Republished June 1, 2023 Designer Moïra Cristescu came up in great fashion houses like Proenza Schouler and Narciso Rodriguez in New York, Kenzo and Jean Charles de Castelbajac in Paris, and George Wu in Australia. When she joined Karl Lagerfeld on his namesake brand, she worked closely with him for a decade on the first line and VIP dressing. Following her passion for upcycling, these days Cristescu focuses on creating beauty from waste with sustainable made-to-measure looks with her namesake brand Moïra Cristescu Paris. Creating beauty from waste, Cristescu sees herself as part of the solution, not the problem, in an excess-driven industry that significantly contributes to waste and pollution. We spoke with Cristescu about her fashion experience, her custom designs, and her take on what the fashion industry might look like after COVID-19. You went to college at Central Saint Martins in London. What drew you there? Quite simply, Central Saint Martins was the dream! Alexander Mc Queen, Stella McCartney (the first designer to push for sustainability) and, recently at the time, Christopher Kane graduated from it. Being part of it meant a real possibility to make it in this industry. I loved the spirit of St. Martins. All tutors were successful professionals outside the school, which was very helpful and inspiring. For instance, my main tutor was the wonderful artist Howard Tangye. I appreciated that the school was trusting us: we were working very independently after we got the brief of a project. Design-wise we were guided throughout each project by catching-up meetings with tutors. We also could get technical advice anytime from experienced pattern-cutters working in the studio. Which made our creative process very efficient. And the final crit was in front of the whole class which was excellent training for future work presentations. Don’t get me wrong, it was hard! The rhythm was intensive, but we got to do a bit of everything: focusing alternately on shape, print, illustration, color, tailoring… The balance of the program was just perfect for me to thrive. Photos by Mathilde Calhiol What are some highlights from your studies? My main highlight would be the Press show, which is a catwalk show organized to broadcast only a small selection of students from all the different pathways to the press. I was in the Womenswear pathway, but you also have Print, Knitwear, Menswear, Marketing… For any student, being chosen to participate is a consecration and a chance to get noticed, either to integrate a Fashion house or to start your brand. My final collection relied on deception: the outfits created the impression that the body was in a different position than the model was. It was crazy and amazing to create without boundaries, far from all the commercial constraints we would experience in our careers. I loved the final year, despite the stress! Especially when we were in the draping stage: all students worked in the same room, sharing pattern-cutting tables and building all of our final collections side by side. We constantly gave one another advice and reassurance, we were working super hard but with a healthy emulation, pushing everybody to the best they could achieve. What are your words of advice for aspiring designers? “You have to be truly committed. These are very demanding jobs, long hours, and even when you are not working, you kind of are visiting exhibitions, sketching ideas, noticing details on people’s clothing… but if it is your vocation, then really go for it, it is such a rewarding job! What was your work experience like before your time at Karl Lagerfeld? I was interested in getting different insights, so I integrated a few Fashion houses: Kenzo, Narciso Rodriguez, Karl Lagerfeld, Proenza Schouler, Jean-Charles de Castelbajac, and George Wu. I have found a lot of kindness from amazing people. I have perfected technical skills from incredible “premières mains” (highly skilled seamstresses), heads of ateliers, and even an artistic director who enjoyed sharing their expertise. I have been entrusted with key projects while still junior which made me grow. I have met so many talents and it was a privilege to work beside them. I enjoyed challenges, like the first time I designed a dress for the Met Ball. Excitement, bliss, stress… all mixed! The pressure is high dressing celebrities, but that feeling when you see them wearing your work is indescribable. I don’t think I will ever get tired of it. I also experienced hardships: shipping delays right before an event, artistic differences, fitting problems… But you learn so much more from them! Difficulties test your creativity, your resilience, and your ability to bounce back. And sometimes your limits, which can be a good thing, as it is crucial to be respected. I’ve had the best and the worst, but I don’t regret any, they all made me the person, professionally and personally, that I am now. What was it like working with Karl Lagerfeld? I worked directly with Karl Lagerfeld for the better part of a decade, it was an incredible opportunity. He was very kind and funny, I know this is not the first impression which comes to mind with his strict look, but it is true! He was constantly making jokes and puns, he always had a nice word for everybody, including interns. His Fashion house had a very family-like atmosphere, with most people working there for a long time, some for several decades. People were very faithful to him. He was also demanding but it challenged me and trained me to be inventive, efficient, and precise. What I appreciated the most was his down-to-earthness. We would do everything in our power to meet his vision but if something was not possible, he would understand it. I think his trust in his team brought out the best in all of us. What drives the theme of each season/collection? Karl Lagerfeld’s culture seemed endless and he was constantly bringing us books from his impressive collection, beautiful original clothing from the twenties, or even objects. You wouldn’t believe the crazy jewels we would lend us! Inspiration would also come from the spirit of the moment, the recent exhibitions we had seen as a team, or shows and films that had inspired us independently and would come together to build a theme. What is your design process like? My label is based on the principle of upcycling and reusing discarded materials, in my case mainly from fashion houses’ stocks. My customer and I choose a material, often an embroidery sample, and I start from there. I adjust a mannequin to my customer’s measurements and I drape directly on it to build a unique piece. I adapt the design to the materials I have: for the Hydaspe dress, for example, I had decided on the length I wanted for the dress but the zipper I was using was too long, so I added a collar to match it. It is a different approach, as I don’t draw a sketch and then choose the materials, but start from the materials to elaborate the design. In a slow fashion spirit, I create new pieces regularly, to integrate two ongoing lines, instead of accumulating 2 to 4 successive collections a year. They are systematically shot to integrate my lookbook and provide more ideas to my customers. My design is strongly inspired by the imagery of Greek mythology, its representation in painting, sculpture, and literature is just an endless source of amazement. But this background is always mixed with contemporary inspirations: current exhibitions, street artists, theater plays, films, and music I am listening to. The fact that I have always been fascinated by the destinies of powerful goddesses and strong-minded nymphs, is quite fitting as I aspire to bring forward the strength in women, I wish that putting on my creations gives them a feeling of confidence, I want them to feel like empowered amazons. Most of my designs are named after strong mythological figures. What are your specific responsibilities? I am working on the whole process: research, sourcing, design, sewing, and illustrating. The moment when a pile of lifeless left-over materials starts being sculpted into a piece is very rewarding, creating beauty from waste. But what I prefer is when artists wear my designs on stage. Seeing my outfits brought to life, empowering the artist, is the best feeling I know. What advice would you give a younger professional in the workforce? To land a job, it takes talent, hard work, timing, network, and a bit of luck! And of course perseverance… Being versatile (as comfortable with sketching, draping, sewing, and Adobe software…) is always a plus, and so is speaking more than one language. To design high-end products, you must always keep yourself updated and develop an eye for details: regularly visit luxury boutiques, and check the finishing. Does sustainability have a role in your work? I continuously tried to push for more sustainability while working in Fashion houses, especially in sourcing, as fabric production is a massive cause of pollution. The use of paper is terrifying too, pages are printed by the package, almost always one-sided. Most designers launching their label in the past years do consider ecology, and I have the feeling most students graduating now also, with many fashion courses adding this issue to their program. This concern from the brands then extends to their partners: more and more fabric mills are producing from