Nations Climate Change Conference COP21. Dress for our Time has been two years in the making and in that time I have brought together collaborators from very different backgrounds, from business, science, technology and fashion to humanitarian work, to explore ways to engender a public debate which uses the power of fashion to see things differently and connect in unprecedented ways.

Given the importance of the conference, where more than 190 nations will gather to discuss a possible new global agreement on climate change, we hope to capture people's imagination in a way that is both unexpected and beautiful. With the scientific community overwhelmingly in agreement that climate warming trends over the past century are very likely due to human activities, Dress For Our Time asks us what we can do individually and collectively, and invites us to join the conversation which neither makes us fearful or guilty about the huge challenges that climate change presents us.

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The dress will digitally display data which will show the impact of climate change on our physical world. It will show our planet, both as we know it now and as it will be if we DON'T DO ENOUGH. We developed the dress in partnership with the award winning agency Holition and the data has been taken from a study conducted by a team of global scientists and provided by the Met Office. Throughout the two years I have been fortunate to have worked with like-minded people - like the brilliant Michael Saunby of the Met Office - who has a similar vision for a world where the arts and sciences combine for the greater good. The Dress itself is made from a tent (which was no longer in useable condition) gifted to the project by the United Nations High Commissioner for Refugees (UNHCR). In giving the tent a second life, it gives the piece an unbreakable bond to humanity and represents the importance of nurturing and protecting all people and safeguarding generations to come. I wanted it to be a powerful symbol of what it means to be human amidst the precarious nature of our existence.

Dress for our Time symbolises the collaborative way that I have worked for over twenty years - breaking down the boundaries between traditional subject areas and using fashion as a catalyst for change. I have always experienced, that it is our collided imaginations that hold the key to some of the world's most complex problems - and being constrained by viewing arts and sciences as totally separate will never get us closer to what our planet requires. Through Dress for Our Time and some of my previous projects, it has become ever clearer the importance of brokering projects which bring together brilliant minds from disparate fields. It is an ease with collective thought, that can lead to the breakthroughs necessary to change our course.

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Visitors to St Pancras will be able to ask questions of our future from an entirely new perspective. We will be gathering people's reactions through #Dress4ourTime and #ClimateChange on INSTAGRAM and TWITTER and this will help inform chapter two - which will be announced in early 2016. We want Dress for our Time to help elevate people's voices and share some of the hopes and fears that we all have around the future of our planet. None of us have all the answers - but by using creative ways to discuss the issues which really matter to us and future generations - we can find new ways to explore the evidence and stay in relationship to its truth. Dress for our Time is one step towards a future which belongs to us all.

DRESS FOR OUR TIME will be on display at St Pancras International Station Concourse (next to the Sir John Betjeman statue, Euston Rd, London, N1C 4QP) the gateway to the United Nations Climate Change Conference COP 21 in Paris from 26 - 29 November. It is supported by London College of Fashion, UAL, Unilever, Holition, Met Office, St Pancras International, UNHCR and HSF.

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In Conversation With Hussein Chalayan: Gravity Fatigue, Celebrity "Designers" and Using Technology in Fashion

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I have read many an interview with the world's most credible and era-defining fashion designers and often they're unrevealing. Not so with Hussein Chalayan.

Hussein's myriad of professional responsibilities include designing eight collections per year for Chalayan and seasonal collections for Vionnet, and in addition he is Head of Fashion at the University of Applied Arts, Austria. This year he presented his latest project, a contemporary dance piece entitled "Gravity Fatigue" (almost two years in the making), opened his flagship store and gave a TED talk. He is full of energy, by his own admission and speaks with definite authority on the notion of overworking and keeping a balance between earning and living. He said he sometimes thinks it's a stupid thing to be busy - although it's a choice - and the quality of his life has been terrible this year because of his workload.

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Hussein Chalayan's flagship is primarily a store, but will also host events, dinners and shows on a yearly calendar



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Hussein Chalayan speaks at TED2015 - Truth and Dare, Session 11, March 16-20, 2015, Vancouver Convention Center, Vancouver, Canada. Photo: Bret Hartman/TED


"Gravity Fatigue"is a feat in movement, sound and costume. It was borne of dormant ideas Hussein has kept in files from the past decade and beyond. This makes complete sense given that the piece plays out as a series of scenes, each with it's own style and narrative. Hussein explains that the ideas are a combination of notes, sketches and subjects sparked by his interests. Citation of specific sources is impossible because the organic, evolutionary nature of his work, coupled with his broad interests, leading to an intersection somewhere between sociology, architecture, art and the world's sciences. Hussein sums up the collection of proposals for "Gravity Fatigue" as originating from a "World View" collated from his 21 years working in the creative industries.



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The "Gravity Fatigue" running order, from the Sadler's Wells show program


What's so ambitious about Gravity Fatigue, beyond the fusion of contemporary dance, costume and fashion design, is that Hussein directed the piece - a completely unorthodox approach in which most choreographers would refuse to partake. "Usually the choreographer is King" states Hussein. However choreographer Damien Jalet accepted this role reversal. The creation of the piece began with four workshops (the exploratory phase) followed by two months of intense rehearsals giving rise to many a creative and technical challenge and many tears.

The fact that Hussein's initial ideas and premises are those expressed in the final piece is testament to the dedication of his collective team, including Jalet and the thirteen dancers, to realise what he had envisaged for up to a decade or more in his thoughts, notes and sketches. Hussein explains the challenge ran so deep and so intense that he and the team are experiencing a severe anticlimax now that it has ended.




The collaborative nature of "Gravity Fatigue" required integration of costume design in the Chalayan studio with prototypes built by outside specialists, followed by movement back and forth between teams until the desired aesthetic and function were achieved. It's a dizzying thought, considering the number of people and specialisms involved.

There are scenes driven by technology, like "Secret Gliders" where the dancers recoil in response to the sharp movements of their draped dresses careering along the floor, orchestrated by invisible mechanics from below the stage. This scene makes me think of wireless puppeteering - It's a struggle and a fight between the movement of the body and the costumes, which are being manipulated by an invisible third object or force. The piece as a whole is at its most captivating when this tension between the body, its movement and the costumes is ramped up.

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Gravity Fatigue



My thoughts jump to the final scene transforming from "Hong Kong Heights" to "Anticipation of Participation" - a group fabric and clothing orgy with dancers dipping their toes into a pool before intertwining and being sucked into a turbulent centre. Grabbing at each other and failing attempts to escape, it was a tense and disturbing close to a show of many ideas and concepts executed as a number of parts on multiple journeys, rather than a narrative whole. Again, this is in bold contrast to the usual contemporary dance offering and demonstrates how Hussein Chalayan's work innovates and pushes boundaries.

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Gravity Fatigue



On the night, reflecting on the crowd and the lively chatter outside the theatre, it's clear that "Gravity Fatigue" was a challenging piece. By breaking free of the usual continual narrative of contemporary dance Hussein created a piece led by diverse and broad ideas, bringing a crowd of people who are appreciators of his fashion design to Sadler's Wells - perhaps a first for many. It's important to reflect on how this can catalyse further cross-disciplinary work and stoke the fire for fashion designers to look beyond fashion, both in terms of inspiration and practice. Hussein was amongst the crowd outside the theatre afterwards. It occurs to me at this point that Hussein's work is so influential and important because it invites dialogue - provoking questions and offering unexpected answers.

