Recycle Fashion Quotes

It’s cool when fashion recycles itself, it’s not cool when sustainable living does because it means there was (and is as I write) a period of absolute and possibly irreversible destruction.

I bought them at Toni's Consignment.' She counts off on her fingers. 'That's recycling, supporting a local business, and making sure that the sacrifice of these animals has a purpose, rather than them ending up in a landfill.' 'No, that's contributing to a culture that values fashion and vanity more than the sanctity of life.

No fashion or trend is ever outdated, because in due time, it will find its way back.

Jennifer Lynn Barnes, a YA author tweeted: One time, I was at a Q&A with Nora Roberts, and someone asked her how to balance writing and kids, and she said that the key to juggling is to know that some of the balls you have in the air are made of plastic & some are made of glass. When you are struggling to function, it’s important to identify what are your glass balls. Feeding yourself, caring for your children or animals, taking your medication, and addressing your mental health are all examples of glass balls. Dropping them would have devastating consequences and likely cause you to drop all the balls. Recycling, veganism, shopping local, and avoiding fast fashion are plastic balls. They may be important, but they will not shatter your life if you drop them in the way the glass balls will. Plastic balls will fall to the floor and stay intact so you can pick them up again. Glass balls will not.

What is the most helpful thing we can do for the earth and her people, Kuan Yin?” “Kuan Yin is changing shape in response to your question, Hope. I’m not sure what this particular shape-shifting means, if it is an answer in itself or if she is adjusting to the question” Lena contemplates. “I’ll just watch for a moment and try to understand.” “Loving people is the most helpful thing anyone can do,” Kuan Yin answers after a short while. “Your society has the resources, at this very moment, to fashion industries and lifestyles conducive to a non-harmful environment. There is a popular belief that over-population is the threat to the earth’s environment. However, for many places upon the earth it is also very much a question of resource availability and distribution. There is a real need for creating a holistic infrastructure that can support everyone. A helpful mindset is simple-living and high-thinking”, continues Kuan Yin. “Science is constantly evolving. There are now recyclable batteries, ink cartridges, etc. Keep up to date on the latest technologies. Be aware, set examples and create trends that will positively influence people’s lives and the environment. As I said earlier, however, this is also a discussion about love and developing a greater capacity to love. It can help everyone. We’re all one huge family, a great continuum. Don’t underestimate the power of the love created in your homes and families. This love has an immense potency, the power to influence others lives in a positive way.

In this age of consumer activism, pinpoint marketing, and unlimited and immediate information, we want the impossible: products and producers that will assure us that we are fashionable, and that don’t pollute, harm animals, or contain weird chemicals, that run on alternative energy, pay their workers good salaries, recycle their scraps, use natural ingredients, buy from local suppliers, donate generously to charity, donate in particular to their neighborhoods, and don’t throw their weight around by lobbying. (Or maybe they should lobby for the right causes?)

The sharpie uniform is perhaps the most unlikely fashion statement you will ever see, a Frankenstein’s monster of baby-doll plucked eyebrows, skinhead-meets-mullet hair, 1970s fat ties and just a hint of bovver boy. Clothes worn too tight and too small. Kerry had prepared a shopping list: • bluebird earrings • three-inch Mary Jane corkie platform shoes • treads (shoes made using recycled tyres for the sole with suede thonging for the upper) • Lee canvas jeans • beachcombers • short white bobby socks • ribbed tights • a short, flared, preferably panelled skirt • satin baggies • a striped Golden Breed t-shirt or a KrestKnit polo shirt • a tight coral necklace from the surf shop • a Conti brand striped cardigan • blue metallic eye shadow from a small pot or a crayon