recycled fibers or doing organic cotton, and fabric fairs like Premiere Vision or Milano Unica have started to communicate sustainability by promoting them. Fabric mills really work on their traceability, when less than ten years ago, it was secretive. More and more professionals in our industry are taking action and I have high hopes for a substantial change in this department. We all have our responsibility in this – both fashion professionals and customers – and need to keep pushing for more sustainability! How do you think COVID-19 will impact the future of design? The COVID crisis questions our production modes. Fashion is a powerful industry in France, but what good does it do if it can’t even produce enough masks for the population? Most fashion companies produce overseas, even luxury ones which benefit from the image of the “savoir-faire français.” I now hope they will bring back some production home. Also, boutiques are currently sitting on a massive stock since all shops have been closed for almost two months. They will probably never be able to sell it because the consumers’ budgets will also suffer. I think this crisis will spotlight the excesses of our industry and hopefully will lead to a more sensible system. https://moiracristescu.com We want to congratulate Moira for being selected as a finalist in the Monte-Carlo Fashion Week Sustainability contest. Here she is explaining her process (in French!) To learn more or to contact Moira, visit her website at: https://moiracristescu.com Central St. Martins College Moira, thank you for sharing your career journey and inspiring sustainability in high fashion, and thank you to our readers for stopping by today!! Stay Safe, Be well, and Keep on Keeping on! To learn more about the Inside Fashion Design Community, visit www.insider.insidefashiondesign.comFree and open to all who are interested in the Sustainable, Ethical Fashion Industry

Inside Fashion Design toured the Cult of Individuality showroom with Dean DerGarabedian, Sales Manager for the NYC-based street couture brand. During our chat, Dean shared some of the keys to their longevity and cult status, including their somewhat unconventional sales drop schedule, which relies on a limited number of small stores committing to buys up to a year in advance. “Sometimes growth isn’t always best for the brand image,” says DerGarabedian, focusing instead on Cult of Individuality’s coveted collabs that appeal to their niche customer. He also discusses unique issues that come with creating these smaller batch runs for a specialty store market. About Dean: Dean has always had a love of the industry. He went to school at the University of Rhode Island for Business on a full wrestling scholarship. In a twist of fate, a chance meeting with the Dean of the Textile Department introduced him to the Merchandising program. He switched his major, landing next in the Macy’s training program. At the time, Macy’s was only accepting 300 trainees out of 1500 applicants. After Macy’s, Dean went on to work for big corporate apparel brands such as Calvin Klein and Tommy Hilfiger. His journey included managing the once infamous Canel Jeans in NYC. Now he is enjoying his time at Cult of Individuality where he says, enthusiastically, he is having the most fun he has had in his entire career. About the Brand: Cult of Individuality is a Contemporary denim brand. They focus on three main looks for their collection, which includes Contemporary, Rock & Roll and Salvaged Old school denim. Collaborations with musicians and celebrities are a major selling point for their brand. Currently offerings include styles designed in collaboration with King Baby Jewelry, StickTV, Whiskey a Go-Go and SE Bikes. Cult of Individuality New York City Deans top advice? 4 Simple Rules Remain true to who you are. Don’t try to sell to everyone and please everyone —stay true to your niche and you will build your cult following. Building relationships is key. Dean has built friendships over the years in the business. These are the key factor to his success. Networking is one thing, but building relationships and friendships along the way is what truly leads to success in this business. Don’t take people out for dinner unless it’s business — but when you’re out, don’t talk business. Love who you marry and love the job you choose. It’s how you will spend your days and who you go home to at night. You’d best love both of them! Don’t Follow in the footsteps of others. Make your own strides in life. Cult of Individuality Thank you to Dean for sharing your story and words of wisdom!

Updated Edition 8.27.23 One of my favorite aspects of being an Apparel Designer is viewing and selecting artwork for an upcoming collection. I have always admired the talent and creativity that shines through the textile prints. Part of the joy in this process is meeting and working with the people behind the creations- they travel into town, from all over the world, to meet with designers who determine which prints will be selected. Atom Designs is one such textile print studio I have had the pleasure to work with over the years. Our "appointments" became just as much pleasure as business and after so many years, we get to know more about each other....which leads me up to Corinne McManus, the founder behind Atom Designs. She is an inspiration and I am honored to share her story with you today! Corinne; Your education as a youth was challenging because you were dyslexic, but not diagnosed until you were 12….tell us about your challenges in elementary school, how your family helped you with this, and what put you on the right path in the education system: Up until the age of 12 I was considered lazy and stupid. My father was a teacher in the Army Education Corp so we moved, reposted every 18 months or so through my childhood, and as a consequence, I went to 13 different schools. At 11 I was failing my school entrance exams and my mother took me to see a visiting professor at the local university who tested me for dyslexia (with cross-lateral and short-term memory issues) but even with an initial diagnosis, back in the early/mid-1970s not many believed in dyslexia and it was often considered alongside autism. A some point someone even told my parents that I’d never be able to tie my shoes or drive a car. My parents found a very small boarding school with only 12 girls per class that would take me and for the first year, I wasn’t allowed to do any art or sport, all reading and writing, trying to catch up. I was disruptive in class and played the clown rather than answering questions I couldn’t easily read - all easily identified behaviors these days. But I was good at art and sports and was the school sports captain which led to my favorite school report: “Corinne is a good leader if only she’d lead in the right way.” What education, and training did you get…how did you choose your college, and what degree to pursue? For exams, I had a reader and was given extra time but not for English, which I failed a record number of times (nine) and made getting into college very difficult as it was usually a requirement. My Father helped get me into art college because I had a decent portfolio and he explained my dyslexia, so I did a Fashion and Textiles Foundation at Ravensbourne but, thinking I wanted to be an artist, went on to do Ceramics at Central School of Art & Design, for which I was far too busy having fun partying while also printing fabric and making clothes for shops in Covent Garden and on the King's Road and a bunch of 1980s pop groups. Any we may know? My prints were worn on TV by Hazy Fantasy, Five Starr, and Frankie Goes To Hollywood. I did some pieces for Boy George but don’t know if he ever wore them. Anyway, Ceramics wasn’t for me, or me for them, so I went out into the real world only, thankfully, for my parents to force me back. Miraculously Central took me back to do Textiles, I had a great time and the year after I graduated Central merged with St Martins, so I became an alumni of Central St Martins - not that I’ve ever had a resumé to put it on How did you find your love/skill of art and design? My grandmother, Elizabeth, lived in central London, was incredibly stylish, wore designer clothes, and was always dressed up. She took me to all the galleries, museums, and shows. Also, when we lived in Gibraltar we’d spend our weekends and school holidays in Morocco going around the bazaars and being taken to see the cloth-weaving factories in the Atlas Mountains, which made a lasting impression. Tell us about your life after graduation….you didn’t ever get a “real” job but instead decided to travel: After graduation I went on a course for artists with small businesses run by the Prince's Trust, I thought I was setting up a women’s tailoring business while using my designs for the linings but I met my first business partner, the wonderful Caroline McKenty, and as the course came with a considerable (at the time) travel bursary from the British Council we decided first on Milan, why not? and then, more because we wanted to go clubbing, we flew to New York having gathered up all our friends’ textile portfolios. We were clueless, we only knew of Macy's but went to the British Consulate and they gave us a list of fashion companies in New York and we stood on corners putting quarters into payphones, calling calling