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The technical underpinning of a dress from Hussein Chalayan's SS07 collection





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Chalayan A/W00 Photographs Chris Moore



On the subject of digital media Hussein says it's democratising effect is both good and bad. It's good in the sense that anyone can access a breadth of information. It's bad in the sense that information becomes disposable, having a cheapening effect. It also doesn't allow exploration, says Hussein, "you can just Google anything and you'll find it, so you don't research and appreciate it". We discuss the process of library-based research taught traditionally in fashion degrees where exploration is done through books in a broad sense before later developing, curating, fusing and refining ideas to bring a unique perspective - the hallmark of individuality sought by designers aiming to express a personal point of view and grow throughout the design process.

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Sketch by Hussein Chalayan



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Images from Hussein Chalayan's first print campaigns


I ask Hussein "Why fashion?" - It's his love of movement, of clothes and how they can alter and re-appropriate the body. "I think the body is the ultimate cultural symbol in the world" he says. It is Hussein's belief that you can work like an artist when making clothes. He sees it as a study and although he participates in the fashion discourse, he views fashion as a broader activity. He does not see fashion as a frivolous thing sometimes brought about by celebrity "nonsense", by which he means celebrities claiming to be designers overnight and cheapening the industry. Why doesn't that happen with other disciplines like architecture, he asks? You can't become an architect overnight, so why a fashion designer? Fashion is a hub with many sides, but most people know the tabloid or popularist side and for that reason it's thought of as frivolous. He cites fashion academics Caroline Evans and Judith Clark as spokespeople for the credibility of fashion and feels that if more people like Caroline and Judith were involved in the fashion discourse, the collective opinion of fashion may change and it's view would be held alongside disciplines like architecture. He believes fashion is as valid as any other discipline in which the discourse is more serious, it's just that those who cheapen the fashion industry have a loud voice.

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Chalayan S/S16



Interviewing Hussein Chalayan is like fashion nourishment - stimulating, illuminating and enlightening. I thought of a dozen more questions I'd like to ask Hussein after I left the Chalayan studio, but will patiently add them to a filed list, neatly in keeping with Hussein's penchant for filing ideas, notes and sketches for a later date. But let it not be a decade or more before I have the chance to ask them.

Gravity Fatigue is going on tour. Keep up to date with news, launches and events here>> Chalayan website, Twitter and Instagram.

Follow me: Twitter @Thetechstyler and Instagram @techstyler

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Fashion in Motion: Peter Pilotto at the V&A

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© Stylelacity

On a crisp November Friday evening, I had the pleasure of visiting the jaw-dropping decadence of the Victoria and Albert Museum to see their new monthly event, Fashion in Motion.
I was joined by Richard Webb, Director and founder of Stylelacity, London's premier styling and image consultancy, who had his beady eye on the gorgeous ensembles!

We sat eagerly waiting for Fashion in Motion to start. These collective events are a live series of catwalk shows curated and presented exclusively to the V&A. Featuring some of the greatest artists of our time, Fashion in Motion brings catwalk couture to a wider audience by modelling it against the beautiful backdrop of a museum. I particularly loved the high ceilings and marble floors!

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© AB Kellow

Austrian-Italian Peter Pilotto and his partner Belgian-Peruvian designer Christopher De Vos are a luxury womenswear label which combines silhouette, drapery, textiles and print to create beautiful innovative designs. Complex bold prints juxtapose against soft feminine shapes for a signature style.

The label is frequently worn by celebrities such as Naomie Harris, Kate Bosworth and Emma Watson whilst it is stocked in luxury department stores including Harvey Nichols, Harrods, Selfridges, Macy, Saks Fifth Avenue and Bergdoff NY.
Being fond of feminine shapes and bold colours, I was particularly inspired by the dresses...

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© Stylelacity


Peter has been awarded the NewGen sponsorship by the British Fashion Council whilst in 2014 he was also awarded the BFC/Vogue Fashion Award and The Swarovski Collective Award 2015.

I found the show to be a dream scene; using ambient lights and operatic music under the setting of the statuesque museum, it created an electric atmosphere!

Below are some of my favourite creations, whilst Fashion in Motion will continue with new designers monthly.

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© Stylelacity

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We Are Rich Just Because They Are Poor

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Today I commit to myself to look at the garment manufacturing information label before I buy any item from any retailer. I have already started to consume less a couple of years ago when I started questioning myself if having more is actually doing more harm. After the Rana Plaza factory collapse in Bangladesh in 2013, killing more than 1100 people (!), everyone was talking about the British discount clothing retailer Primark. It is natural to assume that the £3 T-Shirt must be made in awful conditions. I used to shop my 'essential basics' at Primark now and then but from then on I stopped completely. However, when I looked into the story or all the other stories in depth, I understood that Primark was just a tip of the iceberg (and just one of a few fashion retailers that actually took responsibility of what happened). There were at least 23 fashion manufacturers using local work force in that chain of sweatshops where Bangladeshi workers were slaving 19 hours per day in awful conditions. Some of the brands (including Primark) have committed to repay affected families and improve their working conditions but regardless that nothing much has actually changed since in the global rotten fashion consumerism. Unfortunately, it doesn't even have to be the cheapest item on a high-street to cause pain to a real person sewing it. Some designer houses use the same factories as let's say H&M, United Collors of Benetton, Primark or Zara.

If your fashion label says made in Cambodia/Bangladesh/Vietnam, etc. be sure you are contributing to the human slavery. It is very difficult to relate to the fact thus relating to the story is a way to go. My friend Ausra told me about the Norvegian reality TV project SWEATSHOP by Aftenposten.no. Three Norvegian youngsters were selected to participate in a lifetime journey to Cambodia: Frida, Ludvig and Anniken (who is one of the most influential fashion bloggers in Norway) went on a trip to Cambodia that changed their lives. They are just ordinary fashion consumers of their age group so it's a perfect sample group. They went to Cambodia to see and experience the working conditions of sweatshop workers making their clothes by let's say H&M. The rest is the history - it is pretty difficult to find the right words to describe their experiences and relive the emotions but it is very healthy to watch it yourself.

When I launched Fashion Bloc, that helps independent fashion houses and designers from former Soviet countries access international audience, I knew I was going to work with the designers and feature the designs that are designed AND made locally in Europe or by the designers themselves (wherever in the world they were based at the moment). To be completely honest, in the beginning it was more related to the urge to demonstrate a good production quality but eventually it has also become a mission to contribute to the conscious consumerism. Running Fashion Bloc is in a way helping independent designers be seen but also helping independent consumers be conscious. Made in Europe is not a concept of pride anymore. Made locally in Europe is a concept of equality, fairness, and economical support. Supporting independent fashion designers and being conscious of what you are wearing (carefully considering how much of the stuff you buy you actually need) could really make you feel better and contribute to the society. It is indeed the same as stop wearing fur, eating meat or buying 'caged meat'. It is your choice.

One may argue that sweatshops or as they call them factories in countries such as Cambodia contribute to their economical wellbeing where clothing manufacturing industry is one of the biggest export industries. No one in their right mind would argue with that but the obvious, well-known and public fact is - sweatshop workers are slaving there. Same as chicken packed in a cage (for those of you who chose to eat organic, free range eggs, etc.). The difference between the two is kind of obvious - the sweatshop workers are human beings who literally sweat there (most factories don't have air fans, not even talking about air conditioners), and often work until they faint of exhaustion or dehydration. I know it is quite difficult to relate to the written words thus I urge you once again to watch the aforementioned documentary. If we can't really stop people from working and governments from making (as little as it is) money from the fashion retail industry, we can at least try and be the change we want to see in the world.

