Let me introduce to you: The Chemist of Fashion. Amsterdam-based designer Sumeyya merges the lab with the studio by growing crystals on clothes in a chemical process, resulting in stunning, one-of-a-kind garments. Her creative process involves draping and shaping techniques, immersing the fabric in a salt bath for up to four weeks, resulting in a delicate and fragile crystallized surface.

Her unique approach to manipulating fabric astonished us, and we’re happy we got to sit down for a deeper dive into her wearable art.

Growing crystals on clothes: Tell us more about how you entered into the world of creating. Have you always been artistically inclined?

In fact, my creativity was always apparent throughout my childhood. From a young age, I was drawn to unconventional items such as microscopes, using extraordinary tools to creating strange sculptures and conducting experiments with chemistry kits. Despite my passion for art and creativity, I never considered pursuing a career in the fashion industry, as it was not a common profession in my mind. I initially planned to study pathology, but the universe had other plans for me.

During my studies I felt alienated, even though I was passionate about science. It became clear to me that something was not quite right when I struggled to pass my chemistry exams. I was eager to experiment more, but I did not enjoy the subjects as much as I thought I would. As a result, my professor recommended a study choice test before dismissing me from the program. Surprisingly, creativity and art were identified as my strongest skills. I must admit that I was not surprised, I realized that I had never taken the time to truly listen to my inner voice. Consequently, I applied to art schools without a proper portfolio and faced rejection. However, I persevered and shifted my focus to fashion and design, ultimately gaining acceptance. For the first time, I felt like I had found a community that I belonged to.

How did you come up with the idea of merging fashion with chemistry?

It took me a considerable amount of time to determine my design niche. During my early years at AMFI, I experimented with various approaches to express myself. However, I realized that I was overly fixated on feedback, neglecting my personal preferences. It wasn’t until my couture internship at VIKTOR&ROLF that I began to shift my perspective. I discovered that I enjoyed the experimental phase of designing and excelled in manipulating fabric.

Following my internship, I had to complete my graduation project, which led to some self-reflection. I created a mind map to rediscover my passions, which had long been buried and forgotten. It was during this time that I decided to merge two distinct worlds together. Though it may sound simple, it took me months of experimentation to discover how to grow crystals on textiles and create biodegradable fabrics, which failed multiple times. Nonetheless, my analytical character and passion for experimentation propelled me forward.

Currently, I am focused on designing wearable garments and constantly seeking new methods to improve my craft. I firmly believe that practice makes perfect.

It’s fair to say you don’t see people create chemical designs every day. What steps are a must in the process of creating your pieces? Was it a difficult process until you were satisfied with your creations?

My creative process begins with an extensive search for inspirational images, followed by the collection of old items, dead stock fabrics, or clothes. I then use draping and shaping techniques to create unique forms. Afterwards, I immerse the object or item in a saturated salt bath in my lab (studio), where the salt gradually transforms into molecules over the course of up to four weeks. One intriguing aspect of this process is that I can dissolve the crystals with hot water, providing an opportunity to start afresh with each experiment without damaging the surface. During my first experiments, I used Borax to create crystals. However, upon further reflection, I became aware of the negative health impacts associated with its use, as well as its adverse effects on the environment. As a result, I began to explore alternative methods and decided to experiment with salt. The process remains consistent, but utilizing salt as an alternative requires a longer duration for the crystallization

process to occur. The type of salt affects the appearance and texture of the final product, with the use of Borax resulting in a firmer hold on the fabric as compared to salt, which can be more delicate and fragile.

Crystallization has become a captivating obsession of mine. It’s the process that makes it more interesting, the unpredictable nature of crystal growth and size of the crystals. Everything depends on the fabric, temperature, surface which makes it a dynamic and uncertain process. As a creator, I’m not in control of the crystal growth process, and I enjoy that. Each time a new crystal is formed on the surface, I am filled with a sense of childlike wonder, much like opening an unexpected and exciting gift.

Are there conditions to wearing your pieces? What happens if you wear them outside, in the rain?

Currently, I approach my creations as ‘wearable art’. Due to its dissolving characteristics, the crystallized surface on the garments is often fragile. While the crystallized fabric can withstand cold water, a waterproof coating is required to ensure its longevity. I am actively researching and developing a sustainable coating that can effectively safeguard the fabric. This is a challenging topic, requiring extensive research to develop an eco-friendly and effective solution. However, it can be argued that the fragility of the crystallized items contributes to their unique and valuable nature, as it distinguishes it from mass-produced, more durable alternatives.

With digital fashion gaining more and more relevance, do you feel like that world is something you would like to tap into?

The digital fashion world is an entirely new and different universe for me. While I consider myself a skilled experimenter, digital programs have proven to be a challenging domain. Despite this, I remain committed to exploring this field in the future.

In addition, I am keen on experimenting with 3D printing technology. I believe that integrating technology, science and fashion has the potential to yield innovative and exciting possibilities. By fusing different disciplines together, the possibilities are truly limitless.

Fashion and chemistry are two rather distinct spheres. Where do you draw your inspiration from when working on new ideas?

The source of inspiration for my work are diverse and include sci-fi movies, poetry and art. I’m always captivated by the villains and mad scientists, admiring their rebellious aura.

I channel this admiration into my designs, which are characterized by a minimalist color palette consisting of black, white and beige. This color scheme adds a sense of coherence, dark aesthetics and timelessness to my work.

Are you growing other elements onto clothes already? Is there anything you would like to experiment with?

Presently, my focus remains on delving deeper into the world of crystals, as there is still so much left to uncover. I am actively exploring ways to introduce different colors, play with different sizes and incorporate additional elements into the mix. During my graduation project, I experimented with biodegradable plastic that had the appearance of leather. My goal is to combine these two distinct elements in the future, showcasing the potential of bringing two sustainable elements together.

What do you think is the ultimate goal for a fashion designer?

My ultimate objective as a creator is to bring a new dimension to sustainability and upcycling. My aim is to develop a ‘creative loop’ that facilitates the reuse of garments and materials, through the experimentation and creation of textures like biodegradable plastic, salt crystals and bio based materials. Next by minimizing waste and maximizing the potential of various elements. By doing so, I aspire to inspire individuals and instill in them a sense of wonder, encouraging them to discover their true passion and recognize that there is always a new world waiting to be explored.

Finally, we need to know: Do you have a favorite out of all of your creations?

One of my most cherished and significant creations is undoubtedly my first crystallized garment – an upcycled pair of tights, which I named ‘The second skin.’ This piece holds a special place in my heart as it represents the beginning of my experimentation with crystals and textiles. The crystallization process transformed the upcycled tights into a unique and visually striking item, showcasing the potential of sustainable design. It symbolizes my passion for experimentation and innovation, and serves as a constant reminder of my commitment to merging art, science and sustainability.