There is no word to describe exactly what the High Line is to the non-architects among us, nor the collective reframing process required to see beyond its dingy path. 24 The promenade’s landscaping and minimal architectural interference is meant to find a balance between “melancholia and exuberance,” Diller told me. “Whatever that intermediate thing is, it’s ineffable and is kind of what makes the High Line so popular.” “Part of what is so successful about the High Line is that it looks like it’s about nothing,” Diller said. Everything is prohibited on the promenade but the act of moving forward or stopping to look at the vistas from that vantage point. A dedicated place for strolling, where there are no dogs, no bicycles, or wheeled objects of any kind, it is “radically old fashioned,” designed to let us do what we ordinarily don’t, like taking time to linger and gaze at passing traffic. There is even a “sunken overlook” viewing station with movie-theater-style rows of descending seats and a window instead of a screen to see Tenth Avenue’s traffic instead of a featured film. Looking at the path beneath our feet and the view before us are the High Line’s activities. The High Line’s path will extend up the island in nearly interminable stages, “perpetually unfinished.” 25 As if to underscore it, on the west-facing side of the High Line, with views of the skyline and the Hudson River, sculptor Anatsui erected a monumental mural, Broken Bridge II, a three-dimensional painting the size of a city block made of flattened, dull-finish tin and mirrors with expert placement and hours of scaling. The vista in its upper reaches blends sky and land “in such a way that you do not know where mirrors end and sky begins.” 26 Anatsui, known for his radiant, monumental murals with a unique luster, fashioned as they are out of recycled metal bottle caps from his studio in Nigeria, starts his work from an approximate center with exquisite discards. He then builds outward, unscrolling the once-scattered shards so that they shine in their new form, as if they could unfurl to the full extent of vision.

throw-away culture: ‘Being sold the idea that whatever we do is OK because we can just recycle products when we are done is actually quite dangerous.’80 Our ability to recycle some clothes should not become an excuse for inactivity or for corporations to keep producing at the same unsupportable rate.

If subaltern voices are to be made visible in a fashion that parts ways with the cultural Left’s humanist playbook of empathetic imaginings, a new revolutionary grammar is needed. Indeed such a grammar requires constructing new bonds of solidarity, based not on common enemies or goals but, as just underlined, loss and peril. It is shared trauma (exploitation, dispossession, alienation, oppression) that enables political groups to forge alliances, but as chapter 4 emphasized, universal emancipation also means giving up a degree of privilege/enjoyment, especially on the part of the included. It is the curbing of enjoyment, after all, that underlies a politics of egalitarian justice, since the point is not to aspire to the lifestyle of the privileged, but to reconfigure the system to minimize “privilege” (i.e., social inequalities). This is particularly the case in our current environmental crisis, which increasingly demands making do without new wealth creation (e.g., public transit instead of personal automobiles, computers using recycled rather than new materials, etc.). As Eisenstein and McGowan state, everyone “claims to want solidarity, but few want to pay the price for it. It does not require hatred of an enemy or the willingness to kill for the collective but the self-inflicted violence of the rupture. The solidarity that forms in the rupture is a solidarity without ground because the bond that exists is nothing but the shared absence of ground” (2012, 94). Without self-violence, without the will to unplug from the system and its rewards, critique will only ever be the semblance of critique, reform without transformation.

She had to get to the essence of the thing—to feel with her hands the undoing, and watch with her own eyes the reconnection.

3. ECONYL Currently making a splash in the swimwear world, ECONYL is going to great lengths to help solve the problem of ocean pollution. The regenerated nylon is made from fishing nets and industrial plastic waste dredged up from oceans and landfill around the world, and its inventors claim it can be infinitely recycled without losing quality or purity.

In 2013, journalist Lucy Siegle worked out that it would take H&M 12 years to recycle 1,000 tonnes of clothing. That’s about the same volume it churns out in 48 hours.

TENCEL™ The brand name for lyocell or modal fibres, TENCEL™ is made from wood pulp, like viscose, and shares the same smooth, slippy properties. But unlike most viscose, it uses trees from sustainably managed plantations and a closed-loop method in which solvents are recycled again and again with as little as 1 per cent wasted. TENCEL™ uses less water to produce than cotton, and is 50 per cent more absorbent too, making it ideal for sportswear or any other potentially sweaty situations.

Cupro A vegan alternative to silk with the same luxury feel, Cupro is made from linter, a by-product of cotton that would normally be wasted. Manufactured in a closed-loop system, which means the chemicals and wastewater used in its production are reused again and again, it’s also biodegradable, easily recycled and machine-washable. ‘Dry clean only’ can do one.