There are quite a few fair-trade, conscious consumerism, slow fashion campaigners, manufacturers, brands, ambassadors and the change is actually happening (very slowly though). We are all a part of this. I think it is never too late to sit and think about the sentence that was pronounced by one of the participants of the reality show (and she was only 17!): 'We are rich just because they are poor'. 'Rich' is relative here but in the end, we can afford tons of clothes (be it fast fashion or some designer brands) just because they make them for almost free. What would happen if you would have 1 T-Shirt for the price of 3? Perhaps some 19 year-old who works in a factory to support her 8 person family could get a free bottle of water for her working day.

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Cross-Stitching Contradiction - Why I Started Birdsong

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Last year, I co-founded Birdsong, an online marketplace for clothing made by women's charities and social enterprises in London and around the world. As a Palestinian woman from East Jerusalem, I often ask myself, what am I doing in London and why ethical fashion? To answer these questions I will tell you a complicated story full of contradictions. Hopefully by the end everything will fit together.

Welcome to Shufat
I grew up in East Jerusalem, the Palestinian side of the city. I don't think I knew the word feminism till I was 12 - that was the same year the Second Intifada started, so sadly women's rights were seen as secondary to the overall Palestinian struggle and the onslaught of violence. I did know that when my sister left the house there were teenage boys who stood on the street watching her and commenting about her looks and the way she was dressed. As I got older, I learned that there was an unofficial dress code for walking down the street in our neighborhood for women - otherwise you'll be harassed. Then later I learned that was nonsense as women everywhere get harassed and it has nothing to do with what they wear and everything to do with men being taught that this is acceptable behavior.

My Mother After the Nakba
My mother, is my first feminist hero(ine) though she hardly ever talks about her own struggle as a woman. She's from a generation that was taught that complaining gets you nowhere and the only way to improve your life is hard work. Born in 1950, she grew up under military rule in the newly established state of Israel. Her family had just been uprooted by the Nakba (Arabic word meaning catastrophe which refers to the forced exodus of 700,000 Palestinian Arabs due to massacres and forced deportations which took place during the Israeli War of Independence) and resettled in an abandoned Palestinian village nearby. They had curfews, needed permission to live the village and were forced to raise the Israeli flag in school.

Still my mother loved school. She loved math and would save up her allowance to buy books. The school in the village only went up to elementary (year six) so when she turned 11 my grandparents had to decide whether to send their kids to boarding school in Nazareth run by nuns. People in the village were wary to send their daughters away to a strange city so they didn't. My mom waited four years at home embroidering pillows, cooking, cleaning, tending to livestock, crops and looking after her younger siblings. She never stopped reading and never stopped dreaming of going back to school. Then one day, as though by magic everyone in the village decided it's ok to send the girls to Nazareth. My grandfather knew this was what my mother wanted and that it was the right thing to do, so even though she was a few years older than her classmates he encouraged her to go to the school.

This was only one of many struggles my mother went through before completing her PhD in Physics. When she finished her viva she wanted to work at a Palestinian University so that she could teach students from her own community. Sadly the university would only meet her if her husband came along and even then they were dismissive and disrespectful.

Being a Teenager in a Time of Intifada
My mother didn't care much for fashion- she's an elegant woman for sure but she never really understood my choice of outfits. Low waisted jeans, crop tops and heavy black and purple eyeliner on a teenage girl in our neighborhood seemed to her like unnecessary hassle. Needless to say as I teenager I could care less what she thought of my style (sorry Mama). Being the only Palestinian Muslim student in an all Jewish Israeli school in West Jerusalem, I had my own stuff to worry about. I was concerned with normal teenager stuff like getting good marks, fitting in and being cool. But also responding to comments like "You're so pretty, you look nothing like an Arab." "I love your outfits, do your parents know you dress like this? Does your mom wear a Hijab?" (Yes they do and no she doesn't wear a Hijab, not that it's anyone's business. Why are people obsessed with what Muslim women wear?) These comments were mild compared to chants of death to Arabs and suicide bombings that made life in Jerusalem a special kind of nightmare. I'm certainly a privileged and lucky person as all my loved ones are physically safe. Looking back on those days, after the 2014 Gaza War killing over 2,000 Palestinians and in the context of the current escalation, almost makes those times seem calm.

Now
When I read the news today I get the same horrible feeling in my stomach that I did back when I was a teenager. This awful feeling that everyone and everything I care about can be destroyed and I am powerless to stop it. My feelings about Jerusalem are as complicated as ever. It's my home, the place where my family lives. It's the backdrop of my childhood memories and the place that made me who I am. As a Palestinian, our struggle against oppression feels like the most important thing. As a woman, our struggle for equality also feels like it can't wait.

Living in London, my perspective is massively zoomed out. I've met people from around the world and understand that Jerusalem is not the center of the universe. There are people everywhere with their own struggles. As a teenager, I had no idea where my cheap trendy clothing was made and how. Now that I know that between 85-90% of sweatshop workers are women and girls, I can't ignore it. When the Rana Plaza factory collapsed over 1,129 people were killed. Horrific manufacturing conditions aside, the way fashion is marketed to women is damaging to say the least. Through images we are taught that as women our looks our everything and the best way to look is skinny young and white.

There has to be a better way. What if fashion was a force for good? What if we used the creativity and beauty of fashion to express our identities and also empower women makers? That's why we started Birdsong. From Palestinian embroiderers working with Israeli seamstresses, to a sewing workshop in Malawi and all the way old ladies knitting in London, we're working with women to tell our stories. By bringing people together, I hope that in some small way we can make things better. That's why I started Birdsong. My mother didn't accept the reality she was born in. She worked hard to elevate herself and show what women are capable of despite what society told her. Those are the values she passed on to me. Birdsong wants to give women the chance to improve their lives and change their realities. That's what women need, a real chance, just like my mother.

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The Art of Male Modelling

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modernman



HuffPost UK is running a month-long focus around masculinity in the 21st Century, and the pressures men face around identity. To address some of the issues at hand, Building Modern Men presents a snapshot of life for men, from bringing up young boys to the importance of mentors, the challenges between speaking out and 'manning up' as well as a look at male violence, body image, LGBT identity, lad culture, sports, male friendship and mental illness.



Interesting title right? Maybe even laughable! I can understand why. On shoots, us models are often referred to as "The Talent". I often try to justify this and I have come up with a few possibilities... Because we can smile with our eyes? Because we have learnt what kind of poses look good on camera? Because we have a type of look and the correct measurements of what's required to be a model in the industry? Well in that case thank my mum and dad for the genes that they have given me because I have sod all to do with my looks! Okay, maybe I moisturise on a daily basis. If moisturising is a talent then fuck me I am one talented bastard!

All jokes aside, I scratch my head and I can't think of one acceptable reason for being referred to as "The Talent". However, there are certain aspects of male modelling that aren't for everyone and not just anyone can do.

The other day I was having a chinwag with my old man at our local restaurant. I said I was tired and in his usual macho piss taking way asked something like "how can I be tired from trying on clothes all day?". Please bear in mind my dad has been a roofer for over 30 years. And believe me, roofing is a very, very tough job. I did it for longer than six years.