Born from the genius of Van Herpen’s experimentation with 3D printing and digital technologies, “Neon Rapture” transcends the limits of traditional fashion. Supported by Academy Award-winning VFX company The Mill and backed by an Epic MegaGrant from Epic Games, the film weaves an odyssey that transcends physicality, diving into the entrails of digital exploration. It delves into the very essence of what it means to be alive in an era where the lines between the physical and digital worlds are blurring. Witness a new form of artistic expression, where the boundless potential of technology merges with the soul of haute couture.

A film by @timrichardsontv⁠
Fashion @irisvanherpen⁠
VFX @millchannel⁠
Supported by Epic Megagrants @unrealengine

With a palette dominated by muted tones and blacks, the collection embodies a timeless and classic vibe that is instantly captivating. The garments seem to flow effortlessly, exuding a sense of rhythm and movement that is both captivating and invigorating. A+STUDIO38B hit the nail on the head with this one.

Experimental designers have harnessed the power of controversial fashion for decades, using it as a tool for social commentary and change. Mary Quant’s iconic miniskirt challenged patriarchal norms of femininity, Vivienne Westwood and Malcolm McLaren’s punk style rejected mainstream fashion, and now, experimental designers like Mowalola and tRASHY are using meme clothing to address issues like police brutality and racism. But not all controversial fashion is created equal. It seems that lately, everybody wants to make an impact with the clothes they wear. Everybody wants to be controversial. And brands are catching on, serving controversy on a platter.

So what can we do to ensure that the power of controversial fashion isn’t diluted through marketing ploys? Well, for starters, we can take a look at what’s beyond the controversy.

Controversial fashion is more than weird clothes

The elements of controversial fashion can vary, but they often include a departure from the norm, pushing boundaries, and challenging societal expectations. Controversial fashion can use provocative materials, designs, or messaging to make a statement and spark conversation. To some, it may simply look like weird clothes, but these weird clothes can create a space for challenging societal norms and pushing boundaries. Precisely meant to be polarizing, garnering both praise and criticism. In essence, controversial fashion aims to evoke emotion and provoke thought. It’s not weird for the sake of it, it’s a tool for social commentary, bringing attention to important issues and creating change.

Experimental designers have harnessed the power of controversial fashion for decades

Let’s be clear. Controversial fashion is not a new concept. The 60s and 70s witnessed the artful mastery of designers such as Mary Quant, Vivienne Westwood, and Malcolm McLaren. All designers who have shaped and influenced the fashion world like few others.

These visionaries didn’t just push boundaries, they shattered them, tearing down the walls of the conservative fashion industry to make way for a new wave of creativity, daring, and provocative designs. Mary Quant’s iconic miniskirt of the 1960s challenged the patriarchal norms of modesty and femininity. The mini skirt went on to become a symbol of the women’s liberation movement and helped to break down societal expectations of how women should dress. Vivienne Westwood and Malcolm McLaren’s punk style in the 1970s rejected the conventions of mainstream fashion and championed individuality, freedom of expression, and rebellion.

These designers not only changed the way we dress, they changed the way we think about fashion and its power to reflect and shape society. Their impact on the industry and on culture as a whole is immeasurable, and their legacy lives on in the ongoing struggle for creative expression and freedom of thought in fashion.

If we pay attention to the impact of controversial fashion through the lens of designers like Westwood, we can better understand the power and potential of this revolutionary form of self-expression. But has the power of controversial fashion held up throughout time? Or has it lost its way?

Truth be told… One could argue both ways.

They don’t make experimental designers like they used to…

If we take a look at how controversial fashion is produced and used nowadays, versus the role it had in the past, we might feel a little disheartened. In the past, it was often used as a tool for rebellion and social commentary. Today it can feel more like a marketing ploy aimed at garnering attention and shock value. And consumers can’t always tell the difference, deeming any weird clothes as controversial.

However, it’s true that nowadays, we see controversial fashion taking on different forms. There are plenty of examples of fashion brands pushing the envelope. But whether these designs are purposeful or simply seeking shock value is a question that’s difficult to answer with certainty.

As mainstream culture embraces controversial fashion, it risks diminishing its impact and reducing it to mere shock value. These days, people often label unusual clothes as controversial, but weird clothes don’t necessarily equate to controversial fashion. MSCHF’s viral big red boots provide a prime example of this.

Weird clothes don’t always equate with controversial fashion

They’ve swept all over the internet. The MSCHF big red boots are everywhere. And some seem to believe they are incredibly controversial because they’re so… Different. But what is truly controversial about these boots? They fall perfectly in line with the latest trend of oversized footwear. People are calling out how ridiculous they look and that they can’t believe people are buying them. But in fact, futuristic and cartoonish-looking clothing has been trending for quite a bit. Everyone wants to feel like they’re the main character of the story, and surreal clothing seems to be the way to go.

The big red boots, in fact, seem like a departure from the usual controversy brought about by MSCHF’s other products such as the “Satan Shoes” and “Jesus Shoes”. Does something only become controversial if it challenges societal norms or if it deviates from the norm in a way that some people find surprising or unexpected? Weird clothes aren’t necessarily controversial. And the same goes for surreal clothing.

The lines between, weird clothes, purposeful controversy and exploitative controversy are becoming increasingly blurred. It is up to both consumers and creators to ensure that this powerful tool for social commentary and change is not diluted or misused. We need to be careful to understand what is simply surreal clothing. What is controversial and what isn’t? And within that controversy, what has a larger purpose and what doesn’t?

The two sides to controversial experimental fashion

A lot of the debates that often surround controversial fashion are born out of a (mis)understanding of the value of the controversy itself. You see, there are two characteristics inherent to controversial fashion: Purpose and shock value.

Unfortunately, something controversial isn’t always purposeful, and so it dilutes the power of controversial fashion as a whole.

There is a palpable problem with controversial fashion and the line between purposeful and shock value. One of the biggest challenges that arise when discussing controversial fashion is understanding where the line between purposeful and shock value lies. While some designers use fashion as a medium to voice their opinions on societal and political issues, others simply want to generate buzz and shock value without any real substance.

At times, it becomes hard to distinguish where this line is exactly. Balenciaga is a great example.

Balenciaga’s weird clothes: Fighting for good or exacerbating the bad?

