NPR’s Special Series “Men in America” Looks At Vegans

NPR_group

Men in America is a special series from NPR’s show All Things Considered that “…explores what it means to be a man in America today.” I was contacted by producer Neda Ulaby not too long ago because a friend of hers had directed her to The Discerning Brute. Here at TDB we focus a decent amount of energy exploring masculinity and the evolving definition of manhood, especially as it relates to animal protection, social justice and environmental issues. It’s my opinion that mainstream masculinity, which could also be referred to as commercial masculinity (the beer-beef-boobs-and-ball masculinity sold to us via commercials and pop-culture) is a major roadblock to sustainability for its dominance in our political, economic and social culture and its shaming of compassion, thoughtfulness, nurturing and other characteristics that are relegated to the realm of women, the effeminate, and the irrational.

Please take a few minutes to join the conversation by listening to the show and sharing your thoughts in the comments below.

For a more in-depth look at this topic, please visit our other posts – including some video interviews – that explore this very important issue:

Featured in this episode of All Things Considered are:

Joshua Katcher founder/creative dir. of Brave GentleMan & founder/editor of The Discerning Brute.
thediscerningbrute.com
bravegentleman.com
Giacomo Marchese, competitive bodybuilder & founder of Plant-Built
facebook.com/VeganOlympia
Dominick Thompson, Healthcare Executive, triathlete & founder of Iron Brukal
ironbrukal.com/
Daniel Strong, chef & co-owner Chickpea & Olive
chickpeaandolive.com/
Cornell Ward, MMA fighter co-host Walking Alone Podcast
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Vivienne Westwood “Moral Outrage” SS15

Vivienne Westwood’s SS15 show in Milan was all about being bold. Bold patterns and colors inspired by the pixelated graphics of 1970s arcade games – and a bold message: moral outrage at factory farming of animals. Partner Andreas Kronthaler says on their website, “Vivienne & I are both vegetarians but we are urging people who do eat meat to always find out where it is coming from and to avoid meat from animal factories.”

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And backstage in an interview with Dazed, he also stated “It’s not just about pig farming but any animal farming. What’s going on out there is a disgrace. I’m a vegetarian and I don’t tell people not to eat meat but cutting down is not bad. One day a week makes a big difference, environmentally and even health-wise. The way we keep animals is awful,” Andreas Kronthaler said backstage. “For me as an activist, this is what an activist should look like – someone who cares about what’s going on out there.”

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Wool Steps Up Greenwashing Campaign

The wool industry has put a lot of money – and a royal patron – behind new efforts to convince people that wool is sustainable.  But let’s get one thing out of the way, right away, ok? Telling people wool is green by building a PR campaign around burying it and celebrating its biodegradability is like telling people that beef is green by burying it and celebrating its biodegradability.

Let’s put on our greewashing goggles and take a closer look at this. The glaring problem is that it’s not the sheep’s hair per se that’s the environmental and ethical disaster. Instead, it’s the inextricable raising-of-the-livestock part. But take those goggles off and just shhhh because the wool industry doesn’t want to talk about that.

A campaign like this is so dangerous because it perpetuates a few myths that are sacred to the bottom-lines of the sheep and other livestock industries. Here are the top three myths:

MYTH #1: IT’S JUST HAIR.
Sheep don’t just spring-up from the ether with a thick coat of wool to shear off. They must be bred. Raised. Reared. Fed. Watered. Grazed or confined. Modified. Tracked. Measured. Processed. Shipped. Slaughtered.  The amount of resources it takes to produce livestock isn’t something to brush off. In fact, livestock are the single greatest cause of the worst environmental problems. Worse than the transportation sector. With around 1 billion sheep worldwide, consider the mind-boggling impacts on land, water, air and energy. The United Nation FAO certainly does.

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MYTH #2: WOOL IS NATURAL AND BETTER THAN SYNTHETICS.
Don’t bet the farm on it. The thing about synthetics is that they are always becoming more efficient, more refined, and more scalable. For example, the company that makes lycra has developed a method of using fermented vegetation to produce one of the main ingredients. Researches in Japan have developed a bio-based polyester made from waste molasses. We have only scratched the surface of the potential of bioplastics.  Scalability is the issue when it comes to mass-production of textiles. Any time animals are put into a production model and scaled-up to meet massive demands, it is practically a law of business that corners are cut. The mantra of maximum profit at minimal cost has dire ramifications on both people and animals. The veterinary, social and psychological needs of animals continue to both humble us and evade inclusion in our business models that prefer to cast them a “units of production”. In addition, a lot of sheep are put in “sheep dip“, a bath of toxic chemicals (organophosphate pesticides (OPs)) to prevent infestations – and people are getting sick from it.