While I tucked into my healthy grilled salmon and veg I explained that I had been up since 6am, then after a day's work been to the gym and now I feel knackered. He had a giggle so I put him to the test. "Okay, how about I set up a photoshoot with you. I'll pay you £1,000 for the day. We will get you out in the public and you can bust out blue steel and have your picture taken, let's see how you get on mate!". He replied back dead serious saying "Bill, I wouldn't do it for 10 grand."

Why?? Ten grand is a huge sum of money for one day. My dad, a man who has worked his bollocks off his whole entire life on dirty roofs, shit weather and the heavy duty labour that has caused harm to his body wouldn't model for a chunk of money that is extremely hard to come by in one day. I think it's because male modelling is not as easy as some people think.

Physically - a walk in the park. Mentally - not so. To be under the microscope and judged as part of your job is by no means a walk in the park and that makes a great breeding ground for insecurities. Nobody is perfect, that's the truth of it. But as a male model, essentially we are a product and its ourselves we are selling... In a non-prostitute kind of way of course! If male modelling is your only source of income then you want to do your best to make yourself as marketable as possible. Striving for perfection is a lose-lose situation and that can be a mental battle in itself. Should I have had that pizza yesterday? Necked those beers over the weekend? Had that trip to the barbers? Gone to LA and partied with a bunch of transvestites and ordered far too many bottles of vodka and rubber ducks at the pool party.

Okay, maybe not the last one but what I'm saying is modelling is definitely a big lifestyle change for me that has taken time to adjust. The most normal things in life like a haircut can make you basically unemployed. Living life with a pinch of salt is also no easy task. The plans I make in my social circle are never concrete. I don't know what I'm doing from one day to the next or where the next pound note is coming from, it's all apart of being self employed I suppose. The difference is, is that we have a short shelf like and my look maybe in today but out tomorrow.. and then what?

"Dad, you still got my old steel toe caps mate?".

Please don't get me wrong there are many many perks of modelling and I do love my job dearly. I can do things with my life that I couldn't as a roofer. It has opened many doors. The headfuck that the fashion industry can be is a small price to pay. I am extremely grateful for the position that I am in and I do know that I'm a lucky bloke.

So, is male modelling an art form? Is it a talent? I strongly feel that it is not! Does male modelling warrant some sort of merit? Yes I think it does, but then again so does every other job. Male models are not above or below anybody else. We are seen as aesthetically pleasing to the eye and that is the reason why we get put on to a pedestal.

To blog on the site as part of Building Modern Men, email ukblogteam@huffingtonpost.com. If you would like to read our features focused around men, click here, and for more about our partnership with Southbank Centre's Being A Man festival, click here.

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We All Have THAT Sweater...

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When searching through your wardrobe there are little objects which feel more personal, more you than that sweater. That fail-safe throw-on when you're having a bad day and just need a little TLC sweater. The one that is anointed with that special touch, that feel, that smell, that fit, that just no other sweater can attempt compare to. Where old-age is seen as a blessing and slight holes and loose threads are symbols of love rather than wear and tear and simply add to the charm.

That sweater.

And for that sweater, we have the entire knitwear genre to thank. Knitwear, whilst holding the potential of an ulterior fashion statement is also unique in that it holds the capability of also being a security blanket. It feels familiar, hides any lumps and bumps and acts as a protector- sheltering you from the wind and cold, wrapping its beautifully soft arms around you and holding you close. From a distance, the tough silhouettes of knitwear connote power, yet as you get closer you realise just how beautifully soft and somewhat fragile it is. This stark conflict of properties amounts to a versatile creation that can be dressed up or dressed down for any occasion.

Whether hand-knitted during a series of cosy afternoons by the fire or mass-produced for the market, knitwear always emits a sense of the emotional investment has gone into their creation. Perhaps it's the chunky yarn, the fact you can see each stitch carefully interwoven and tightly packed together, or perhaps it is the fact knitwear has stood the test of time as a durable, fail-safe option that we reach for again and again.

This time of year there is little better to do that to wear that sweater- if only we could do it day in day out- which is why I've put down three of my favourite knitwear brands for you to take a look at.

Needle Knits - I have a few jumpers from here now, including a beautiful chunky, navy cardigan. Each piece is made with love and the contemporary feel and easy navigation of their website makes the whole shopping experience thoroughly enjoyable. Delivery was also super quick!
Wool Overs- I have bought two cardigans and a jumper from here, the jumper is made from a Cashmere & Cotton blend and is the softest jumper I have ever worn. It's made even better by the fact it's machine washable, so there are no shrinking disasters!
Quiggleys - Aside from having one of the best names I've ever heard, Quiggleys jumpers are super soft and durable. Whilst this is a menswear brand, I have bought myself two jumpers from here. I ordered in a small and the shape makes it a great oversized piece to lose yourself in. Let me know where your favourite knitwear comes from!

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Imagine If Just 1% of the £1bn Was Spent With Ethical, Fair Trade Organisations

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It's that time of year again when the UK erupts with festive lights and shoppers hit the streets en masse. The height of the spending frenzy peaks on the American-born Black Friday. Yes, Black Friday looks like it is now firmly rooted as an annual UK event. But does this yearly routine of consumption make us happy? Apparently not, finds Traidcraft.

Traidcraft's recent research found that more than half of people surveyed (54%) said they experience negative emotions when shopping in the run-up to Christmas. They feel stressed, anxious, ill, argumentative and violent. Doesn't sound like the jolly holly Christmas cheer that the adverts surrounding us everywhere would want us to believe!

Am I surprised by this? Not remotely. Mindless consumption that makes Christmas shoppers feel uncomfortable, has to stop. Early this year The True Cost documentary film on the impact of fashion emotively summarised this reality through the voice of Tim Kasser, a psychologist.

His firm message is accompanied with film footage of Black Friday shoppers stampeding into malls. Tim argues that through advertising we believe that by buying things we will be happy or happier, when the reality is that materialism is making humans deeply unhappy.

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Retail analysts predict £1billion pounds will be spent on Black Friday this year. What angers me is that of the estimated one billion spent, hardly any of it gets back to the producers and they rarely benefit. Instead it is often at the cost of workers and the planet. Behind all of these gifts, it's so important to know that workers are being paid fair wages or working in safe conditions.

This is why I am supporting the Traidcraft and Divine's 'Just Friday'. We can all take a moment to stop, breathe, and buy our gifts mindfully and ethically. By buying from ethical organisations we can use our spending power to help people in developing countries across the world.

We can create change, a different way of doing business that respects people and planet by buying Fair Trade, ethically and sustainably this Just Friday.

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18 Thoughts I Had When Trying Mens' Makeup For The First Time

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modernman



HuffPost UK is running a month-long focus around masculinity in the 21st Century, and the pressures men face around identity. To address some of the issues at hand, Building Modern Men presents a snapshot of life for men, from bringing up young boys to the importance of mentors, the challenges between speaking out and 'manning up' as well as a look at male violence, body image, LGBT identity, lad culture, sports, male friendship and mental illness.


When I was asked to put some slap on to test out my masculinity as part of HuffPost's Building Modern Men month, I'll admit I thought twice.

Why? I'm not sure. Something about wearing makeup made me think "NO" in extra-bold capital letters.

An odd reaction, I now accept, after finding that more men than ever are using creams and potions which include at least a tiny bit of tinted foundation.

mens makeup
Not something I ever saw myself doing, yet here I am...