Balenciaga’s fall 2021 collection was heavily inspired by the everyday clothing worn by blue-collar workers. Featuring pieces such as oversized work jackets and hoodies with reflective tape. The brand claimed that the collection was meant to highlight the beauty in ordinary and functional clothing. However, critics argued that it was a shallow attempt to cash in on the current trend of workwear-inspired fashion without addressing the real issues faced by these workers. Perpetuating the problematic idea that working-class culture is something to be fetishized and commodified is different from understanding and respecting it.

Moreover, in the past year Demna’s actions leading the brand have constantly been making headlines. Drop after drop, the surreal clothing from distressed boots, to thousand-dollar trash bags and even crocs heels have turned heads everywhere. But what appeared as an initially successful and cunning calling-out of the fetishization of money and luxury, admirable even, slowly turned into “What can we do to shock people even more.” Eventually escalating out of hand and shocking people into genuine outrage and disgust with their past campaign. You remember right? The one that featured kids and S&M gear and child abuse paperwork. Explain that… Controversial? Maybe. Purposeful? Absolutely not.

Someone might then look at the child S&M debacle and not see the difference between that, and Samaya Ffrench’s latest LIPS collection. But a penis shaped lipstick can be a hell of a lot more purposeful than it seems.

Penis shaped lipsticks are shocking too… But with purpose

Lately, controversial fashion has extended beyond just clothing and accessories. Beauty, and more specifically makeup, has also become a medium for pushing boundaries and provoking thought. But why is a controversial penis-shaped lipstick considered purposeful? How is it an advancement in society? It’s a fair question to ask, right? Well, at first glance, it may seem like a pointless and gimmicky creation. However, it’s important to consider the larger context of the product and the intention behind it.

For Samaya Ffrench, the creator of the LIPS collection for her makeup brand ISAMAYA Beauty, the aim is to challenge traditional beauty standards and create a space for self-expression and sexual liberation. By creating a product that looks like a penis, Ffrench is intentionally pushing back against the heteronormative and often oppressive beauty industry that is geared towards pleasing the male gaze. It’s saying, ‘I don’t care about your standards of beauty, I’m going to create something that I find beautiful and empowering.’

It is literally taking the narrative of putting on lipstick for someone else’s pleasure, and making it your own. Moreover, the LIPS collection is part of a larger movement towards destigmatizing female sexuality and promoting sex positivity. By creating a product that is explicitly sexual, Ffrench is encouraging people to embrace their desires and explore their sexuality.

Penis shaped lipsticks aren’t a silly gimmick after all

So while penis shaped lipsticks may seem silly and frivolous creations on the surface, it’s important to recognize the larger social and political implications of their existence. Penis shaped lipsticks challenge beauty standards, promote sexual liberation, and contribute to a broader movement towards social progress and equality. Who would’ve thought?

Not all hope is lost. There are still experimental designers today who are making truly controversial clothes. Experimental designers who understand the power of controversy and use it wisely.

There are still designers using controversial fashion with a purpose

Many brands are using controversial fashion for marketing purposes. That’s a fact and there isn’t much we can do about it. Nevertheless, there’s still hope. We are, after all, constantly navigating a bubbling climate of societal upheaval and increased awareness of social issues. Luckily, there are talented brands and designers who are using their platform to address important topics such as gender identity, sexuality, and politics. All while pushing the boundaries of what is considered acceptable in fashion.

tRASHY clothing and their meme clothes use satire as a form of protest

Labels such as tRASHY clothing carry messages reminiscent of rebellious 60s and 70s designs. Some of the Jordan-based label0’s designs hit hard with one-liners such as “I </3 colonisers”, “Ms Apartheid” and “poetic, political, and unapologetic.”. All intended to protest the Israeli occupation of Palestine. Rather punk if you ask us. Vivienne Westwood would be proud.

Mowalola’s surreal clothing aims to shock us into questioning our own sovereignty

London-based designer Mowalola has used her platform to bring attention to issues like police brutality and racism. Her designs showcase the beauty and strength of black culture, while also serving as a form of activism.

Her latest collection Fall 2023 collection has been no exception. Mowalola’s FW23 ‘Sue Me’ is nothing short of provocative. The notion of what we might wear in a post-apocalyptic world and the collapse of society were the main inspirations for the collection. Mowalola explores the idea of the last fight between life and tech, and the power that corporations hold over our lives. The designer’s venturesome use of bootlegging and appropriation of intellectual property is a bold statement on the tensions between creativity and corporate control.

The controversial looks are a call to action, challenging us to question the status quo and fight for our freedom of expression.

All in all, it’s pretty clear that controversial fashion is more than simply weird clothes. Purposeful controversy has a power to it that should be upheld and respected. It’s the artful mastery of designers like Mary Quant, Vivienne Westwood, and Malcolm McLaren who paved the way for the fashion revolution, and the revolutionary power of fashion. It’s the subversive designs of Mowalola, tRASHY clothing, and ISAMAYA Beauty and the socio-political impact they bring about. And while other brands can no doubt use controversy for shock value and nothing else, as consumers we need to be smart and recognize things for what they are. Not that there’s anything wrong with wearing something weird because it looks cool. But let’s be aware of what we’re upholding guys, come on. Don’t just believe everything you hear. The red boots are weird, but they’re not controversial. There. Said it.

But where did this creative genius come from, and how did she become the visionary designer that we see today?

Was it an accident or was it meant to be?

Born and raised in Massachusetts, McLaughlin was always drawn to the creative arts. But it wasn’t until she began experimenting with upcycling and repurposing materials that she truly found her passion for sustainable fashion design. Nicole’s skills are all self-taught, and perhaps that’s the reason behind their singularity. She didn’t even actively pursue fashion design. One could say it came about almost accidentally. A career path born out of circumstance, talent, resourcefulness, and a very good use of one’s downtime we’d argue.

While working as a graphic designer for Reebok, McLaughlin witnessed the ugly side of fashion. She was rather taken aback by the materials and fabrics that ended up as nothing but useless leftovers. So being the designer that she was she began to gather spare materials wherever she could and figure a way to put them together one way or another. Her innovative and eye-catching designs soon went viral on Instagram, and now here we are. What began as a non-functioning tissue paper blouse stapled together, is now a fully-fledged career with a positive impact rippling across the industry.

Quite the example for those who might doubt their capabilities. Following her creative impulses led McLaughlin to a full-on career shift that landed her on the Forbes 30 under 30 list. To think that she’s gone from including secret pockets wherever she can because Reebok used to forego pockets as a money/time-saving method, to designing her own iteration of the Club C Geo Mid trainer in collaboration with Reebok. Which, by the way… Yep, you guessed it, it has pockets.