calling. We ended up selling 16 designs on our first trip which for us was fantastic, it paid for itself and we had a fantastic time but initially, we were still going back to our multiple jobs. After a few years of going to New York and on to LA and SF, Caroline found love in New York, and MC2 (McManus & McKenty) became Atom… How did you turn this into a business? What was the evolution of your textile designs? At this time I was working multiple jobs, teaching life drawing at Central, color therapy to hairdressers, fashion Illustration to mature students, working in a women’s health club, cleaning houses, waitressing, and traveling to the States on a regular basis. When the restaurant I was working at closed my friend who was doing my accounts pointed out that I didn't need to do multiple jobs to support the business I loved and advised me to take the plunge… When I started my studio, all artwork was on paper or fabric and all hand-done. Computers arrived at college the year after I graduated and no one imagined it would affect designing the way it did, but my designers Andy & Trisha came to me with these small computer designs they asked me to sell. I loved the designs but wasn’t sure how or if I could sell them but became one of the very first studios to sell digital designs. As we went through the 1990s, computers, and Photoshop pretty much took over. Do you work with other artists? Over the years I’ve kept a very tight collective of wonderful freelance designers, with two husband & wife teams (Andy & Trisha and Norma & Alan) and a number of other exceptional artists who’ve been with me for over 25 years. We’re all mostly BC, Before Computers, so everyone has their own individual hand that compliments the portfolio. I don’t really feel like the boss, just lead this team of artists/friends who essentially created Atom together, I couldn’t do it without them. Do you still personally do artwork/designs? Less and less, I keep meaning to do more- I’ve always hidden my work in amongst the portfolio and never sold a design as one of mine. Thankfully, when I do design I’m still selling. At one Magic Show, I was approached by two guys in Hawaiian shirts who’d figured I was carrying artwork and wanted to take a look. Going through the portfolio they really liked one designer’s work and wondered if they’d be available to go to Hawaii to design a collection. It was a week before I told them it was my work and saying yes was one of the greatest opportunities I ever had. I spent a month designing a collection for Kahala, making potato prints on a garage/studio floor under the tutelage of the great Dale Hope - the shirts are now vintage (the musician Jack Johnson wears one). Dale taught me so much and introduced me to the Hawaiian shirt industry, the wonderful people, and the intricacies of how different motifs did and didn’t work together. I’ve been going and selling them artwork for nearly 30 years now. Hawaii is one of my special places and in 30 years I have made many amazing friends there. What is the most challenging part of your work? Trying to get hold of people. It’s a constant struggle. When I started there were only a small number of design studios and there were no mobile phones, internet or live catwalk access. It was just our design studios and the forecasting services so what we turned up with was what was new, we were predicting the design direction and colors. Designs were pieces of handmade art on paper, sold for inspiration, as a starting point for the complicated process of turning them into printed fabric. Today’s digital designs are still hand-originated but are now essentially print-ready, color-separated, in repeat, etc – Clients get so much more for the money. There are so many studios now I don’t know how they survive. The big companies tell me they could easily see 20 to 30 studios a week but they just don’t need to. To be one of the studios they do see becomes increasingly difficult. That and the contraction of the industry in general. What are some of the top trends you see for 2021? Lounge active and pajamas… for 2021/22 and beyond. I always hope for more adventurous designs, brighter and bolder. I think, once given the opportunity, people are going to want to really dress up and have fun with fashion after this imposed hiatus. I also believe people are going to be more inventive and there will be, rightly, far more attention paid to the environmental and humanitarian impacts of fashion. What skills are needed to succeed in the industry? A good eye for design, color, and trend. I interpret what clients are looking for and communicate that with my designers, but it is always important to allow your designers to be free and inventive while keeping them within the realms of what might sell. You also have to be a good people person and be fit and strong to push heavy cases around. How do you see the future of the industry changing what you do or how you run the biz? The Industry was falling off a cliff before Covid. A saturated market, too many studios, and now a worldwide recession and an inability to travel… I’m lucky to be such a small company and I own my studio space so have much smaller overheads than many other studios. I am not sure it will ever go back to how it was as I’m finding a lot of clients liking the Zoom meeting or being sent collections on our website and being able to take more time in deciding whether to buy a design or not. It also means they can see us exactly when they are looking for prints and not have to buy blind just because we happen to be in NY or wait for us to turn up. But there is nothing better than seeing a collection in real life, to be able to handle and discuss the prints with their team directly so we will try to continue making trips when everything opens up again…. just have to see what happens. We will definitely be traveling less but spending more time at our destinations What are your most memorable industry experiences/stories, and most impactful moments? There are far too many untellable stories. I think obviously being in New York for the first time in the 80s was nuts, I felt like I was in a film set every day. It was so exciting. We had some crazy times clubbing all night and with no sleep selling designs in the day, the industry was very different then and didn't seem to take itself so seriously. I will always remember going to Hawaii for the first time, I spent the first week just pointing my finger saying ‘Look’ I couldn't believe the colors, foliage, and landscape were so real. I had never seen anything like it in my life. It blew me away …. it was so opposite to grey rainy old London. Do you have a favorite designer or person that inspires you? My grandmother would take me down the King's Road in the 70s to see all the fashionable people and the punks, she taught me people-watching and exposed me to London’s street fashion from an early age. I have always loved seeing what people were wearing in the clubs and on the street, from top to bottom from the shoes/trainers to hair cuts… I used to say I was going out partying to do ‘research' so I was actually working. I still love to do this it's always great to see what the youth are up to. I love any designers who designed clothes as pieces of artwork and their love of fashion…. McQueen, Galliano… from the tailoring to beading and embroidery, print, use of cloth, weave, and knit. Katherine Hamnett and Vivienne Westwood, Thierry Mugler, Jean Paul Gaultier, Prada, and Gucci through the 80s and 90s. I always try to get to the Dries Van Noten store whenever I’m in Paris. Also, I am always fascinated by new fabric developments and the sports brands who have these ‘think tanks’ experimenting with new knitting technology and 3D printing – if I was starting out now I think this would be one of the most interesting areas to go into. Corinne and her partner Ben, with Masks For Extraordinary People Any favorite quotes or words to live by? I always say, ‘You can sleep when you die’ There’s far too much fun to be had on this earth to sit around or sleep it away, but my favorite quote is …. “Fashion is a form of ugliness so intolerable that we have to alter it every six months.” by Oscar Wilde, it's just so funny and makes me smile. I have it on my wall in the studio. Last year I came across this poem, SMILE by late great comedian Spike Milligan. When Covid hit causing shutdowns, Atom Design was no exception. While our business required traveling and showing the textile collection around the world, we are no longer able to do that- so we figured out how to use our resources and do something to make a big difference in people's lives, so we founded Masks For Ordinary People! Check out our post about Masks for Ordinary People- this impressive pivotal shift and what Atom Design created during Covid! Reach out to IFD directly if any questions, or go ahead and reach out to Atom Design- they would be happy to hear from you! Tell them IFD sent you! Thanks for checking out our maker's stories- Do you know a maker to be featured? Let us know! Know someone who would like this article? Please share! Looking to connect with others in a supportive fashion design community? Become a fashion industry insider. Join our Free Fashion Industry Community: insider.insidefashiondesign.com We invite you to join us! Visit us to see what we are all about!