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MYTH #2: THE WOOL INDUSTRY IS NOT A BUCOLIC FANTASY
Picture a wide open space. Lush and green. A few sheep speckle the landscape beyond a farmhouse – mother sheep with lambs, a few sheep lazing in the grass. A concerned shepherd watches on. Images like these are used all the time to represent the wool industry. But like all animal agriculture, modern techniques and increasing demands have changed our naive ideas about where wool comes from and also about how sheep “retire“. Instead picture this: sheep farms that are millions of acres large in China India and Australia. Mulesing, where strips of flesh are cut away from the behind of sheep without anesthesia. Castration. Live export on huge ships (see image below) with no food or water or veterinary care to the Middle East once the sheep is “spent”. Upon arrival they have their throats slit while still conscious (according to Halal and/or Kosher law). And the most depraved practice? Astrakhan (also know as Karakul) where either the fetus is cut out of the mother, or young infant sheep are skinned for one of the most desired luxury textiles in the world.

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SABOTAGE FASHIONWORLD

STEVE_OKLYN

Steve Oklyn is not a real person. And he’ll be the first one to tell you that. He is a tool – a filter, to be precise, through which the fashion industry is refined to an essence that becomes both terrifying and simple. Using the platform NOT VOGUE, Oklyn and his collaborators objectively and yet poetically decode the thick, caked layer of aesthetics that hides a real, systemic, authoritarian objective. Like an unforgettable fragrance, the NOT VOGUE distillate allows us to perceive the mainstream fashion industry for what lies beneath the surface: a clandestine force of social control.

In one of the most unsettling scenes from the horror film They Live (1988, Directed by John Carpenter), protagonist George Nada has just found a pair of sunglasses that reveal the true ideology of the world around him. In the case of this film, that ideology is being disseminated by invading aliens. Using the glasses, aesthetics are filtered out of magazines, billboards and even paper money, unveiling their true messages: “OBEY”, “THIS IS YOUR GOD”, and “DO NOT QUESTION AUTHORITY”. The genius of Carpenter’s film is that this is an allegory about our culture. Like They Live, NOT VOGUE reveals an even deeper and more frightening attack at work.


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”The Fashion-corporate-complex rewards obedience,” observes Steve Oklyn in one of the NOT VOGUE pentaptychs. And with this and other quotable, sound-bite-friendly analyses – including a recent analogy to global warming, which Oklyn refers to as “cultural warming”, the RED PILL ARMY FACTION, a fictional revolutionary arm of NOT VOGUE has emerged in a future allegory entitled THE RESISTANCE TRILOGY, which I premiere in its entirety below.

Oklyn requests that we experience THE RESISTANCE TRILOGY in the event order:

1. COMMUNIQUE #1     (audio)
2. TNF 2023                     (website)
3. COMMUNIQUE #12  (audio)

http://www.tnf2023.com

I was able to arrange an extensive interview with Oklyn who remains anonymous at an undisclosed location – though it is theorized “he” may be prodigy teenager “Mark Even” or even a powerful fashion insider. Below is our conversation:

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JOSHUA KATCHER: Your dystopian vision in THE RESISTANCE TRILOGY places fashion as a central, fascist power structure. In what ways is Fashion so effective and compelling that it could lead up to a future like the one you envision?
STEVE OKLYN: You are correct in that the RED PILL ARMY FACTION (a fictional revolutionary arm of NOT VOGUE) has structured a futuristic dystopian narrative where FASHIONWORLD is operating as a centralized authoritarian capitalist state. Beginning with the formation of globalized, publicly-traded fashion brand conglomerates in the 1980s, you can chart a series of corporate and personal relationships that all lead to the present: i.e., a tightly structured organization comprised of approximately 1,000 people whose goal has already been reached, but deepens daily. That goal is to control the idea of selfhood and cultural relevance on a global scale with absolute authority. This authority has been a constant in recent history, but with the new structures and strategies of world capital and social media, the interrelated networks of consent and control are now perfectly organized. The result is a constant stream of artificially created – and filtered – events. The scale and the amount of characters involved make this the largest fictional corporate process to date. The NOT VOGUE commune is in talks to create a visualization of the financial and cultural cells of the FASHIONWORLD power grid – and the uses and abuses of their power. This potential project would employ sociograms, a type of graph drawing used in the field of social network analysis, and would be dedicated to the American neo-conceptual artist Mark Lombardi, who died in 2000. Mr. Lombardi called his works “Narrative Structures.”