Crafting Sustainability through Circular Design

Nicole McLaughlin is a designer who believes in the power of circular design to tackle the waste problem. Her self-taught approach to manipulating discarded objects and unconventional materials has resulted in a portfolio of quirky and eye-catching pieces. However, it’s not just her creative design that sets her apart. It’s her circular design philosophy that makes her work so unique and powerful.

Nicole’s approach is all about making objects that can be taken apart and reused in future projects. In her world, nothing is wasted, and everything has potential. This is reflected in her creations, which often incorporate elements from a variety of sources, including household items, discarded garments, and even food. From croissant bralettes to charcuterie lingerie, Nicole’s designs have a fun and relatable style that makes sustainability approachable.

Her work goes beyond using sustainable materials, it invites the audience to reflect on everything they consider to be trash, as well as our consumerist nature. Nicole demonstrates the potential for creativity and innovation in sustainability. By upcycling and reusing materials in her designs, she encourages others to think creatively about the waste they produce. McLaughlin’s all about challenging traditional notions of fashion and consumerism. Her designs are a commentary on the fast-paced, disposable nature of the fashion industry, and the need for a more mindful and sustainable approach.

McLaughlin’s approach to design is both creative and pragmatic, with a focus on functionality as well as aesthetics. She explains that “form follows function” in her designs, with each piece serving a purpose beyond just being visually appealing.

“There’s so much potential in the things we throw away. We just have to be willing to look at them in a new light.”

Nicole’s right: We need to do better

Nicole McLaughlin is not just advocating for a more sustainable future, she’s demanding it. She demands it with her work, and she demands it with her words whenever she has a chance to. These are the sort of creators that we need shaping the future of the industry. Creators who are showing household brands how it’s done, since they can’t seem to be able to do it by themselves.

Nicole calls out the fashion industry’s need for transparency and accountability. Calling for companies and businesses to own up to the impact they have on the planet.

And she’s not just talking the talk. With her work, Nicole is not only keeping the conversation on sustainability alive but also giving it depth and making it a learning space. Opening up possibilities of different ways in which sustainability can be applied. Moreover, her collaborations with industry leaders like Arc’teryx and Puma show she’s putting in the work to impact the industry from within too. From jacket take-back programs to regenerative textile production, these brands are setting the standard for sustainable fashion. Nicole’s passion for sustainability is infectious, and it’s clear she’s all about pushing for progress.

Innovation is key, whether it’s through new technology or traditional craft techniques. “We need to keep the conversation going and build a community of change-makers who can inspire others to take action,”. She knows change takes time, but she’s optimistic about the future of fashion. And to be completely honest, with key players like her in the game, so are we.

We had the chance to sit down for a chat with AVØLVE CEO and Founder Graham Thunder. And let us tell you… The door of Web3 has been opened wide. Creatives and creators take note because AVØLVE offers a new standard for what any digital environment could be. The way in which we work could be on the brink of a major change. AVØLVE is shifting priorities towards what matters and empowering its community to connect, collaborate, and create. The remarkable potential it has to transform how an industry thrives is as exciting as it is hope-inducing.

But we’re getting ahead of ourselves… Let’s start at the beginning.

What is AVØLVE

AVØLVE is a Web3 brand establishing new standards in high-end digital fashion. It’s not merely a fashion house, nor is it simply a Web3 studio. Hence, why the AVØLVE team refers to the company as a brand. In short, as a brand, it combines a set of tools that convenes opportunities for the members of its community. That is the main pillar of its ecosystem.

The first key to being a part of the AVØLVE community is the Frequency Pass dropping this Wednesday. As a follow-up, during the second quarter of 2023, AVØLVE will drop its much-awaited avatars. The frequency passes and the avatars will be how members will integrate and interact with the community.

Entering the ever-changing Web3 digital workspace with AVØLVE

There seems to be a lot of talk about the future of working. And while many state that Web3 will change everything, few are truly detailing how we will actually get there. Lucky for us, AVØLVE has taken this matter into its hands. AVØLVE aims to be a stepping stone to accelerate the process of transitioning from the traditional workspace to the Web3 space. The platform is designed to welcome people who are new to the Web3 space and will offer opportunities to onboard as many people as they can and help them explore what is possible.

What’s particularly appealing to us about the way AVØLVE functions is the daily growth they are committed to. They are very much aware of the changing technological climate and are constantly building solutions to integrate with software and define new workflows so as to achieve optimum product quality. After all, when it comes to technology and innovation nowadays, nothing remains static for long. There is a need for constant adaptation, readjustment, and growth, and AVØLVE seems to have integrated this practice into their workflow.

AVØLVE is giving people the opportunity to participate in the community and build something new. It’s a matter of taking the initiative to do it yourself and start building with us.

We have no doubt that such an attitude will be an absolute must going forward as far as future forms of working go. A stark contrast to the traditional ‘this is the way things have always been done’.

Collaborative workspaces and co-creation as the norm

One of AVØLVE’s main goals is to help fashion brands understand that co-creation is the way forward. Ideally, brands would lead the way towards co-creation, but there’s still a long way to go before they recognize the power of co-creation. That’s where AVØLVE comes in. Graham Thunder and the AVØLVE team recognize the need for tools that validate the success of co-creation solutions and offer data on the matter to give brands some assurance and certainty for the path ahead. AVØLVE seeks to contribute to the future creation of these end solutions, effectively leading the way for brands.

We really want to build opportunities for everyone. To take what we are building and move it into different directions, taking it into their different cultures, bringing different experiences from their lives and bringing everything together.

Fashion brands have already taken the first step towards listening to their communities, creating Discord channels for example. AVØLVE will take them closer yet, readying them for Web3. The roles of fashion are shifting, and no longer does a product strictly flow down from the brand to the consumer. Communities will have a say in what they want. Brands will listen and cater to it. And a space such as AVØLVE will allow for this to take place seamlessly.

AVØLVE: The bright side of NFTs

The Metaverse, NFTs, and Web3 have experienced such an astounding, exacerbated growth in the past few years, that it seems like a lot of random, sudden wealth has come about for those who played the game. And in a way, this has been one of the biggest issues in this newfound digital space: The interest of certain parties to enter this space to make a quick buck and leave rather than build the space up to boost its potential and raise it to the haven it could be.

The AVØLVE team, however, have spent the past two years working on this project and fine-tuning every aspect of it. They had buzz, they had hype. They could have sold a bunch of NFTs and made a small fortune by now, but they didn’t. AVØLVE prioritized long-term value and personal growth as creators, rather than just focusing on short-term profit. Something rare to see in this space. This proves a commitment to Web3 and a genuine belief in the well-being and opportunities it could bring.