And as the male grooming market goes stratospheric, brands are now selling makeup specifically for men.

So I decided to try some out. Here's 18 thoughts I had after applying mens' makeup for the first time...

1. The cost made me die a little inside
The expense of the stuff took me by surprise. The Mënaji Camo Camoflage Stick weighs in at 7g but costs £18, and the HD Powder costs around £23. Meanwhile the Recipe For Men concealers were £17 each, and the 'anti-blemish stick' was another £18.

2. It takes forever to apply
Quite how people have the time to apply makeup properly I'm not sure. It took me 45 minutes of fumbling around, balancing a mirror and awkwardly stabbing my face with a sponge and my fingers to put the stuff on - and the final result leaves a lot to be desired.

3. This suddenly makes sense

so time consuming!!!!

A photo posted by MUA problems (@muaproblemz) on




4. Why don't makeup sponges dry?
It's been on the radiator for days after I washed it and I don't know what else to do.

5. So *this* is what facial wipes are for
I'd previously just not understood their purpose and obviously didn't buy any before applying coloured liquids to my face.

6. Soap and water isn't that effective
It doesn't remove the makeup without the sort of intense scrubbing which leaves everything bright red and sore.

7. But maybe that's exfoliation?
Come to think of it, the whole process of taking makeup off might be the exfoliating thing every YouTube makeup tutorial I've seen talks about.

mens makeup
The makeup and my stubble just didn't get along


8. It didn't mix with my stubble
I've spent ages curating a designer stubble only for the makeup to cling on to the mini hairs and make my skin look like it's flaking off. The exact opposite of its purpose.

9. 'Caking' is a thing
Apparently 'caking' has nothing to do with sweet treats, and instead describes foundation makeup mixing awkwardly with your skin and flaking off and looking terrible.

10. Things were unexpectedly uneven
So the Mënaji HDPV Anti-shine powder is made for men working in front of high-definition television cameras, but even this didn't stop it from making me look like I had an uneven tan - and it certainly 'caked' on my chin.

mens make up
The Mënaji HDPV Anti-shine powder comes with an undryable sponge


11. I had no idea what I was doing
By the time I cracked open the anti-blemish concealer, the whole experiment had taken a turn for the worse. Resigned to the fact I couldn't remove the other makeup with a mansize Kleenex tissue, I just applied it on top. Perhaps unsurprisingly, this didn't work.

12. YouTubers want to help you hide the makeup
So despite spending an inordinate amount on mens' makeup, YouTube tutorials almost exclusively try to tell you how to hide the fact you're wearing it.

"Bro, it's totally cool to wear makeup. I promise," writes Alex Fraction, before spending two minutes, 47 seconds explaining how to cover it up.



13. But some YouTube tutorials are actually helpful
Like this guy's.



14. I looked less tired and blotchy
I suppose the whole point of under-eye concealer is to make people look less tired, and for men this appears to be aimed towards the covering-up-the-night-before market.

mens makeup
Before (left) and after (right)


It certainly did the trick for me, but the time and effort of carving out a triangle and smudging it in to perfection is probably not the best way to cure a hangover.

I also looked considerably less blotchy.

15. I avoided the orange glow
One of my main fears about wearing mens' makeup was the 'Geordie Shore' orange glow effect, but unlike proper fake tan, I was left looking slightly less orange and perhaps even a bit yellow.

16. It's just too much effort
I now have renewed appreciation for the sheer effort that goes into crafting the perfect look. I saw a woman applying makeup on the tube the other day, pocket mirror in hand. Only now do I realise just what a feat that is to pull off.

17. Why didn't I do more preparation?
It seems to me that makeup success is all in the preparation. Rocking up and immediately dabbing sponges and fingers on my face left me looking ridiculous - but had I known some of the swish techniques extolled by YouTube tutors and Tumblr bloggers, I might have been able to save the situation.

mens makeup example
Before (left) and after (right): I avoided the 'permatan orange'


18. Maybe this is the way forward after all
For all my doubts and skepticism, turning up to work after a long, long night with a brighter face and less dark under eyes is certainly appealing.

The cost is prohibitive, but beyond that, the advantages are clear. But with my stubble clearly a stumbling block, mens' makeup might not quite be the solution I'm ready for.

To blog on the site as part of Building Modern Men, email ukblogteam@huffingtonpost.com. If you would like to read our features focused around men, click here, and for more about our partnership with Southbank Centre's Being A Man festival, click here.

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Black Friday - One Person's Paradise Is Another Person's Prison

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There's no doubt about the Black Friday prayer. It's "God make me good, but not yet." After all, you'd be insane not to snatch this, grab that and bag one of those. Wouldn't you? Or should you stop consuming so wantonly and cherish quality goods made better?

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Retailers are determined to lure us to Black Friday, the ultimate shopping day of the year. But as COP 21 kicks off, the UN Global Goal 12 urges us to ensure sustainable consumption and production patterns. It's the conscientious consumer's conundrum.

According to Drapers*, this coming Friday, 27 November, is set to be the biggest day ever in UK retail history, with sales of almost £2 billion. They predict that the figure, equivalent to £83 million every hour, £1.4 million every minute and more than £23,000 every second, will be up significantly on last year. Google Trends data already shows that the number of internet searches for Black Friday is 3.54 times greater than at the same time in 2014.

What might be a bitter truth is summed up by Vietnamese Buddhist monk, teacher, author, poet and peace activist Thich Nhat Hanh, "The situation the earth is in today has been created by unmindful production and unmindful consumption. We consume to forget our worries and our anxieties. Tranquilising ourselves with over-consumption is not the way." So are we really consumption junkies, addicted to an endless cycle of mindless buying, giving and receiving?

As Stephen Colbert says in a clip in the 'The True Cost' movie, about the orgy that is Christmas shopping, "America is back. Once again, we're spending money we don't have, on things we don't need, to give to people we don't like."

Our hope is that shoppers see through the sugar fix that is Black Friday. And that, as they sit calmly at home thinking about what and why they buy, they actually decide to buy less, made better. We have particularly high hopes when it comes to shopping for fashion. We hope that consumers will start to feel so strongly about their wardrobes that they start to make their own rules.

Our number one rule? Only buy something if you can commit to wearing it more than thirty times. If you can cherish it for thirty years, even better. The best wardrobes tell you about the people who wear the clothes, not the last fashion magazine they read. They have some vintage, some sustainable new fashion, some much loved pieces bought years ago and maybe their Mum's old, but hip winter coat. New, old, loved and irreplaceable. That's the mix to remember.

Black Friday will come and go. So will the Christmas rush and the New Year discount sales. The figures will speak for themselves. But we know a few already. The global fashion industry generates upward of 2.5 trillion dollars a year. The world produces 80 billion clothes a year and consumes 400% more clothing than it did 20 years ago. There are over 40 million garment workers in the world today. In Bangladesh, which has one of the lowest minimum wages in the world, there are an estimated 4 million garment workers working in 5,000 factories. 85% are women.

So when you look through your Black Friday bargains, spare a thought for the women at the end of the supply chain in the garment factory. They often work on the production line for 12 to 14 hours a day, in buildings with armed guards at the door and barred windows. They have to produce 150 pieces an hour, with two toilet breaks a day. They need the work. They want to work. But not like slaves in prison.

So spare a thought for them and then remember our mantra. Fast fashion is like fast food. After the sugar rush, it just leaves a bad taste in your mouth. Instead of the sugar rush, consume less and commit to cherish more.