That goal is to control the idea of selfhood and cultural relevance on a global scale with absolute authority.

JK: You have referred to the fashion industry in more specific terms; the fashion industrial media complex and FASHIONWORLD. Explain what these mean to someone who might be a fashion outsider.
SO: The fashion-industrial-media complex is a globalized and inter-networked group of corporations, both public and private, that have organized themselves into a worldwide propaganda machine. The goal of a propaganda machine is to manufacture a societal narrative that is not based on truth. It is the strategy of the narrative structure to manufacture consent. The organization that processes and controls all global information related to fashion, fashion brands and fashion personalities is referred to as FASHIONWORLD by the NOT VOGUE community.

JK: What is the goal of NOT VOGUE?
SO: The goal is to create investigative reports using the visual strategies and philosophical concepts generated by the avant-garde anarchists of the last 50+ years. The pages posted on NOT VOGUE come from the focus of this research.

JK: Is there anything you love about fashion today?
SO: The word love is loaded with meanings and metaphors. It is characterized by an emotive structure on which we at NOT VOGUE try not to base any of our thoughts or postings. This detachment from the emotional realm allows for the analysis that we promulgate at NOT VOGUE. This is not to say that I cannot feel an emotional connection to a fashion expression. These emotions can be both personal and intellectual. For example, I “love” how structured the authoritarian parties have become.

JK: One of the most integral parts of the Fashion-Indistrial-Media-Complex camouflage is appearing to be only aesthetic, and therefore removed from the requisite of ethical obligations. Why should fashion be taken seriously by activists, academics, and anyone wanting to make the world a better place?
SO: The FASHIONWORLD aesthetic camouflage is hiding massive concentrations of wealth and cultural control. Our investigative approach allows us to see that there is an underlying propaganda hidden beneath the visible messaging of youth, glamour and societal hierarchy. That hidden virus is what we call THE TERROR OF THE INFINITE, and its purpose is to instill a deep sense of fear and mistrust of an organically evolving selfhood and consciousness. How is the goal of controlling global selfhood any different from wanting to control the world’s financial system or political orientation? Jonathan Newhouse, Anna Wintour, Bernard Arnault, Francois-Henri Pinault, and many others have organized themselves into a narcissistic and megalomaniacal superpower with a single purpose: to take absolute authoritarian control of the world’s youth by fabricating a world of deep psychological weakness and ineffectiveness.

How is the goal of controlling global selfhood any different from wanting to control the world’s financial system or political orientation?

JK: The societal, political and especially environmental impacts of the fashion-industrial-complex can be measured globally at a staggering scale, yet most people perceive fashion as a harmless, fun frivolity that is ultimately inconsequential. This is one of the most dangerous illusions generated by the FASHIONWORLD. Do you think this illusion is intentional and what do you observe Fashion doing in order to maintain this insidiousness?
SO: FASHIONWORLD has created a fairytale narrative of creativity and poetic genius. The truth is that today’s fashion brand conglomerates are run exactly like any other global financial institution. There is only one true agenda: margins. Billions are spent on creating the delusion that this institutionalized sedative for the consumer masses is a creative industry. This goes back to the idea of the 1,000 people who are in control being controlled by 100 people with the ultimate power, which is financial by nature. Does the model Cara Delevingne have any true power? Obviously not. She has been championed by those in power as the next embodiment of a now deeply ingrained meme: Kate Moss. And within the next ten years, the British FASHIONWORLD operatives will find the third iteration of the Kate Moss meme. It would make perfect financial sense to create a hologram of Kate Moss at this point (à la Michael Jackson and Tupac Shakur). Regarding a subject at the center of our personal philosophy and community interest: FASHIONWORLD is a giant global polluter and 100 percent unsustainable. The process of rolling out new products on a continuous basis runs counter to any reasonable thought and discussion. One could author an essay on designer sneaker culture that would be equal to anything written about carbon emissions and the damage that has been irrevocably done by both. For the record, I have never owned an automobile and will never own one. Most of my clothing was purchased in the 1990s – over a decade ago. Basics, like socks, are replenished periodically. I bought the shoes that I am wearing today in 1998. To be fair, the past 25 years have seen a few geniuses at work within the fashion arena. At the top of NOT VOGUE’s list would be Martin Margiela. In the 1990s, there was a moment of genius within the HELMUT LANG brand investigations. Alexander McQueen was possessed in the truest sense. Of note is the fact that all three have left FASHIONWORLD – Margiela and Lang for unexpressed personal reasons, while McQueen completed his own narrative in his own manner.