We’ve been working on AVØLVE since September 2021, taking time to explore new opportunities. We are not afraid of failing and testing, but we really wanted to have a solid foundation of what the community wants and where the space is going.

If you need more proof that AVØLVE is doing what it’s doing for all the right reasons, just pay attention to the fact that the first 500 mints are free. The NFTs consist of Frequency passes which give the owner access to the exclusive community.

AVØLVE: Shifting priorities towards what matters

AVØLVE isn’t simply seeking to give people the space and the tools to step into Web3. They are also looking to push the boundaries of digital fashion and shape an industry notorious for its less-than-ideal inclusivity and diversity. AVØLVE aims to be a community where talent and passion reign supreme, enriched by diversity of skill and culture alike.

The Web3 brand seeks to democratize the fashion industry through centralized curation and decentralized opportunity. By curating and opening up the possibility of participating, yet curating the talent, AVØLVE nurtures a pool of top-notch, quality minds who are there because they truly deserve to. This doesn’t mean that all community members should be designers. some might, but others might be writers, others might be thinkers, and others might be engineers! Some might not be the person who creates directly, but they’ll be the person who inspires creation. Value takes on many shapes and forms in the AVØLVE community. The key is empowering and motivating its community to connect and collaborate with others.

Sometimes the people that might be seen as the ones that are not doing anything, they might be the ones that inspire others to actually take the leap and jump into something new.

Storytelling: The glue that holds everything together.

One might now think, besides the access to the specific community, what is so different between AVØLVE and say… LinkedIn? Why not curate your own network of connections the traditional way? Well, you could… But it would be no way near as engaging.

While AVØLVE’s community itself and access to it will no doubt be an invaluable asset, the diamond in the rough here is the brilliant implementation of storytelling. The storyline unifies all of the different pieces together. It’s the stitching holding the seams of the brand together. Everything created has a meaningful response, which unlocks different opportunities and rewards. While also keeping some level of mystery to keep things interesting. As Graham Thunder stated, if you’re talking about work the same way you’re talking about playing video games, it’s a good sign.

As a brand, we are open to exploring multiple territories beyond fashion. We love fashion, but we are also gamers and music lovers, and we have diverse experiences. The common connector between them is culture, and by bringing together these different communities, we hope to make something special that impacts the community positively. We want to deliver the best products for the community and expand in multiple directions.

Just think of people spending an average of eight hours a day at work, actually having fun rather than powering through. And the transformative power that seemingly simple change can have, rippling throughout. AVØLVE may focus on digital fashion for now, but this model could be extrapolated to many industries.

Now, of course, it’s not as simple as ‘have fun at work, change the world’. But we often underestimate the power or simple fun, and the mindset we access thanks to it. Imbuing tasks with storytelling makes them engaging and provides a sense of purpose. While only time will tell with certainty how we will work in the future and the impact Web3 will have, a project like AVØLVE certainly gives us hope that we are headed in the right direction.

Now do yourself a favour, and rush to get a Frequency Pass on March 1st!

The current state of fashion in Amsterdam is a testament to the city’s continued experimentation and innovative spirit. Amsterdam’s fashion scene is thriving. A plethora of young and emerging designers pushing the boundaries of what is possible in fashion.

But first…

Quick recap of the history of Amsterdam Fashion

When it comes to fashion, Amsterdam has a rich and storied history. It may be garnering global attention now, but it’s been a long time coming. As it turns out, Amsterdam has subversiveness running through its canals. The city is no stranger to using fashion as a tool to challenge the status quo.

Amsterdam and subversive clothing go back to the 60s and 70s

The 1960s and 1970s saw the emergence of a new wave of Dutch designers. This is where it all started. During this period, Dutch society was undergoing significant changes, particularly in terms of politics and culture. The country was experiencing a liberalization and liberalization of values. Something that young, experimental, daring designers actively sought to capture in their work.

Frans Molenaar would incorporate unconventional materials such as plastic and rubber into his designs. Mart Visser’s minimalistic and clean pieces which fervently rejected the excesses of traditional fashion. Koos van den Akker’s irreverence permeated most of his work. All of these designers helped put Amsterdam on the map as a fashion, and their impact rippled beyond Dutch borders.

Amsterdam fashion was about more than just fashion, and that’s the key. It all began here, the foundations for Amsterdam as the reigning subversive fashion city, it had meaning. It had a purpose.

Molenaar, Visser, van der Akker… All reflected youth culture and counterculture movements of the time, such as the hippie movement and the feminist movement. They drew inspiration from art, film, and music. They avidly rejected the traditional, often rigid, beauty standards. Instead, they created innovative and unconventional fashion that reflected the values and attitudes of the youth culture of the time. These designers weren’t subversive and irreverent for the sake of clout, they did so with a mission in mind: To usher fashion and culture into the next era.

The 80s and 90s followed suit

The 80s and 90s saw the emergence of the so-called “Dutch Design” movement, which was characterized by a focus on minimalism, simplicity and functionality. This movement was led by designers such as Viktor & Rolf, whose designs were praised for their innovative and experimental approach to fashion.

Designers who, after a decade in Paris, have returned to their roots so as to once again, practice their craft through the unfiltered, unbounded, raw character of the Dutch capital. It is clear that right now, Amsterdam is the place to be for subversive fashion.

Amsterdam fashion today: Subversive haven

Today, edgy fashion has exploded in Amsterdam once again. Only this time it has undoubtedly transformed the city into the global subversive reference. Amsterdam’s fashion scene now is the ultimate non-conformist, where experimentation is king and following the crowd is a cardinal sin. This city doesn’t march to the beat of the fashion industry’s drum, it creates its own rhythm. A true subversive clothing haven.

Contemporary fashion designers in Amsterdam often incorporate elements of art, architecture, and other cultural influences into their designs. Constantly on the lookout for new ways to break boundaries and surpass their own limits and that of society, they tend to use unconventional materials and techniques in their designs. Just like their subversive predecessors, they use fashion as a means of expressing their unique vision and perspective.

Ultimately, Amsterdam’s indisputable chokehold on subversive fashion is rooted in three key aspects. Sustainable and ethical practices, non-conventional design, and diversity and inclusivity. While countless brands and designers – particularly household names and industry giants – have incorporated these elements as a way of keeping up with the values and social interests of younger generations, Dutch fashion brands are built around these concepts. Their very core is founded upon these values, long before sustainable fashion, genderless fashion, and non-binary clothing became a thing.

