Interviews
Eco-Fashion: Going Green at The Museum at FIT
02 Apr '10
4 min read
The color of an acid green, silk dress circa 1860 was likely achieved by using a dye that contained arsenic. This dye presented serious health risks to both maker and wearer. Waste materials from dyeing processes have historically been one of the most conspicuous forms of pollution. Today, there are a number of sustainable alternatives. Clothing on display by Katie Brierley, designer for Isoude, uses natural plant dyes and the disappearing art of traditional hand-dyeing.
Some eco-designers and fashion industry experts cite quality craftsmanship, convertibility, and uniqueness as key to the creation of clothing with lasting value and emotional connectivity. This point of view has historical roots as well. For example, a dress circa 1889 by Mrs. M. A. O'Connell will exemplify the rising significance of the “named designer,” to contrast the increase of mass-produced clothing.
The health and treatment of industry workers also play a key role in the historical roots of eco-fashion. In the United States, organizations like the International Ladies' Garment Workers Union (ILGWU) were established to ensure fair labor practices in the early 20th century. A lavishly embellished evening dress circa 1941 was made by the New York Dress Institute, a successful partnership between local manufacturers and the garment workers' union during World War II. Also on view will be work by contemporary designer Yeohlee, who, in addition to her efficient “no waste” techniques, campaigns to keep garment manufacturing in New York. Even before the rise of animal rights activist groups, the use of fur, feathers, and animal skins in fashion was a subject of debate. A raccoon fur coat, fashionable among collegians in the 1920s, will be displayed next to an opera cape bearing a lavish fur collar. As even the use of leather is debated today, the inclusion of contemporary shoes by cruelty-free label Charmoné will rival those made from animal materials.
Eco-Fashion: Going Green is organized by Jennifer Farley, Colleen Hill, and Tiffany Webber. The exhibition will be on view in the Fashion and Textile History Gallery at The Museum at FIT.
Some eco-designers and fashion industry experts cite quality craftsmanship, convertibility, and uniqueness as key to the creation of clothing with lasting value and emotional connectivity. This point of view has historical roots as well. For example, a dress circa 1889 by Mrs. M. A. O'Connell will exemplify the rising significance of the “named designer,” to contrast the increase of mass-produced clothing.
The health and treatment of industry workers also play a key role in the historical roots of eco-fashion. In the United States, organizations like the International Ladies' Garment Workers Union (ILGWU) were established to ensure fair labor practices in the early 20th century. A lavishly embellished evening dress circa 1941 was made by the New York Dress Institute, a successful partnership between local manufacturers and the garment workers' union during World War II. Also on view will be work by contemporary designer Yeohlee, who, in addition to her efficient “no waste” techniques, campaigns to keep garment manufacturing in New York. Even before the rise of animal rights activist groups, the use of fur, feathers, and animal skins in fashion was a subject of debate. A raccoon fur coat, fashionable among collegians in the 1920s, will be displayed next to an opera cape bearing a lavish fur collar. As even the use of leather is debated today, the inclusion of contemporary shoes by cruelty-free label Charmoné will rival those made from animal materials.
Eco-Fashion: Going Green is organized by Jennifer Farley, Colleen Hill, and Tiffany Webber. The exhibition will be on view in the Fashion and Textile History Gallery at The Museum at FIT.
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