Today we share with you some top tips and strategies to Make Your Company More attractive to job candidates with disabilities Diversity and inclusion have become buzzwords in recent years as more and more companies are taking steps toward creating a more diverse and inclusive work environment. But despite these efforts, people with disabilities continue to face barriers to employment. According to recent statistics, the unemployment rate for people with disabilities is twice that of non-disabled people. This is a concerning stat and a missed opportunity for organizations looking for talented and skilled workers. Below, Courtney Rosenfeld shares with Inside Fashion Design, top tips and Strategies to Make Your Company More Attractive to Job Candidates With Disabilities Compensated Skills Assessments Before hiring, it’s essential to understand each job candidate’s skills and abilities. One way to do this is to provide a compensated skills assessment. This will help you better understand the candidate’s abilities while demonstrating that your company is willing to invest in your team. Through these assessments, you’re sending a message that you value your employees’ skills and abilities and are eager to invest in their growth. There are several ways to make your skills assessments fair and enticing: Financial incentives: Offer a monetary reward to candidates who successfully complete the skills assessment. This may range from a fixed amount to a percentage of their potential future salary. Gift cards or vouchers: Provide candidates with a voucher or digital gift card API for popular online retailers, restaurants, or entertainment venues as a token of appreciation for their time and effort. Professional development opportunities: Instead of monetary compensation, you might provide candidates access to industry-specific courses, conferences, or workshops to enhance their skills and knowledge. Feedback and career advice: Provide valuable feedback on the candidate’s performance during the skills assessment and personalized advice to help them progress in their professional journey. Making Your Website More Accessible Having an accessible website is critical in the age of online research. Making your site more accessible will help you attract more customers with disabilities. You also want to ensure people with disabilities who are looking for a job can apply easily. Simple steps like making your site screen reader-friendly and incorporating easy-to-read text and contrasting background colors can make all the difference. Creating an Internship Program Internship programs are an excellent way to attract new hires with disabilities. They expose candidates to your company and culture and present a platform for building relationships with potential future employees. If you don’t know where to begin creating an internship program, you can partner with local disability organizations or vocational schools to find interns. Revitalizing Your Recruitment Process Every business needs to revamp its recruitment process occasionally, but it’s even more critical when making your organization more appealing to skilled workers with disabilities. Updating your job descriptions to be more inclusive and actively recruiting from disability organizations are two goals to establish from the start. There’s no denying that updating your recruitment process will be a significant project. But it’s crucial to get it right to attract suitable job candidates. Ensuring Reasonable Accommodations Lastly, you must ensure that you can offer reasonable accommodations in the workplace. This can include everything from redesigning workstations to be more successful, offering flexible working arrangements, or providing assistive technology. Offering reasonable accommodations will show potential hires that you value their abilities and will work with them to ensure long-term success. Wrapping Up Building a diverse and inclusive workforce takes time, effort, and investment. Still, doing so has countless benefits, including attracting a more diverse customer base, boosting team morale, and improving overall business performance. Implementing some (or all) of the above strategies will help your company entice new hires with disabilities to join your team. And they’ll bring fresh perspectives and unique skills with them! Remember that inclusion isn’t just the right thing to pursue. It will also prove to be a valuable business practice that benefits your organization for years. Thanks for reading today- let us know your comments!

Hello Conscious Fashion trailblazers! Are you a student or industry pro preparing to present your portfolio? The runway to success begins with this essential tool that every designer needs. As you step into the competitive and ever-evolving fashion industry, your portfolio becomes your voice, introducing you to potential mentors, schools, internships, and dream job opportunities.  Check out our Fashion Design Portfolio Mastery Do's & Don's! Watch the Webinar here I recently had the pleasure of speaking to a group of students at the New York School of Design on the topic of "Perfecting Your Portfolio". This was great for me personally as it's been a while since I revisited my own portfolio- it's good to keep it refreshed even if you're not currently job hunting! So, listen in to hear insights, tips, and advice to assist you in perfecting your design portfolio. From selecting the most impactful pieces to showcasing your artistic evolution, I've got you covered! Top 10 Tips: Create a captivating story or theme for your portfolio. Show your creative process from your unique point of view. Demonstrate your ability to draw inspiration, develop concepts, understand the target consumer, select colors, prints, and fabrics, and create sketches (by hand or CAD). Start with your best work upfront. Make a solid first impression to grab attention. Showcase your diverse skills. Include samples of technical drawings, hand sketches (if applicable), and print work, and demonstrate your knowledge of different fabrics. Have a digital presence. Create an easily shareable online portfolio, and have an updated Linkedin profile where you can showcase your work. Incorporate projects from internships or particular areas of study, such as sustainability. Show that you're current on sustainability trends, circularity, and new technologies. Include thoughts or infographics on how you integrate these concepts into your designs. Stay future-focused. Be aware of industry changes that will impact design in the future, and demonstrate how you consider those factors in your work. And hey, if you can bring some fabrics and trims to showcase in person, that's a bonus! Do your research on the company and job position. Ensure that your portfolio aligns with their target consumer and brand. Give credit where credit is due. If you worked on a project with a team or partner, explain your involvement and highlight your collaboration ability. Personal branding is critical! Develop an aesthetic that reflects your personality. Companies will be checking on your social media. Consider using a signature color, logo, or other elements that make your portfolio, social media, and digital presence cohesive. It's all about showing you've thought through how you present yourself. Bonus points for including close-up sketches of special trims, logos, construction detaills in some of your styles. And hey, if you can bring some fabrics and trims to showcase in person, that's a bonus too! I always prefer to have something to touch and feel for the full experience How can you stand out from the competition? Check out this Job interview trick; The Briefcase Technique. What is that you might ask? Get your free PDF of Portfolio Mastery, Do's and Dont's for Success, along with insights about the Briefcase Method here: Thanks for reading today! Have your own tips and tricks? Share with us! We value your insights and suggestions! Send us a note!