Sustainable fashion and ethical practices in Amsterdam today

There is a myriad of Dutch fashion brands and designers whose pioneer sustainable attitude has helped transform an industry infamous for its dreadful waste problematic and intrinsically polluting character. One can’t help but stand in awe of what they have accomplished. We’re talking about designers such as Ruben Jurriën and his use of recycled materials and upcycling techniques. Ronald van der Kemp, who incorporates vintage and repurposed materials in his designs. Not only promoting individuality and self-expression but also shifting the narrative on leaving the past behind. Elza Wandler known for her sleek, minimalist designs, andalso for incorporating sustainable materials in her work, promoting responsible consumption. We couldn’t forget about Renée van Wijngaarden and her brainchild brand 1/OFF. Reimagining luxury items, repurposing them, turning them into one-of-a-kind upcycled fashion garments. Even urging customers to invest in high-quality, timeless pieces, rather than fast fashion that would be quickly discarded.

A salient characteristic of the Amsterdam fashion scene, brands don’t just care about themselves and profits. They care about creating a sustainable ecosystem. An ecosystem where the social tool and art form that is fashion, can help craft a better tomorrow for everyone, brands, consumers, and even non-consumers alike.

Diversity and inclusivity are at the heart of the Amsterdam fashion scene

Dutch fashion brands have been pioneers of non-conventional design before. Still, contemporary designers have truly taken it upon themselves to transform the industry making non-conventional design the norm, rather than the exception. Thus transforming the Amsterdam fashion scene into an inclusive, diverse safe space.

Duran Lantink, a designer known for his boundary-pushing and challenging approach to fashion, incorporates unexpected materials and techniques into his all designs, consistently subverting traditional fashion. Denzel Veerkamp and MARTAN, on the other hand, are two brands that challenge traditional gender norms and conventions in the fashion industry. True champions of non-binary clothing and genderless fashion.

These designers, with their fearless and revolutionary approach to fashion, are not just refusing to adhere to the status quo but in fact, constantly challenging and redefining it. Ensuring the fashion scene evolved into a diverse, inclusive ecosystem.

All of this is achieved not only because young designers have fought for it, but because there are initiatives and projects that also help promote their values and support subversive fashion and everything it entails. Such is the case of Lichtig, a platform that serves as a breeding ground for the next generation of boundary-pushers. Lichtig serves as a platform for young designers to showcase their designs and gain visibility within the industry. Something which is often hard to achieve when you’re attempting to go against all norms. With its focus on new and innovative designs, it is a catalyst for subversive fashion, helping to promote a culture of experimentation and risk-taking in the Amsterdam fashion scene.

Let’s not forget about Amsterdam Fashion Week

If you have any doubts regarding whether Amsterdam is indeed or not the most subversive fashion city, all you have to do is take one look at the Amsterdam Fashion Week compared to the other major Fashion Weeks around the globe. Trust us when we say, all your questions will be answered. Starting with the fact that it often takes place just before the official fashion month begins.

Amsterdam Fashion Week, the black sheep of the fashion world, the maverick of the runway, the rebel of the catwalk even! It is the perfect embodiment of Amsterdam’s subversive and boundary-pushing fashion scene.

In Amsterdam Fashion Week emerging designers are in the spotlight

While other fashion weeks may play it safe, AFW revels in taking risks and pushing the boundaries of what is considered conventional in fashion. Emerging and young designers are often front stage and centre, rather than sidelined to show during the most inconvenient, less relevant time slots. This boosts the showcasing of designs that often incorporate unconventional materials and techniques, and challenge traditional notions of beauty and style. A refreshing change of pace from the cookie-cutter designs that can be seen at other fashion weeks.

Upcycled fashion and sustainable fashion: AFW priorities

Amsterdam Fashion Week is about more than just shaking things up, it’s also about making a difference. We’ve already mentioned the importance of sustainable fashion, and AFW has been quite the ally in instilling these practices as a norm. Sustainability and ethics are at the forefront of the event, providing a platform for designers to showcase their sustainable and ethically-made designs.

AFW has been actively promoting sustainable and ethical fashion since the early 2010s. Long before ‘sustainable fashion’ and ‘environmentally friendly’ became high-competition keywords. Sustainable fashion was also a form of subversion in its infancy, as it challenged traditional notions of fast fashion and consumerism in the fashion industry. In this sense, one could say that Amsterdam’s reputation as a socially and environmentally conscious city, and its early adoption of sustainable practices, have played a significant role in shaping its fashion scene into a subversively sustainable one.

Amsterdam Fashion Week incorporates ethical and sustainable fashion events and initiatives. Through the Green Fashion Competition and the Ethical Fashion Forum designers can showcase their sustainable and ethically-made designs, as well as discuss and share information on sustainable and ethical fashion practices. Plus, AFW has also been working closely with organizations and initiatives such as the Fair Fashion Center, Fashion for Good, and the Global Fashion Agenda.

Edgy clothing for the win, risks are a must in Dutch contemporary fashion

Some might fail to see that the smaller scale of AFW, as opposed to the massification of other major fashion weeks, actually allows for a more intimate and personal experience. This, in turn, allows designers to take larger, bold risks and be more experimental with their designs. It’s a chance for the truly avant-garde designs of contemporary fashion to shine, without the pressure of pleasing a mass audience. Raw, genuine, authentic contemporary fashion at its finest. It’s no surprise to see subversive clothing thrive under these circumstances.

Amsterdam Fashion Week is the ultimate rebel of contemporary fashion, a true representation of Amsterdam’s subversive fashion scene. It’s a breath of fresh air in a world where fashion all too often plays it safe. Subversive clothing for the win.

All in all, one thing’s for sure, for Amsterdam, fashion is not just about the clothes, it’s about creating something new and different, but that also has value and purpose. Something that reflects the values and attitudes of the youth culture of the time. Something that speaks to the present and the future. A true testament to the power of subversion and the importance of experimentation in fashion. Dutch fashion brands don’t follow trends, they create them because they are constantly evolving. And that’s why Amsterdam is and will always be the ultimate subversive fashion city.

Lately, we’ve been taken aback in awe by some of the pioneering brands we’ve encountered. Brands that are taking the lead in not just following, but rather opening up a path towards – what we hope will be – the future of the fashion industry.

HUBANE makes a statement with every piece it produces

The spectacular avant-garde label HUBANE is truly pushing the boundaries of what is possible with new materials in the fashion industry. Literally aiming to redefine reality, to break the wheel. Their approach to using recycled and sustainable materials allows them to create designs that are not only innovative but also reflective of the values of the creative forward-thinkers of today.