*Drapers, "Black Friday to be biggest day in UK retail history", 23 November 2015.

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How Making Chinos for Leonardo DiCaprio Inspired Me to Design a 30 Year Sweatshirt

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Through running my menswear brand, Tom Cridland, as well as my public relations agency, I've had the chance to work with some truly inspiring people. With our agency, I work with some of the most talented designers and resourceful entrepreneurs I've ever encountered. I've had the honour of making Tom Cridland clothing for Ben Stiller, Hugh Grant, Rod Stewart and Daniel Craig. I've even met my music hero, the drummer Nigel Olsson, who has been playing with Elton John since 1969.

In Spring this year, however, I had the opportunity to make some trousers for Leonardo DiCaprio, which turned out to be the a turning point for the Tom Cridland brand and for me personally as a designer. DiCaprio was already my favourite actor, as confirmed by amazing recent performances in Django Unchained and The Wolf of Wall Street, and a huge Hollywood name. I knew very little, however, about the amount he gives back and the good he does alongside being the world's biggest film star.

In 1998, he created the Leonardo DiCaprio Foundation to support organizations and initiatives dedicated to securing a sustainable future for our planet. Since that time, he has built longstanding relationships with some of the great leaders and thinkers on the planet, staying continually engaged and active on the most pressing issues we face - climate change, access to clean water, protecting biodiversity, oceans conservation and disaster relief.

Through his foundation, Leonardo has produced a number of media projects that communicate the urgency of the issues to the public, including two short web films Water Planet and Global Warning, which have been viewed by people around the world. He dedicated half of his website to environmental news and content and is now building his social media channels in an effort to reach the public more directly.

In 2007 (after four years of development), he released his first feature length documentary, The 11th Hour, a hard hitting and inspiring film that features over 50 of the world's leading experts on environmental issues and the exciting solutions that can save our planet and humanity.

This inspired me to make the next product the Tom Cridland brand released a sustainable fashion project. The 30 Year Sweatshirt is my cry to end fast fashion, which is unfair on customers who end up paying more for their wardrobe staples in the long run, genuine designers for whom making clothing is a labour of love and the environment.

The sweatshirt itself is guaranteed for 30 years and built to last a lifetime, but the purpose of it is to highlight the pros of sustainable fashion. We are leading an industry trend towards protecting our natural resources by making truly durable clothing. The project is also supporting entrepreneurs in developing countries work their way out of poverty in collaboration with DEKI.ORG.UK, by donating 10% the profits from every 30 Year Sweatshirt sold to the charity.

To watch a short video that explains more or pick up a 30 Year Sweatshirt of your own, head to this link on Indiegogo.com.

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British 'Vogue' Editor Is Right to Contest Banning Thin Models From Catwalk

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British Vogue editor Alexandra Shulman has made headlines regarding her controversial views on the use of thin models on the catwalk claiming that she 'absolutely strongly believes' that size zero models are not the 'tipping point' for young girls on the brink of an eating disorder and that a legislation against the use of models below a certain BMI would be 'extremely unfair' for the industry.

Inevitably, many have taken to Twitter to criticise Shulman:













To call her opinion 'denial' and claim that Shulman 'supports the use of anorexic models' is to misunderstand her completely.

Shulman is speaking in regard to a parliamentary enquiry initiated by an ex-model Rosie Nelson seeking to regulate the weight of models seen on British catwalks by making it illegal to employ models below a certain BMI which, Shulman quite rightly argues, will prove inefficient.

She's not the only one, Heidy Rehman, managing director at womenswear designer Rose & Willard also told ITV that the idea of using 'non-model models' actually 'went down like a lead balloon' with her team and when asked to give evidence by inquiry leader MP Caroline Nokes, leading designer Victoria Beckham did not respond.

Does this mean that the fashion industry has strict standards? Of course, we knew that already.

Does it show that they favour thin models? Perhaps.

Does it mean that they are responsible for encouraging eating disorders? Absolutely not.

The influence that seeing thin models on the catwalk has on young, impressionable girls of is undoubtedly an important one and in many cases does need to be addressed. But monitoring BMIs, as this legislation proposes, is not the solution. This is an issue that goes far deeper than numbers.

A tall and naturally slim woman may appear worryingly thin to some but have a 'normal' BMI and would therefore still be permitted to participate in catwalk shows. Equally, a completely healthy-looking, slender woman may happen to have a low BMI and not be permitted to walk in a fashion show, despite looking healthier than someone with a 'normal' BMI.

What's more, as Shulman indicates in her interview, no one is forcing anyone to become a model and subsequently abide by strict aesthetic standards. These women are willingly putting themselves into an industry that unfortunately demands such standards - weighing and measuring these girls isn't going to change the preferences of the hundreds of thousands of designers, agencies and bookings editors that employ these models. Nor is it going to have an impact on the millions of women suffering from body confidence issues - some of which will undoubtedly be aspiring models.

Issues regarding body image transcend the fashion industry. Yes, Victoria's Secret models may make us feel like whales, but so do a lot of things. In fact, one could argue that every element of popular culture promotes body insecurities: celebrities, TV shows, films, music videos, social media...the list is endless.

It would be ignorant to single out the fashion industry in this debate. It would be equally ignorant to assume that regulating a model's BMI will solve the issue. It is not going to obliterate an aesthetic that has defined an industry for so many years. The industry should, as Rehman suggests, be able to solve its own issues. It is up to the individuals who cast modelling shows and the designers who supervise them to judge whether or not a model is healthy enough to walk in a show. What's more, it is ultimately up to the model to decide whether or not she is happy to comply with certain industry standards - it may be their job to simply wear clothes but they are not simply coat hangers, they are human beings and just like us, they have a voice.

Olivia works for Condé Nast, owner of Vogue

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The Invisible Elixir of Youth and Vitality

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I confess, I'm a complete skincare addict - but only to one brand and with very good reason! I'm also a supplement and superfood addict. I get very excited about the possibilities of how they'll help to support good health, skin health and 'getting the glow'. I doubt I will ever stop getting excited at any of these things.

However, there is one thing. One wonderful thing that can perhaps do as much for your skin, if not more than any serum or supplement. It's something that works in synergy with products to improve their effectiveness. If it could be bottled and sold, it would probably cost a ridiculous amount. It makes you feel great. It puts a spring in your step. It makes your eyes clear and sparkly. It makes your skin plump and glowing. It makes you feel calm, in control and more patient. It's an invisible elixir of vitality and youthfulness. If it was bottled, I'd imagine it to appear as a gentle swirling mist with a beautiful soft and relaxing scent.... it's the magical thing we call sleep. Beauty sleep is no myth. The words beauty and sleep belong together.

I'm writing this as a mother of two children. One of whom has never slept well, but has just started to improve dramatically at almost 3 years of age. I'm now getting a reasonable night's sleep for the first time in a long time and the word - grateful is top of my list. Of course, it's not just being a parent that can mean disturbed sleep. We can all go through periods in our life when we suffer with sleep deprivation.

I was a long haul Air Stewardess for 11 years, so I knew what sleep deprivation felt like long before parenthood. Long days and night flights, combined with jet lag. Though being much younger meant a faster bounce-back rate. I remember a conversation with another crew member on a night flight home. We were laughing about how we'd start work looking reasonably rested and glamorous, then would land from a night flight, look in the mirror and feel as though we'd aged 20 years overnight. All mirrors were avoided until some serious sleep indulgence had been had.