For centuries, Faso Dan Fani fabric has been intertwined with the rich cultural heritage of West Africa. This vibrant and distinctive textile, known for its bold patterns and vibrant colors, is more than just a beautiful fabric – it tells a story of craftsmanship and tradition. In this article, we share untold stories behind the Faso Dan Fani fabric, exploring its origins, significance, and the intricate process of its creation. From the skilled artisans who meticulously hand-weave each detailed design to the cultural Symbolism behind every pattern, we uncover the fascinating world behind this beloved fabric. Read on as we explore the centuries-old techniques passed down from generation to generation, the inspirations behind the beautiful designs, and the cultural impact of Faso Dan Fani fabric. Learn how this fabric has become a symbol of cultural identity and pride, celebrated not only in West Africa but also around the globe. Through this exploration, we gain a deeper appreciation for the artistry and craftsmanship that goes into each piece of Faso Dan Fani fabric – a symbol of tradition, culture, and the unbreakable spirit of the African people. Meet the Makers of the GIE CABES collective, working in partnership with the Ethical Fashion Initiative and brands such as Laurenceairline To begin, what is Faso Dan Fani? We found a few definitions of Faso Dan Fani fabric: It is also known as "bogolanfini" or "mud cloth," and has a long and storied history in West Africa. The material originated in Mali, where hunters and warriors traditionally wore it as protection. Over time, it became a symbol of status and cultural identity, worn during important ceremonies and celebrations. We also found that "Faso Dan Fani" is a term that refers to this West African fabric known for its cultural and historical significance, "Faso" means "country" in the local languages of the region, and "Dan Fani" translates to "woven cloth" or "striped cloth." The history and cultural significance of Faso Dan Fani Fabric This fabric holds importance not only as a clothing material but also as a symbol of identity, heritage, and craftsmanship in certain West African countries, particularly Burkina Faso. Another translation we found is the meaning "cloth that speaks," reflecting this fabric's deep cultural significance and storytelling nature. Each design, pattern, and symbol woven into the material carries a specific meaning, representing different aspects of West African culture and history. The process of creating Faso Dan Fani Fabric Creating Faso Dan Fani fabric is a labor-intensive process that requires skill, patience, and creativity. It begins with locally sourced cotton, carefully spun into thread, and then dyed using natural materials such as leaves, bark, and mud. The mud-dyeing process, known as "bogolan," gives the fabric its distinctive earthy tones. Once the threads are dyed, they are meticulously woven on traditional wooden looms. The weavers, often women, use intricate techniques passed down through generations to create the intricate patterns and designs that make Faso Dan Fani fabric unique. Each piece is a testament to the craftsmanship and skill of the artisans who bring these textiles to life. The artisans behind Faso Dan Fani Fabric The creation of Faso Dan Fani fabric is a collaborative effort that involves various artisans, each playing a crucial role in the production process. Every step requires expertise and dedication from the cotton farmers who cultivate the raw materials to the dyers who create the vibrant colors and the weavers who bring the designs to life. These artisans often belong to traditional weaving communities, where the knowledge and techniques of Faso Dan Fasi fabric production are passed down from generation to generation. They take immense pride in their craft, knowing that they are creating beautiful textiles and preserving a cultural heritage that has been passed down for centuries. Traditional techniques and tools used in the production of Faso Dan Fani Fabric Faso Dan Fasi fabric production relies on traditional techniques and tools that have been used for generations. The wooden looms, for example, are handcrafted and carefully maintained to ensure the quality of the weaving process. The dyers use ancient dyeing methods, such as fermenting leaves and bark, to extract natural pigments, creating a sustainable and eco-friendly approach to textile production. The artisans also incorporate traditional symbols and motifs into their designs, using special tools like wooden stamps to create intricate patterns on the fabric. Each character has a specific meaning, ranging from fertility and protection to spirituality and ancestral connections. These traditional techniques and tools give Faso Dan Fasi fabric its authentic and timeless appeal. The Symbolism and meaning behind Faso Dan Fani Fabric patterns and Designs Every pattern and design on Faso Dan Fani fabric tells a story, reflecting the rich cultural heritage of West Africa. Each element has a specific meaning and significance, from geometric shapes to animal motifs and abstract symbols. For example, the "kòkòbéré" pattern, characterized by interconnected triangles, represents the interconnectedness of the community and the importance of unity. The "Sankofa" symbol, often depicted as a bird with its head turned backward, symbolizes the wisdom of learning from the past and carrying it into the future. These symbols and patterns serve as a visual language, communicating the values and beliefs of the West African people. The role of Faso Dan Fani Fabric in traditional ceremonies and celebrations Faso Dan Fani fabric is vital in traditional ceremonies and celebrations across West Africa. It is often worn during weddings, naming ceremonies, and other significant events, symbolizing cultural identity and pride. The fabric is carefully chosen to reflect the occasion and the individual's social status, with certain patterns and colors reserved for specific purposes. During these ceremonies, the Faso Dan Fani fabric becomes a visual representation of the community's values and traditions. It is a way of honoring the past, celebrating the present, and connecting with the ancestors. The fabric is not just worn; it becomes a part of the West African people's collective memory and shared experiences. The impact of Faso Dan Fani Fabric on the local economy and community Faso Dan Fani's fabric significantly impacts the local economy and community in West Africa. The production of this fabric provides employment opportunities for many artisans, supporting their families and communities. It also contributes to preserving traditional skills and knowledge, ensuring that these crafts are not lost to time. Faso Dan Fasi fabric has also gained international recognition and demand, creating export opportunities for local artisans and businesses. This global demand has increased economic growth, allowing communities to invest in education, healthcare, and infrastructure. Designs from Laurenceairline Faso Dan Fani Fabric in the global fashion industry Faso Dan Fani fabric has gained popularity in the global fashion industry in recent years. Designers worldwide have recognized this fabric's beauty and cultural significance, incorporating it into their collections. Faso Dan Fasi fabric has become a symbol of diversity and inclusivity in the fashion world, from runway shows to red carpets. The global recognition of Faso Dan Fani fabric has also sparked conversations about cultural appropriation and ethical fashion. It is essential to acknowledge and respect the cultural origins of this fabric and support the artisans who create it. By promoting fair trade practices and ensuring that the benefits reach the local communities, we can celebrate the Faso Dan Fasi fabric's beauty while preserving its cultural integrity. Preserving and promoting Faso Dan Fani Fabric: Challenges and initiatives Despite its cultural significance and global demand, Faso Dan Fani fabric faces several challenges in its preservation and promotion. The rise of mass-produced imitations and counterfeit products threatens traditional artisans' authenticity and economic viability. Additionally, the need for more access to modern technologies and limited market opportunities hinder the industry's growth. However, initiatives and organizations are working tirelessly to address these challenges. They aim to empower local artisans, provide training and resources, and promote sustainable practices. By raising awareness and supporting these initiatives, we can preserve and promote the Faso Dan Fasi fabric and ensure its cultural heritage for future generations. In looking for makers of this fabric, we learned about Groupement d’Intérêt Economique “Commerce et Artisanat pour le Bien-Être Social” (GIE CABES). This is a specialized production center where skilled artisans devote their expertise to crafting and the weaving process of this traditional fabric. Through the support they've received from EFI and designer partnerships, GIE CABES has become a catalyst for sustainable development, offering economic opportunities and preserving the socio-cultural fabric of Burkina Faso. The Ethical Fashion Initiative works with GIE CABES which provides fabrics for designers and their collections. One such West African-based brand is Laurenceairline. About Laurenceairline Brand "The brand Laurenceairline is a social and eco-responsible clothing label with graphic and contemporary collections. Inspired by multiculturalism and valuing craftsmanship. Made with love and care in Côte d'Ivoire" "Every collection at Laurenceairline starts with carefully selected fabrics. The energy of our textiles reminds us to slow down and fully experience life. We operate in trust, truth, and harmony. The entire production of each piece is entirely made by our team of master tailors in our Atelier Couture in Grand-Bassam." In working with Ethical Fashion Initiative, Laurenceairline achieves Sustainability Goals. They also share their Impact Report: click on the link to learn more In addition to the wonderful designs and processes used by Laurenceairline brand, they also offer workshops, travel retreats, and an in-person shopping experience. Check out their Brand, Atelier, Gallery, and Art Experiences. We are so excited when we discover these brands and now a visit to their location in person is on our bucket list! Celebrating the beauty and heritage of Faso Dan Fani Fabric Faso Dan Fani fabric is not just a piece of cloth; it is a testament to the artistry, craftsmanship, and cultural heritage of West Africa. From its humble origins to its global recognition, this fabric tells the untold stories of the West African people – their traditions, values, and resilience. As we learn and appreciate the beauty of Faso Dan Fani fabric, let's also recognize the artisans who bring this fabric to life and the communities that have preserved its traditions for centuries. By supporting fair trade practices and promoting cultural appreciation, we can ensure that Faso Dan Fani fabric continues to weave its vibrant colors into the fabric of our world. For more information about Ethical Fashion Initiative and their work, visit: www.ethicalfashioninitiative.org To learn more about CABES GIE in Burkina Faso, visit here: https://ethicalfashioninitiative.org/where-we-work/burkina-faso Thanks for checking out our maker's stories- Do you know a maker to be featured? Let us know! Know someone who would like this article? Please share! Have other suggestions or questions? Reach out to let us know design@insidefashiondesign.net Subscribe to our newsletter to stay in the know and see all our featured makers, along with industry insights & inspirations! Want to find a supportive fashion design community? We invite you to join us! Visit: www.insider.insidefashiondesign.com to see what we are all about! Check out ifd TV- our youtube channel where we feature our guests, events and community conversations. Here is one such video, where we chat with Simone Cipriani, Founder of The Ethical Fashion Inititative for our Ethical Fashion Festival.

Greetings Conscious Fashion Friend! If you are reading this today, I applaud you for your interest in design & developing methods that will make your work more sustainable, save you time and money, and has the bonus of being fun!!! 3D design and development is the way of the future, so best get your learnings going now so you stay up-to-date in this ever-changing landscape. So what is 3D Fashion Design? Using 3D Technology  in Your Fashion Design & Development Process 3D fashion design uses digital technology to create, visualize, and manipulate fashion designs. It involves integrating computer-aided design (CAD) software, 3D modeling, simulation, and virtual reality (VR) to develop clothing and accessories before they are produced virtually. This technology enables designers to work in a digital environment to experiment with various designs, materials, textures, and patterns, allowing for a more efficient and creative design process. How can I learn? To begin, learn from Miguel Huidor. He will share his knowledge and offer ways you can incorporate this into your work- even if you are a start-up or small independent fashion brand. Free and open to all, join us this Thursday to get insider knowledge. RSVP here for Zoom Link Fashion technology consultant Miguel Huidor will present the new Digital E2E business model as a solution for driving sustainability goals and increasing profitability for apparel brands. The traditional production model for fashion is slow, wasteful, uncertain, and non-agile. Over the last several years, digital product creation (DPC) and accompanying technologies have changed how fashion brands produce products and conduct business. DPC offers opportunities to confidently make decisions while reducing costs and waste associated with developing an apparel line. This reduction of development waste has an immediate environmental impact. The Digital E2E business model is great for small apparel brands and offers lean scalability for profitable growth. Join us for this informative webinar and learn how you can update your business model to succeed in the digital age while positively impacting your sustainability goals. Top 10 Ways 3D fashion design will impact the future of the fashion industry Digital Prototyping: 3D fashion design uses advanced software to create, visualize, and manipulate fashion designs in a three-dimensional digital environment. This replaces the traditional method of physically creating prototypes, allowing designers to work on virtual representations of garments. Speed and Efficiency: Adopting 3D technology in fashion design accelerates the creative process. Designers can quickly create and iterate on digital prototypes, reducing the time required for design development and decision-making. Cost Reduction: By minimizing the reliance on physical samples, 3D fashion design leads to significant cost savings. The need for producing numerous physical prototypes is reduced, resulting in less material waste and reduced production expenses. Customization: 3D tools empower designers to cater to individual customer preferences. Designers can easily modify designs digitally to fit specific measurements and styles, providing customers with personalized fashion items. Collaborative Workflows: 3D fashion design platforms facilitate seamless collaboration among designers, manufacturers, and other stakeholders. Design concepts can be shared digitally, and changes can be made in real-time, enhancing communication and reducing misunderstandings. Virtual Try-On: Through the integration of virtual reality (VR) and augmented reality (AR), 3D fashion design enables customers to virtually try on clothing and accessories. This immersive experience enhances online shopping by allowing customers to visualize how garments will fit and look before purchasing. Innovation Playground: The digital environment of 3D fashion design encourages designers to experiment with unconventional shapes, structures, and materials. This fosters innovation and creates unique and avant-garde designs that might be challenging to achieve through traditional methods. Trend Prediction: The agility of 3D fashion design technology allows fashion brands to quickly prototype and test new designs and trends in the market. This responsiveness enables brands to better adapt to changing consumer preferences and market trends. Educational Shift: As the fashion industry embraces 3D design tools, education and training programs evolve to incorporate these technologies. Future fashion designers must acquire skills in 3D modeling, simulation, and virtual prototyping to succeed in the industry. Enhanced Sustainability: The reduction of material waste and the ability to fine-tune designs digitally contribute to a more sustainable fashion industry. 3D fashion design promotes environmentally-friendly practices and resource conservation by minimizing the need for physical samples. Overall, 3D fashion design has the potential to revolutionize the way fashion is designed, produced, and experienced. It can lead to increased efficiency, reduced waste, and more innovative designs, all while catering to the growing demand for sustainable and customizable fashion products. Please join us this week to learn more! Have you joined our ifd Insiders community yet? Free and open to Conscious Fashion Design Pros and Enthusiasts! Connect with our community today!