They use recycled plastic bottles to create a fabric that is both durable and eco-friendly. HUBANE’s designs are more than just sustainable, they are also truly unique and unlike anything else on the market. They are not simply fashion, but rather wearable art. Each piece is a one-of-a-kind, hand-made-to-order creation that is both functional and stunning. A statement, a wearable art piece that carries a message. And that message is not only about fashion but also about raising awareness and promoting positive change.

HUBANE is a shining example of how new materials can be used to create a better future for the fashion industry.

gnastiy.com blurs the lines between reality and the virtual realm

In their words, gnastiy.com is much more than a mere fashion label. It is a “cloud-based database to store societal memories”.

Vicky Tsang’s brainchild utilizes 3D printing to create unique and otherworldly designs which explore the impact of technology on the contemporary environment.

gnastiy.com‘s intricate creations bring elements of the virtual world into the physical realm and vice-versa. The existence of the garments walks along this line of digital and physical, This exploration of the intersection between the virtual and the physical world adds an additional layer of meaning to their designs, blurring the lines between what is real and what is virtual.

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Needless to say, this approach to fashion enables a level of customization and sustainability that is hard to achieve with traditional means. Not to mention the much-needed reflection on the impact of technology. For Tsang, fashion is definitely more than something to cover one’s body and look pretty, it’s a powerful medium.

Out with the old, in with the new: Óscar Carretero brings the past into the present

Óscar Carretero is a visionary designer whose work masterfully blends traditional techniques with contemporary materials to create designs that are both sustainable and evocative. He seamlessly integrates techniques such as embroidery and knitting with materials like recycled plastic and metal wire, resulting in garments that are not only unique but also imbued with a sense of timelessness.

Carretero’s ability to adapt traditional techniques to modern times is not only a testament to his creative ingenuity but also a crucial aspect of his work. By preserving and revitalizing these techniques, he honours the past while also pushing the boundaries of what is possible in the present.

Furthermore, Carretero’s work is not simply fashion, it is a powerful statement on conscious consumption and environmental stewardship, as well as a powerful reminder of the importance of cultural preservation. Simply put, it is exciting, relevant, and poignant.

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One thing’s for sure, the fashion industry is evolving globally and taking a much larger role in society than it has had traditionally speaking. Partly due to social media and increased visibility. It is more important than ever that the industry reflects the values of forward-thinking people and promotes sustainability, creativity, and self-expression. It’s brands like these that are at the vanguard of change through the utilization of novel materials and inventive design that we need more of. These brands are embracing sustainable materials, but it’s about more than that. They are also pushing the boundaries of what is possible in terms of both aesthetics and functionality, and they’re pushing hard. Thus significantly contributing to the fashion industry’s gradual shift towards a more sustainable future, a more exciting and innovative future. What can we say? We can’t wait to see where this leads us.

But first…

Who is Jackson Bowley?

Jackson Bowley is a photographer from London. His work is centred around the realm of beauty photography, and through his artistic collaborations, the British talent explores different rarely-trodden paths of beauty. What can we say? We’re smitten.

The spark for photography was lit at a young age for Bowley. When he was 15 he got fervently into buying cameras online and in charity shops. Who hasn’t, as a teenager, admired old cameras and thought of how cool it would be to own one, two, or three? Well, Bowley actually went and got them. It’s quite interesting, to get into photography by getting into the object that takes the photos first, rather that the taking of the photos and the art of photography itself. It seems that delving into things via alternative paths comes naturally to Bowley.

Soon his skills evolved and expanded, developing colour film at home and experimenting with processing. It’s precisely this curiosity regarding not only the taking of the photo but the process of revealing it too, that makes Bowley stand out.

Jackson Bowley’s photography work opens viewers up to new perceptions of beauty

The Nottingham-bred creative manages to infuse every piece of work with depth and substance. Switching up every new project so as to dive into yet another untapped perception of beauty.

While Bowley has made a name for himself working for the likes of i-D Magazine, It’s Nice That, Nike, ASOS and 3ina among others, it’s his more personal work that caught our attention.

Xerox: Juxtaposition breeds fascination

His personal project Xerox is made up of charming portraits where subjects often have bold, fun makeup on. The typically beauty-editorially photos are then treated in such a way that they become textured and gorgeously grainy.

The juxtaposition of glossy beauty with the gritty texture is rather impactful, but works. It bestows the portraits with a sense of timelessness. An amalgamation of past and present, somehow managing to erase any air of pretension that sometimes inevitably accompanies beauty editorials. Transcribing the portraits into beacons of fun, lightness, and art.

Make-up By… The beauty of the subject through the lens of the author

Sometimes beautiful things and awe-inspiring projects don’t need to be overly intricate or complicated. Sometimes a simple concept goes a long way…

Such is the case for Jackson Bowley’s photography series Make-up By… The idea is simple, Bowley gave all of his subjects the same make-up products and asked them to create whichever look they wanted.

It’s such a simple idea, but I haven’t really seen a beauty project like it, so I just thought, perfect. I wanted to see something that was so far away from your usual beauty shoots, nothing glossy, real people, and just quite ridiculous and funny make-up. – Jackson Bowley for Dazed Beauty

Initially fearing that people would go for the usual eyeliner, mascara lipstick, Bowley was glad to be wrong on that. Turns out that when you let people be creative without limits and give them tools, they actually go for it. The result? A beautiful combination of people’s own definition of beauty and interpreted through the adept lens of the British photographer.

Circus magazine is everything a magazine shouldn’t be…

And it’s precisely why it works.

Bowley was told a magazine should have a hierarchy, everyone cannot be on the same level, it makes no sense for everyone to get one image… So he went and did the exact opposite. Creating a new, eclectic form of Magazine that will suck you right in, with creativity bursting at the seams.

Beauty is often perceived as something that creates a sense of awe, admiration, of desire. But what if beauty was excitement? Fun? Loud? Bold? Like a heart full of pulsating colours. In that case, Circus would be as beautiful as beauty gets. These are the questions posed by the magazine.

Founded in 2021 by Bowley, Circus is the stupidest thing Bowley has done in his career (his words not ours!). It’s a wonderful thing though, to get stupid and let stupidity guide your creativity. So often people try to prove something with these sorts of ventures, they become static and serious, led by KPIs and dollar signs. It’s refreshing to see a publication exist for the sake of expression and art itself.

However, don’t let the so-called “lack of seriousness” misguide your conceived idea of this magazine. Circus is actually a riveting visual experience. Made up of A1 posters, the images are striking and enthralling, to say the least. Just like most of Jackson Bowley’s work.

But don’t take our word for it, check it out for yourselves!