But why is it, when something is free we don't always value it as much? We stay up for just one more episode of something - my experience when introduced to Prison Break. We don't put our phone or iPad down early enough in the evening. Sometimes we sacrifice this amazing and free elixir of youth and vitality, for social media or a bit more of the latest TV obsession.

I am strict with myself now, bed by 10.30pm or earlier most nights - or I pay for it. The reflection you see looking back at you after less sleep, is tired with a dull complexion. Dark under-eye circles, red, sore eyes.... not pretty. Then there's the issue of how you feel...

Skin rejuvenation and repair happens whilst we are busy sleeping. This is when new collagen is being made, and this is what makes our skin firmer, plumper and more youthful looking. When you combine this with effective skincare products and supplements - you have a triple whammy effect.

Below are some tips to help you sleep better. If you have a child (or puppy) that doesn't sleep well, I appreciate they can only help so far!


My five tips for a more restful night's sleep:

Switch off the technology at least half an hour before bed - let your mind calm down and relax.

No caffeine from early afternoon onwards - Drink soothing chamomile or herbal tea of some kind.

Some fresh air in the bedroom helps - I always have my window open a little.

Spritz your room and pillow with a slumber spray - I love this particular one.

Be strict with yourself - Make a self-care rule and try your best to stick to it (although I know it's not always possible).

The reflection you see looking back in the morning, and the way you feel for the rest of the day will far outweigh another episode or more time on twitter.

After many years of unbroken sleep, I place a very high value on its importance. I don't miraculously look 10 years younger, but I feel and look better than the nights I get less, and so will you.


You can read more of Katy's blogs at Treat The Skin You're in

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Models and Body Image

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The All Parliamentary Group for Body Image is due to meet today to discuss whether legislation should be introduced to ban skinny models from catwalks and fashion magazines.

The debate is likely to centre around:

  1. Whether seeing such skinny models encourages eating disorders; and

  2. Whether the models themselves are being exploited and need protection.



My perspective on these two points is as follows:

Eating disorders are complex medical conditions and it may seem too simplistic to say that seeing a skinny model results directly in an eating disorder. The issue, I believe, is more about self-esteem.

When one woman looks at another she is looking at her peer and it is natural to make comparisons. There is also the aspirational element given fashion imagery, as a form of marketing, is almost always presented as such. To that end some people may be seduced into thinking the size of the model is linked to the lifestyle being presented, a lifestyle they may seek to achieve.

What must also be borne in mind is that such imagery is no longer restricted solely to magazines or catwalks. The evolution of social media has radicalised how people share opinion and imagery. Instagram delivers a daily tsunami of imagery, which is more often than not presented as aspirational. There is seemingly no end to the availability of pictures of 'perfect people living perfect lives'. Such imagery can compound feelings of low self-esteem or lack of self-confidence.

Social media has also brought about the age of the selfie. So not only are people viewing and judging imagery they are also posting images of themselves and therefore simultaneously becoming the subject of judgement. Again this could compound self-esteem issues particularly given the rise of cyber bullying.

On the second point of course exploitation in the fashion industry needs to be eradicated.
Campaigners such as Rosie Nelson and Charli Howard have discussed the pressure they were under to lose weight.

While there are some models who are naturally very thin we believe these are very few and far between.

When this brand was launched we used professional but faceless models. There was an occasion with one model who refused to eat all day despite our repeated protestations. She insisted she was not hungry but as the day progressed became almost delirious. It was then that we discovered that she had castings for the upcoming Paris Fashion Week and wanted to control her weight.

We were also told of other models who would eat tissues in order to feel full when they were hungry. The most shocking example we were told was of some models who were soaking tampons in alcohol in order to avoid imbibing the calories.

We agree that no one forces a model to pursue their chosen career. However we would argue that sometimes the pressure to achieve in that career could lead to negative health implications. Given models are often young it would seem sensible that the vulnerable be protected. How they are protected is now the subject of debate.

France, Italy, Spain and Israel have all introduced legislation based on a threshold BMI (Body Mass Index) of around 18.5. There has been scientific research, however, as to whether this is an accurate measure of weight particularly given it does not distinguish between fat and muscle. An alternative and/or supplement would be to take a model's measurements.

The problem is that both measures can be manipulated. For example, consuming a high salt diet just prior to testing would lead to water retention. The additional weight from this water would result in a higher BMI and larger measurements. The model could then flush out this water (e.g. with diuretics such as coffee) just before a photo shoot or fashion show. Competitive fitness models are well known for adopting such techniques.

So is the solution to measure and/or weigh a model minutes before a photo shoot or fashion show? That would seem rather difficult and costly to police.

I have written previously on our position on skinny models, i.e. we've never used them. In fact our position (until recently) had been to use non-model models. These were professional women who were not professional models. We believe they were attractive enough to present the aspiration necessary for marketing imagery but they were also women our customers could genuinely relate to.

Overall the response to our decision to do this was negative, not just from the industry but also more broadly. Aside from the odd Twitter response there was negligible support for our approach. The problem is that we are simply too small to matter. We have had to capitulate and we can't deny we have been disappointed.

I hold to the view that it is the people with influence who can engender change. After all it is the trends set out by the top designers at Fashion Weeks that are later adopted by those further down the pecking order. If the major names can set the trends for what we wear surely they can set the trends for those who present them.

-- 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.

How Growing Back My Eyebrows Became an Act of Feminism

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I've inherited several great things from my Dad. We share a similar work ethic, a dry sense of humour; and a craving for green olives. Most importantly, however, I've inherited his immense eyebrows.

I haven't always championed this aspect of my appearance. When I was 13, I locked myself in the family bathroom and shaved my eyebrows in to oblivion. Why did I do this? What does this have to do with feminism? Well, I believe my moment of madness stemmed from societal pressure to look a certain way, based on my gender.

When I was in secondary school, a 'popular' girl kindly pointed out my eyebrows were 'massive' and therefore 'manly'. I was mortified. I felt too embarrassed to ask for advice on how to change my troublesome natural eye-wear, which prompted the aforementioned shaving incident. As an anxious 13 year old girl, I was convinced I would never have friends/a boyfriend/a life if I did not control my unruly eye hair. When the new hairs eventually grew back, I became obsessed with tweezing them away. I plucked my brows in to tiny, thin lines, and monitored the hair growth on a daily basis. I did this for a decade.

Top Tip: if you over-pluck your eyebrows, your face loses its natural definition and you end up resembling the Pillsbury dough boy in photographs.

I am not alone in this over-tweezing behaviour. My Mum's been tweezing her eyebrows in to barely-there lines for most of her life, too. It's something she now regrets, but it was a habit she's never been able to break. Unlike me, she's learned to live with it and doesn't over-analyse her decisions about her appearance. I however, attribute my actions down to the subtle yet pervasive nature of patriarchal society. Why were Dad's eyebrows never told to 'sort themselves out'? Why did Mum feel she had to remove hers? Why on earth did I wreak havoc with a razor on mine?

One of the key things feminism has taught me is that the personal is the political. People who tell you different from this are trying to make you shrink out of sight. They want you to feel insignificant because you aren't in a position of significant social or economic power, and that your actions and ideas don't have meaning. Well, eyebrows shape your face - everyone can see them. Women's bodies are judged on the most minuscule of levels, to the point where even the choice about how to grow your body hair essentially becomes an act of defiance. I wanted to write about this because I believe in the power of the small story, and its ability to reach and help other people in a similar situation.