Wildfang is a Portland favorite! As a Portlander, I have been following Wildfang since I heard of its inception. I was also deeply inspired by Founder Emma Mcilroy when I saw her Ted Talk here in Portland in 2017 which brought tears to my eyes. Her talk was a reminder that anything is possible- and to have the mindset of "Yeah Maybe" instead of Nah, that will never happen- and maybe we can change the world. Over the past several years I have watched the brand evolve and even got to work with their design team several years ago. Creative Capital Design, our PDX-based design studio provided some development services which allowed us to learn even more about their mission and the brand values that make Wildfang, well Wildfang. As I was thinking about what to feature for today's post, I was feeling the need for something really inspiring. Wildfang popped into my mind because I have been wanting to invest in a new blazer to add as a classic staple to my wardrobe for some upcoming dressy affairs. I remembered Wildfangs Empower Tux Blazer. It is a classic item that I have had my eye on and then remembered Emma's inspiring Ted Talk back in 2017 So today I am excited to share for our Friday Feature, more about this brand and the impact they are making through its apparel and its brand messaging. Check out our favorite inspirational Wildfang links: Friday Feature: Do you want to Change the World? Yeah Maybe!! Wildfangs Founder Emma Mcilroy Read the full article with all the links on ifd Connect Also check out the Design Week Portland we hosted called "Disruptive Design Thinking", which ties in perfectly with the "Yeah Maybe" mindset. Moderated by Brian Libby, Freelance architecture & arts writer. Panelists include: Chris Linn, Principal at Bora Architects, Mark Lewman, Principle & Creative Director and Partner; Nemo Design, Sonia Kasperian Bespoke Designer, Trish Langman; textile artist, teacher, sustainable fashion advocate & Matt Rhoades; Former Design Direction Nike & Program Director, undergrad and graduate product design at the University of the Arts. Access the article by logging in to Insider.insidefashiondesign.com

Back in 2021, we introduced you to Masks For Extraordinary People—a fantastic group of folks who also founded Atom Design, a textile print studio in London. Guess what? They didn't stop at making masks! Post-Covid, they took a leap and expanded their collection. Curious about how they create Fashion, Made For Extraordinary People? Today, we're thrilled to feature their updated business MFEP, a company that embraced the challenges of the pandemic and turned them into a business driven by purpose and passion. Not only did they survive the trials, but they also emerged even stronger, with an unwavering sense of purpose and excitement. Go, MFEP! 💪 (check out our previous posts above for a full history!) Since then, the team has continued working on new designs and developing their range of custom-made-to-order offerings and their online shop. Take a peek at photos of some of their new products- I hope you’ll love them as much as we do! They enjoy combining different fabrics to accentuate the prints and create fun combinations, contrasts, and flashes of color. Hats, Totes, and Aprons by MFEP As always MFEP team loves to make custom made-to-order items, so reach out as you can select different prints and fabrics or different styles and sizes - they absolutely love & encourage collaboration and have a plethora of prints to choose from....you will surely find something you love! Are you in the mood to change up your home a bit by adding some newness? MFEP is here to help and welcome conversations around consulting on color/pattern schemes for your projects … big or small! Reach out via: https://www.mfep.uk/request. I personally have done Zoom sessions from here on the west coast, with Corinne in London, and felt like I was shopping in a girlfriend's closet right next door! Extra Bonus! With each order, MFEP gives 5% to a local charity of choice....so please don't hesitate to send them a note for inquiries, orders & collaborations. Here at IFD, that is what we value- working together & supporting makers, designers, and artisans who are making an impact with their work. We are big fans of MFEP and the team behind them!! Reach out to IFD directly if any questions, or go ahead and send them a note- they would be happy to hear from you! Tell them IFD sent you! Thanks for checking out our maker's stories- Do you know a maker to be featured? Let us know! Know someone who would like this article? Please share! Looking to connect with others in a supportive fashion design community? Become a fashion industry insider. Join our Free Fashion Industry Community: insider.insidefashiondesign.com We invite you to join us! Visit us to see what we are all about! Thanks for reading today! Have other suggestions or questions? Reach out to let us know design@insidefashiondesign.net

As a designer, Angel Chang had a strong desire to shift towards more meaningful and consciously made clothes. In 2008 as the United States experienced a recession, it was important to her to offer deeper connections with the things she designed. Today meet Angel Chang, the creative force behind Atelier Angel Chang. With a mission to create zero-carbon apparel, preserve tradition, promote sustainability, and empower communities, Angel Chang's unique approach to fashion is exemplified in her collaboration with artisans from Guizhou, China, where the fabric-making process is deeply rooted in tradition, love, and protection for the family. angelchang.official ⁣"Our founder and designer @angelchang_ spinning cotton in Guizhou province, rural China. Driven by the dream to create entirely hand-made, it took her 3 years to find grandmothers who still carried the knowledge of hand-spinning cotton into thread. It was the last missing link we needed to resolve in order to make 100% handmade clothing.⠀ ⠀ Only native-seed organic cotton can be hand-spun into thread (because GMO cotton is engineered for machine-spinning and breaks when spun by hand). Hand-spun yarn is extremely rare to find today. By supporting it, you are keeping an entire chain of traditional knowledge alive that dates back to Paleolithic times." From Angel Chang's Instagram post The Essence of Guizhou Fabric Guizhou, a province in China, holds a rich tradition of fabric-making that has been passed down through generations. Angel Chang recognizes the intrinsic value and innocence in Guizhou's fabric. The grandmothers and mothers in the community dedicate their time and skills to creating garments with utmost care and love for their families. Every stitch, every detail is meticulously crafted, with no regard for the time spent. These clothes are intended to last a lifetime, embodying a profound connection between the maker and the wearer. Sustainable Farm-to-Fabric Collection Inspired by witnessing the farmers in Guizhou creating their own clothing from locally grown cotton, Angel Chang saw an opportunity to create a unique farm-to-fabric collection. She recognized the importance of preserving traditional knowledge and supporting the community that produced it. The production process is entirely natural, with everything grown organically, and the production itself is done by hand. This sustainable approach ensures zero-carbon apparel, and minimal environmental impact while honoring the region's cultural heritage. Empowering the Community Angel Chang's commitment goes beyond preserving tradition; it extends to empowering the community and ensuring the longevity of these valuable skills. The designer understands that