FASHIONWORLD is a giant global polluter and 100 percent unsustainable. The process of rolling out new products on a continuous basis runs counter to any reasonable thought and discussion.

JK:  Can anti-fashion truly exist in a culture where seemingly all forms of dissent are appropriated? And how then do we dismantle a colossus like fashion that turns every weapon against it into an accessory for it?
SO: A possible solution to authoring an anti-fashion lies in viewing fashion not as an aesthetic process, but an industrial design process. I stated this once before. Whoever created the HANES cotton t-shirt three-pack was a true fashion genius. SILENCE WILL SILENCE THEM (MARK EVEN). The most interesting approach to modern identity – and the role that fashion plays for us at NOT VOGUE – is to dress in such a way that no one can ever remember what you were wearing. This is conceptual. Since the 1960s, conceptualism has been the only truly radical position – i.e., an opposition to the commercialization of all aesthetic projects. BALMAIN has created three-packs of cotton t-shirts for years that are sold for approximately $620. The HANES version is marketed for about $13. The less selfhood one has owing to FASHIONWORLD control, the more it will cost to purchase a self (as defined by FASHIONWORLD). That FASHIONWORLD self is a construct – and in this century, an irrelevant construct. THEY NEED YOU YOU DO NOT NEED THEM (STEVE OKLYN).

Since the 1960s, conceptualism has been the only truly radical position – i.e., an opposition to the commercialization of all aesthetic projects.

JK: But the reason Hanes can charge $13 for a three-pack if shirts is that they are using toxic conventional cotton and sweatshop/slave and/or child labor. I’m not defending or saying that Balmain has a mission of fair labor – but since workers in developing countries are some of the worst affected and most heavily silenced victims of the Fashion Industrial Complex, should part of our resistance involve supporting brands with missions of fair labor, ethical production and sustainability?
SO: Ideally, yes – regarding the production and labor practice issues. This is a key moment in our conversation. What NOT VOGUE has focused on is the unethical war that the fashion-media-industrial complex has been waging on the world’s consciousness – with specific regard to its manipulation and engineering of the world’s emerging youth. The editorial discussion and statements authored and distributed by NOT VOGUE are attempting to reverse engineer the codes which, in our view, are virus-like in construction – and attack the structure of an individual’s identity. We believe that individual identity should be allowed an infinite space within which to experiment and align itself. The fashion-media-industrial complex wants the exact opposite to happen. Its goal is to program the individual as early as possible to believe that existence in an infinite state of mind is socially undesirable.

We believe that individual identity should be allowed an infinite space within which to experiment and align itself. The fashion-media-industrial complex wants the exact opposite to happen. Its goal is to program the individual as early as possible to believe that existence in an infinite state of mind is socially undesirable.