When I asked myself why I spent twenty minutes every day removing hair which didn't need removing, the answer was shockingly simple: society conditions women and girls to think bald bodies are beautiful. From beauty magazines to the porn industry; women's bodies are only aesthetically valued when they're stripped of all their natural elements. The worst part is, this outlook has become so 'normal' it's convinced women and girls it's okay to shame each other about their personal choices to be bare, or to wear their hair with pride. This is why my eyebrows were deemed 'manly' at the age of 13, and probably why I spent most of my teenage years worrying about how to hide the fact I was human.

I decided to grow my eyebrows back. It took an absolute age, but now when I look at the dark hairs sitting above my eyes, I don't feel embarrassed. My big brows frame my face in ways copious amounts of liquid eyeliner never could, and make my feminist scowls all the more foreboding. I am proud to have inherited the strong eyebrows of my Dad; they are a daily reminder that I don't need to alter my appearance to please other people. Even on bad days when I consider re-sculpting those furry bastards, I remember how unhappy I was when I had a bald brow-bone, and that memory is enough to make me see straight. If anyone tries to shame you about your eyebrows/anything regarding your appearance, make sure you do everything in your power to defy their insults.

Top Tip: Women are mammals, and mammals have hair. It's about time society acknowledged that.

This was originally published on Belle Jar

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What Gordon Ramsay's Teenage Daughters Wear Is No One's Business But Their Own

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Gordon Ramsay's teenage daughters became the latest target for nasty online trolls this week, for wearing skirts that were thought to be "too short".

The chef uploaded a photo of his children Matilda, 14, Holly, 16, and Megan, 17, at a birthday party for twins Holly and Jack. A family friend Emma Montague was also in the photo.

But soon after the image hit Instagram, the criticism started - for some reason grown adults thought it appropriate to troll a father for what his children (I repeat, children) were wearing to a family party.

Many said that the girls' skirts were "too short", while others pleaded with Ramsay to let his girls "be girls" who looked "more like 21". As if he'd forced his daughters into wearing the short skirts or something.

A photo posted by Gordon Ramsay (@gordongram) on






Ramsay has now hit back, clearly stating that it is no one's business what his daughters wear. (Too right.) And in any case, he adds that it is "my job is to teach my son how to respect girls".


The problem is not what his daughters are wearing. It is society's persistence in sexualising young women (often against their will), and refusing to realise that it is this forced sexualisation that causes the issues in the first place.

As someone who hit puberty pretty young, I know what it's like to be sexualised as a child.

I first started to grow breasts (at about 10 years old) and was about 5ft 4 by the time I hit secondary school. My body quickly became a woman's body, while I was just a child.

Like clockwork, I became a source of fascination for my male classmates, who would openly talk about or grab my breasts during school.

As teenagers walking home from school in uniform, my friends and I would routinely be subject to attention from fully grown men. Often calling or hooting from cars and vans as they drove past.

A quick straw poll of the all-female HuffPost UK Lifestyle desk reveals that all of us received unwanted attention before we were - to use a term coined by Tatler to describe Brooklyn Beckham - legal.

So to be honest, it doesn't really matter what Ramsay's daughters wore to the party, they will always be objectified and sexualised. As attractive young women, they are seen as fair game.

I've heard girls called "jail bait" and being warned about "being careful" around older guys. I've seen people shake their heads when a child wears bikini bottoms and no top on the beach or the media fall over each other to declare a celebrity's daughter as "all grown up".

When are we going to start thinking about the way we interpret young women? Rather than passing judgement, let's look at the ones making the judgements.

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Saving the Planet One Christmas Jumper at a Time

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There's no doubt about it, the popularity of Christmas jumpers has grown massively in recent years. The once dreaded annual knit from our grandparents has become the festive season's must have fashion accessory - and it seems the more off the wall they are, the better! There's even a whole day dedicated to them (Friday 18 December).

New research from Love Your Clothes estimates that over a third of the UK already own a Christmas jumper and another quarter are likely to buy a new one this year - this is big business - as a nation we'll be spending in excess of £300 million on them!

Of course, Christmas is the time of year when we allow ourselves to indulge - and why not, we want to buy into the festivities, but that doesn't have to be at the expense of our pocket, or our planet.

When we buy a new jumper, Christmassy or not, I suspect the last thing most of us consider will be the environmental impact, more likely the size, colour, cost etc. But if we think about what actually goes into producing a jumper - the raw materials, the design, the manufacturing, transportation and sale - all of these processes need resources, which means, at every stage the jumpers will have an impact on our environment. We've estimated that the Christmas jumpers owned and bought this year will have an impact on the environment equivalent to more than half a million bath tubs of water and enough carbon dioxide to fill 179 party balloons for every person in the UK!

And that's only the festive jumper - there's also the rest of our wardrobes, and it's not just the environment that they have an impact on, but our wallets too. WRAP's ground breaking research - Valuing Our Clothes - highlighted that UK consumers are stashing £30 billion pounds worth of unworn clothes in those wardrobes!

We discovered that more than 1.1million tonnes of clothes are bought and disposed of each year, and around a third of that is ending up in landfill. That's 350,000 tonnes of clothing destined for landfill - but if diverted for re-use or recycling, it could generate potential business income worth around £100 million.

The clothing industry has the fifth-biggest environmental footprint of any UK industry, but by taking a few simple measures we can make a difference. For example, keeping clothes in use for longer offers the single biggest opportunity to reduce the environmental impacts. And there are many ways we can do this through repairing and upcycling existing clothes. But if they are no longer needed we can pass them on to others: selling on sites like Ebay and Gumtree; through Freecycle and charities like Clothes Aid, Cancer Research and Oxfam; or at 'swishing parties' and through initiatives like M&S's 'shwopping'.

If we can extend the life of clothes, even by just three months, we could reduce their carbon, water and waste footprints by 5-10%.

And even when items are no longer wearable or repairable, there are still commercial opportunities; textiles can find new life in a range of industries from mining to motor manufacture! So don't bin your old worn out clothes - even your socks, if you can't fix it, recycle it so it can be used again replacing the need for new materials.

We all have a role to play when it comes to making clothes more sustainable and at WRAP we are working with businesses and consumers to facilitate much of the change required.

The Sustainable Clothing Action Plan - or SCAP - is the business side of things, encouraging retailers, brands, charities and recyclers to come together to tackle the impacts. Just last month (November) we reported on the progress made to date, with some positive indications of the clothing sector's collaborative efforts to reduce water and carbon.

And to help the consumer, WRAP runs the Love Your Clothes campaign - which promotes greater reuse and recycling and encourages people to give their clothes a new lease of life, with lots of helpful advice that can help save you money too.

So when it comes to Christmas jumpers - an item that's only likely to be worn once or twice - what about buying a pre-loved one from a charity shop, swap or share last year's or even have a go at upcycling an old jumper into a fun new festive one? You could always donate the money saved doing so to your favourite cause, so you are still doing your bit for charity as well as the environment! Love Your Clothes has loads of ideas, hints and tips to help, and this year it's running The 12 Jumpers of Christmas competition for the best upcycled Christmas jumper, so why not give it a go?

We only have one planet to provide all the resources we need and our demands on those resources are already high. Let's make sure the future generations still get to enjoy the fun and festivities of The Christmas Jumper!

-- 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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