the next generation needs to embrace this traditional knowledge more readily, posing a risk of losing it forever within a decade. To counter this, Angel Chang actively seeks to engage with the local community, providing support and opportunities for artisans to continue their craft. By creating a market for their unique fabrics and collaborating with the artisans, the designer enables the transmission of skills and provides a sustainable livelihood for the community. The Indigo Dye process: "At ANGEL CHANG, our handwoven fabric is dyed using natural indigo leaves (Strobilanthes cusia) that grows wild along the rivers and in the fields of Guizhou province. (This is the real indigo, not the synthetic chemical version that all blue jeans are now made from.)" Our grandmothers follow the same medicinal plant dye recipes that their ancestors have practiced for thousands of years. Each month, the color will vary depending on the temperate and humidity in the air. In the winter, the color is very faint. In the summer, it's a deep rich blue." From Angel Chang IG A call to action The story of Angel Chang and her collaboration with Guizhou artisans serves as a call to action for the fashion industry and consumers alike. It reminds us of the importance of preserving traditional craftsmanship, embracing sustainability, and supporting communities that are the guardians of such precious skills. By investing in a fashion statement that values heritage and community, we can preserve cultural diversity and promote a more sustainable and meaningful fashion industry. A recent angelchang.official Instagram Post, sharing their excitement: "We had a fashion show! After 10 years of development, we presented the ANGEL CHANG Spring/Summer 2023 collection at Pace Gallery during New York Fashion Week. ⠀⠀⠀⠀⠀⠀⠀⠀⠀ This zero-carbon collection was made without electricity, seed-to-button, entirely by hand using only plants that could be grown on land or foraged from the mountain forest. Each piece took 5-6 months to make because it followed the cycles of nature and never touched a machine. ⠀⠀⠀⠀⠀⠀⠀⠀⠀ THANK YOU @pacegallery @fairfaxdornprojects@wearenazar @humanmerelybeing @georgewmacpherson@cgoppelnyc for believing in me, and joining me on this crazy wild ride. 🙏❤️ It was amazing working together!!!" Partnerships Angel Chang's partnership with the artisans of Guizhou showcases the power of fashion to transcend mere trends and become a force for positive change. Through her sustainable farm-to-fabric collection, she honors tradition, protects the environment, and empowers a community facing the risk of losing its cultural heritage. By embracing such designers and consciously choosing sustainable and ethical fashion, we can make a meaningful impact on both a personal and global level, ensuring the preservation of invaluable traditions for future generations. These are the types of apparel brands that inspire us and demonstrate what is possible. Yes, this process isn't easy, and it is slow...but this is the new approach, a healthier process, and a way for us as consumers to really see and feel how this method of creating can bring us more joy and meaning to what we put on our bodies. Thanks for reading today! Have other suggestions or questions? Reach out to let us know design@insidefashiondesign.net Know someone who would like this article? Please share! Have you found a supportive online community yet? We invite you! Free and open to all those interested in connecting, gaining insights and inspirations, and joining us to make a positive impact in the fashion industry. Follow us @InsideFashionDesign Visit our community @https://insider.insidefashiondesign.com

Hey there Conscious Fashion Friend! Today, we're diving into the radiant ever-so-vibrant, and happy color trend Yellow! Whether you're a seasoned designer or a fashion enthusiast looking to spruce up your creations, let's explore the magic of this lively shade and learn how to use yellow like a pro! In this edition of Tuesdays Trend, we will dive into: The history of the color yellow and how in ancient times, yellow was a sacred color A look at the psychology of the color yellow Ingrediants from nature to make yellow dye Yellow color palette ideas Colors to pair with yellow How to wear yellow Print inspirations with yellow PLUS Our favorite summer wardrobe pieces in, you guessed it...yellow! To access the full article and other Color Trends, log in to your ifd insider account here: Check back each week for more Tuesday Trends! All available for ifd Insiders members at www.insider.insidefashiondesign.com

Hey there, fashion lovers! We're super excited to share a sneak peek into the centuries-old traditional card or tablet weaving techniques of Uzbekistan in our Meet The Makers series. So get ready to be impressed by the beauty and intricacy of card weaving or tablet weaving - an ancient practice used for centuries to create stunning designs on clothing, bags, and accessories. So, how does card or tablet weaving work? Well, a set of cards is used to create sheds through which the weft is passed, and by turning the cards in different sequences, unique patterns, and designs are created. While the materials and tools needed for this technique are readily available and inexpensive, weaving these long strips can take a lot of time and skill. In Uzbekistan, this technique is still popular and is used to create beautiful traditional clothing and accessories. In this video, meet a skilled artisan in a remote village near Samarkand who weaves up to 20 meters daily to support her family. She learned the art of card or tablet weaving from her grandmother and has been using her skills to make a living ever since. One brand that's working closely with these weavers is BiBi Hanum™. They use as hand-woven trims to embellish the edges of traditional ikat robes, caftans, handbags, and other accessories. They create unique and timeless pieces by blending these hand-woven pieces with BiBi Hanum™'s modern yet traditional-looking designs. Card weaving or tablet weaving is a highly valued skill in Uzbekistan, passed down through generations. It may be time-consuming, but the stunning beauty and intricate designs make it all worth it. BiBi Hanum's use of card weaving in their accessories is a perfect example of how traditional techniques can be incorporated into modern fashion with style and grace. Using an ancient weaving technique in contemporary fashion is a true testament to the lasting appeal of traditional tablet weaving. The intricate designs and patterns inspire designers worldwide while keeping Uzbekistan's rich cultural heritage alive. If you would like to get more information about these makers, reach out to us via email @ design@insidefashiondesign.net Want to give it a try? We recommend this book- A Step-by-Step Introduction to Tablet Weaving Give it a try and let us know how it goes!! We also found this great video showing in more detail how to set up and pass the cards back and forth to create the patterns- amazing patience to do this technique- so impressive! Want to learn more? Check out Wikipedias History and the definition of Tablet Weaving info: https://en.wikipedia.org/wiki/Tablet_weaving Thanks for checking out our Meet the Makers series! Do you know a maker to be featured? Let us know! Know someone who would like this article? Please share! Subscribe to our newsletter to stay in the know and see all our featured makers, along with industry insights & inspirations! Want to find a supportive fashion design community? We invite you to join us! Visit: www.insider.insidefashiondesign.com to see what we are all about!