The F-M-I complex’s aim is to limit the mind’s experiential process, thereby causing it to seek balance through a controlled life process. The individual identity needs to be infected with the concept that balance comes from consumption. Not an informed consumption, mind you, but a delusional level of consumption geared towards supporting the interests of the F-M-I complex. Now, what I am illustrating with the HANES to BALMAIN product-to-cost analogy is the massive increase of financial valuation, which is supposed to create an increase in the individual’s sense of self and social status for what was conceived as an essential. We have to agree with you that once HANES corporation moved from being an American brand (creating products for the American market) to a globalized brand sourcing and manufacturing to create the lowest price per unit, a beautiful idea became just another product contributing to large-scale economic and social injustice. I do admire the design construct of three simple, unbranded garments delivered at a low cost, and consider it a fine example of what was best about American thinking in the postwar period of the 1950s and 60s. That this American-made item of clothing became a symbol of alternative and even counter-cultural thinking also makes for compelling cultural terrain in any deep discussion about clothing’s relationship to identity – and who controls that process. Here again, we must agree with you: A brilliant idea was ruined. From a humanistic view of laborer’s rights, HANES does seem to be using its industrial power in a non-humanistic manner. That is why the ideas and opinions discussed and identified on NOT VOGUE need to be aligned with the views promoted on THE DISCERNING BRUTE. There are two ecologies that are being destroyed by the fashion-media-industrial complex. At the manufacturing level, especially with mass brands, the planetary system and the human rights system are both secondary to the cost of the manufactured unit. That, we believe, is what your project addresses so well. NOT VOGUE is focused on the ecology of human identity and consciousness. We have discussed mass brands and youth-directed brands, but the majority of our work is zeroing in on the globalized luxury brand conglomerates. Experienced together, both your project and our project create a clear picture of two wars: GLOBAL WARMING (socioeconomic war) and CULTURAL WARMING (identity war).

JK: NOT VOGUE seems to be filing a grievance with the big, powerful brands, but what roles do you see smaller designers playing in FASHIONWORLD?
SO: NOT VOGUE has stated before that the project is attempting to map the activities and the relationship of the large global fashion conglomerates, i.e., FASHIONWORLD. Independent designers and brands involved with sustainable philosophies and products are commendable, and need as much consumer respect and support as possible. What is unacceptable from a philosophical stance are those independent designers and brands that are specifically created to be absorbed by FASHIONWORLD interests. An example: The Irish-born designer J.W. Anderson went from being a fashion underground icon to a tool of global propaganda within six years thanks to his appointment as creative director of the Spanish luxury fashion house LOEWE. The value of the brand lies in its history and manufacture of leather goods. The brand is owned by LVMH. Per its function in FASHIONWORLD, CONDE NAST covers every moment of Anderson’s life and career in overheated journalistic hyperbole. Now just 30 years old, he is perfectly positioned to act as a viral propaganda agent for LVMH – supporting and spreading the message that NOT VOGUE has titled THE FEAR OF THE INFINITE on a global scale. Here we see that THE FEAR OF THE INFINITE is realized as both a network and a process in action. Upon hiring J.W. Anderson, LVMH immediately engaged the Paris fashion graphics team M/M to tweak the LOEWE logo. Viral cool-factor strategy number one. Now that Kendall Jenner is working within the LVMH/CONDE NAST system of viral agents supported by FASHIONWORLD intelligence operative Katie Grand, we can foresee J.W. Anderson’s announcement that Kendall Jenner will be the face of some advertising campaign for LOEWE. Katie Grand will be the visual engineer of this campaign. The photographer will most likely be either Juergen Teller or one of the two new heirs to FASHIONWORLD’s photographic throne, Lachlan Bailey and Michael Avedon. A precedent can be found in the Juergen Teller/LVMH connection, which started with Marc Jacobs and continues with Nicolas Ghesquiere for LOUIS VUITTON. The predictability of these occurrences is what is so troubling. Suki Waterhouse and most likely Shailene Woodley will be red-carpet ready for LOEWE by fall 2014 – certainly, they will be positioned in the front row. The transparency of FASHIONWORLD is disturbing.

The transparency of FASHIONWORLD is disturbing.

JK: Most models of Utoptia do not contain a fashion system. What is your vision of Utopia, and what is a practical first step in working toward it?
SO: I have never really ventured into utopian thought. I have a working-class background, and operate that way in the present. I seek practical and efficient solutions as best I can. If I take a moment to contemplate a utopian process, it would be based on forms of efficacy. I do appreciate things that work. That function. I also like to purchase products that operate simply towards a goal. I believe that the work of industrial designer Dieter Rams is as close to utopian as any idea that I might have. His work for BRAUN is impeccable by both nature and functionality. By price point, the opposite would start with UNIQLO and end with LOUIS VUITTON. If I had to name one brand that delivers equal parts narrative and equal parts functionality for a man, I would say HERMES. Full disclosure: I do own one belt that I purchased from HERMES a few years ago, which is no longer in production. It was designed to fold in the manner of a plumber’s ruler. It possesses a maximum of inventiveness and intelligence, with subtle branding built into the functional structure. I have worn it every day for over four years, and will continue to wear it until I am no more. Hopefully that belt will still be worn in the next century. That is my answer in regards to a utopian fashion product, process or philosophy.