Now that’s not to say that, historically speaking, fashion hasn’t had, and continues to have, beautifully positive reverberations in society. It has contributed significantly to the economy by creating jobs, undeniably stimulated artistic and cultural expression, and fostered innovation in fields such as materials and manufacturing processes for starters. However, the fashion business throughout time has also famously come under fire for its detrimental impact on the world. Labour and animal abuse, exclusionary policies and elitism, as well as the promotion of unrealistic and unhealthy body ideals, among others. Not to mention that thanks to the globalization and massification of fashion, the textile industry has also been deemed an environmental terrorist. How can one possibly excuse the literal tonnes of waste created, resources (and people) exploited, and subsequent pollution resulting from the global fashion machine?

Gen Z to the rescue: sustainable fashion, circular fashion, recycled fashion, impactful fashion

Fashion is an awe-inspiring art form at heart. But unfortunately, it’s not immune to the toxicity of consumerism and greed that has sunken its teeth into, basically, all spheres of society. Thankfully, Gen Z fashion takeover is serving as quite the cleanser. This new generation of “fashion healers” might just save the industry and finally render the industry’s inherently baleful practices obsolete.

Sustainable fashion is non-negotiable for younger generations, Zero waste fashion is in

Gen Z is, generally speaking, markedly more aware of environmental and social issues. The age of information has definitely done its number on this generation, and the world is better for it. Brands can no longer hide the environmental harm inflicted by their manufacturing processes. As consumers, and global citizens, younger generations are in the know of the impact and influence their money and voice can have.

Conclusion: Gen Zers put their money where their mouth is. They prioritize sustainability in their purchasing decisions which have led to a rise in demand for sustainable and ethical fashion brands. Fast fashion’s environmental impact can no longer hide behind the opacity of mass production. Yippee ki ye for the day that all fashion is sustainable fashion. Give it a decade or two… Fiiiiiiine maybe all fashion is a little too idealistic but at the very least 50%? Is that too much to ask? (Sidenote for reference: last year the percentage of sustainable clothing in the market was a mere 3.9%, projected to go up to 6.1% by 2026)

Sarah Brunnhuber’s zero-waste garment fashion production process for the win

Making strides in the fight against fashion waste is Sarah Brunnhuber with her brand Stem. Currently working out of Copenhagen after developing her process in labs and workshops across Eindhoven, London, and Italy, Brunnhuber works exclusively with recycled natural fibres. During production, she weaves the pieces directly into the fabric, and the leftover fabric from the seams becomes fringing, not a signature element of her pieces.

On top of that, all garments are created on a pre-order basis so as to avoid overproduction. Even loose threads and fabric end up being a part of the packaging!

Circular fashion is the gift that keeps on giving

Gen Z is much more open to buying secondhand clothing and participating in circular fashion models, such as rental and resale. Second-hand shopping does more for Gen Z than cover their sustainable fashion needs. Many favour second-hand clothing because it’s often the path towards wearing unique outfits that stands out, a key priority in today’s fashion scene that has become one of the most glaring departures from tradition in the contemporary mainstream cultural landscape.

Circular fashion and recycled fashion resonate with this generation’s beliefs in sustainability and social responsibility. After all, Gen Z is recognized for being value-driven and searching out businesses and products that line with their values. They seek new, innovative ways in which they can look good, feel good, and do good.

Joe Wilkinson and Mario Maher are doing just that with their platform HEAT.

HEAT: The platform making high fashion mystery boxes a sustainable feat

With the rise and proliferation of fashion in social media we have witnessed the birth of a new content genre: Mystery box clothes.

Mystery box clothing consists in making an order not knowing what you’re going to get. The hope with these often is to receive a value superior to what you paid for. The issue, however, is that in order to make a larger profit, these are often laced with cheaply produced items that are the antithesis of environmentally friendly.

HEAT, on the other hand, uses the mystery box concept to face the surplus inventory wasteful issue that countless luxury and streetwear brands face. Using social media as their main marketing strategy, Wilkinson and Maher have truly honed into the needs and desires of young consumers. Innovative, playful, and creative problem-solving at its best.

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Gen Z favours independent designers

This young generation of fashion industry healers is more interested in personal style and individuality than following trends, which has led to a shift away from fast fashion and towards unique, one-of-a-kind pieces. This in turn translates into supporting independent designers who create unique, high-quality products, oftentimes ethically and sustainably, that are not available at mass-market retailers. Which in turn translates into diverting power away from industry giants. This in turn translates into the promotion of creativity and diversity in the fashion industry, as well as which can lead to a more vibrant and innovative fashion ecosystem and a shift towards an industry built on sustainable and ethical practices.

As an added benefit, let’s also take into account that independent designers are typically small businesses, which means that supporting them helps uplift local economies. Therefore, not only can supporting independent designers positively impact the world on a global scale in the long run, but it also can have a positive ripple effect on the local community.

This isn’t necessarily knowledge that is gate-kept. It’s common knowledge. Still while many chose to turn a blind eye to things and feign ignorance while they shop in their usual H&M’s and Shein, younger generations use this knowledge to inform their decisions and help carve a path for avant-garde fashion that doesn’t pollute everything it touches.

Fashion isn’t decor, it’s a powerful tool

Fashion has been used as a tool for social change before, but today young designers are really taking a stand with fashion in more ways than one. While for Gen Z and young Millenials, fashion can be used as a form of self-expression and a means of personal identity, it can also serve as a way to challenge and subvert social norms and expectations.

tRASHY Clothing is just that.

The fashion label founded by Omar Braika and Shukri Lawrence is “another form of resistance”, combating Middle Easter stereotypes and the Israeli occupation of Palestine through satire.

Currently based in Jordan, tRASHY clothing yields fashion peacefully, yet sternly, as a tool for political and social change. Some of their designs with hard-hitting one-liners include: “I </3 colonisers”, “Ms Apartheid” and “poetic, political, and unapologetic.”

If we know that the fashion industry has the potential to use its economic and cultural influence to drive change on a larger scale, what are we waiting for? Fashion brands can choose to use their platform to raise awareness about social and environmental issues. They can adopt more sustainable and ethical business practices in order to reduce their impact on the environment and support the well-being of their workers and the communities in which they operate.

There are clearly designers out there who are making the choice of blazing the trail for this shift. Healing the industry simply by taking a chance on their existence. So if you’re interested in fashion and actively participate in it – and no we’re not talking about people who buy their basics or occasional textile treat in Primark because they can’t afford to do otherwise without completely obliterating their monthly budget – chose to support these designers. Put your money where your mouth is. Be part of the change that needs to happen. You’ll get better products, more unique, and sustainably and ethically made, often with a purpose and meaning beyond looking pretty.

Come on guys. It’s one small step for a consumer, a giant leap for mankind.