JK: I envision a fashion system where all workers are compensated fairly, the accelerating transience is slowed down, no animals are killed or used for their body parts, and sustainable technologies are invested in, and fashion then becomes the driving force of creative problem solving while generating aspiration around an ethical lifestyle. In what ways do you envision fashion doing good?
SO: We at NOT VOGUE support your vision 100 percent. It is a utopian one, but there is an admirable and poetic quality to your progressive narrative. It appears that the TOM’S shoe brand has created a positive product, process and message. WARBY PARKER follows a similarly charitable directive. For NOT VOGUE, the most positive thing that could happen in the future with regards to fashion is that the current global conglomerates would collapse. Ideally, this would occur because of a massive societal shift away from the unrealistic and greatly destructive network of FASHIONWORLD propaganda, which destroys the individual’s openness to the adventure of the infinite. The result: A global collective of youth inspired from within, not from without.

JK: If you can have an extended conversation with anyone in Fashion, who would it be and what would you say to them?
SO: I would like to speak with Martin Margiela. I would ask him to speak, and I would remain silent the entire time. I would also like to tell Margaret Howell how much I admire the humbleness and balance of her project. I view her project as a philosophy, not fashion.

NOT VOGUE is a process. It is not a product. It is not a single personality. The goal is to author ideas that have the potential of becoming intellectual catalysts.

JK: Why is it important for you to remain anonymous?
SO: It is important to stay anonymous as an antidote to a world that is based on visibility. NOT VOGUE is a process. It is not a product. It is not a single personality. The goal is to author ideas that have the potential of becoming intellectual catalysts. What I or the other collaborators look like is unimportant. Nor does it matter what we wear, what our homes look like, or what we eat. Can an idea exist without an image of the author? It is interesting for us to experience this possibility.

JK: What can we all do to begin addressing the issues raised by Steve Oklyn / Not Vogue/ RPAF?
SO: NOT VOGUE is truly an open-ended procedure. To be honest, even STEVE OKLYN is not Steve Oklyn. That name is an alias of MARK EVEN. Mark Even is at the center of the creative process to which we are all contributing. Mark was born in 2000. He will be 14 at the end of 2014. Mark created NOT VOGUE when he was 10 years old. Mark does not believe in the mythology of the 20th century. Mark is now in the process of authoring another procedure, which he has titled “433.” His diaries are his primary channel for communicating his ideas. He is currently under investigation by Federal intelligence authorities for corporate propaganda disruption. In closing, Mark would like to state the following: “Sabotage FASHIONWORLD authority with your silence.”

“Sabotage FASHIONWORLD authority with your silence.”

MARK_EVEN

——

* The opinions expressed in this dialogue and THE RESISTANCE TRILOGY event encapsulate the collective ideas and work of RED PILL ARMY FACTION: Steve Oklyn, Mark Even, Stanley Blade, Sixty Three, Dr. Canyon T. Phipps, and Anon Bunker.

FFDS offers €10,000 Fashion Scholarship

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The Future Fashion Design Scholarship, launched by Bruno Pieters of Honest by this year, has announced a €10,000 award to “an exceptional student who wants to develop his or her MA collection in a sustainable and transparent way”. Students from all over the world are encouraged to apply for this scholarship. In addition to the financial prize, the winner will receive guidance and mentoring from Honest by‘s creative director Bruno Pieters.

The winner of the FFDS will work in a 100% transparent manner, use sustainable materials where possible and create new and innovative alternatives for animal based materials (such as fur, feathers, leather…).

Applications are being accepted June 5 – August 25th 2014, and the winner will be announced in September 2014.

‘The FFDS is a dream that I’ve had ever since I launched Honest by 2 years ago and now we finally made time for it. At Honest by we believe that the story behind the design needs to be as beautiful as the design itself.  We are convinced that is crucial today to show appreciation and support those students who share this philosophy. The FFDS wants to reward young independent minds who want to work in a progressive and responsible way. There are many student prizes today that encourage students to continue working in the existing fashion mould. True change can happen if we encourage students today to adopt a new and progressive fashion behaviour. That is what we want to do with the FFDS.’ -BRUNO PIETERS

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FOR MORE INFORMATION PLEASE WRITE TO :
CONTACT@FUTUREFASHIONDESIGNERSCHOLARSHIP.COM