PS Remember single-fibre fabrics are far easier to recycle than mixed fibres, so it’s better to choose 100 per cent silk, 100 per cent cotton or even 100 per cent polyester over fabric blends. But if you fall in love with a mongrel, that’s okay – just be prepared to love it, keep it, or pass it on in one piece.

The world now consumes about 80 billion new pieces of clothing every year. Ninety-five percent of discarded clothing can be recycled or upcycled. The amount of water used in apparel production each year is enough to fill 32 million Olympic-size swimming pools. Meanwhile, 1.1 billion people lack access to safe drinking water. A $25 T-shirt would be only $1.35 more expensive if the wages of the worker who made it were doubled. By extending the life of your clothing by an additional nine months, you can reduce your carbon, water, and waste footprints by 20 to 30 percent each. Clothing made from conventional polyester can take up to two hundred years to decompose in a landfill. Making a pair of jeans uses the same amount of water as flushing your toilet for three years. The average American woman wears just 20 percent of her wardrobe. The average annual clothing consumption per person in the US is sixty-five garments, according to the American Apparel & Footwear Association.

Based on the parts of this... this scene that are not covered in refuse, and the drawings you have done for me, I know you are an artist with talent. Maybe I have old-fashioned views, but I simply don't understand why you would spend your time creating something like this." He shrugged his shoulders. "The sort of art I am used to seeing is more..." I raised an eyebrow. "More what?" He bit his lip, as though searching for the right words. "Pleasant to look at, I suppose." He shrugged again. "Scenes from nature. Little girls wearing filly white dresses and playing beside riverbanks. Bowls of fruit." "This piece shows a beach and a lake," I pointed out. "It's a scene from nature." "But it's covered in refuse." I nodded. "My art combines objects I find with images I paint. Sometimes what I find and incorporate is literal trash. But I also feel that my art is more than just trash. It's meaningful. These pieces aren't just flat, lifeless images on canvas. They say something." "Oh." He came even closer to the landscapes, kneeling so he could peer at them up close. "And what does your art... say?" His nose was just a few inches from an old McDonald's Quarter Pounder wrapper I'd laminated to the canvas so it looked like it was rising out of Lake Michigan. I'd meant for it to represent capitalism's crushing stranglehold on the natural world. Also, it just sort of looked cool. But I decided to give him a broader explanation. "I want to create something memorable with my art. Something lasting. I want to give people who see my works an experience that won't fade away. Something that will stay with them long after they see it." He frowned skeptically. "And you accomplish that by displaying ephemera others throw away?" I was about to counter by telling him that even the prettiest painting in the fanciest museum faded from memory once the patrons went home. That by using things other people throw away, I took the ephemeral and make it permanent in a way no pretty watercolor ever could.

When I ask consumers (as I frequently do) what they do with their ‘old’ clothes – I use the term ‘old’ with caution – their answers are upbeat and cheerily green: ‘I recycle them,’ or ‘I donate them to a charity.’ We have a tendency to overvalue or talk up the items that we give away: people will remark on how they’ve given up a ‘very good skirt’ or a ‘top quality piece’. They appear to expect to be walking down the street the following Thursday and to see their skirt or jacket occupying pride of place on the central mannequin in the window of their local charity shop. This is highly unlikely: only around 10 per cent412 of UK donations, the ‘cream’, will actually be retailed through the shops (these make up the most valuable donations to the charities). Most are likely to be found somewhere on a 10,000-mile journey. We are back to salaula.

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As mandatory reporting laws and community awareness drove an increase its child protection investigations throughout the 1980s, some children began to disclose premeditated, sadistic and organised abuse by their parents, relatives and other caregivers such as priests and teachers (Hechler 1988). Adults in psychotherapy described similar experiences. The dichotomies that had previously associated organised abuse with the dangerous, external ‘Other’ had been breached, and the incendiary debate that followed is an illustration of the depth of the collective desire to see them restored. Campbell (1988) noted the paradox that, whilst journalists and politicians often demand that the authorities respond more decisively in response to a ‘crisis’ of sexual abuse, the action that is taken is then subsequently construed as a ‘crisis’. There has been a particularly pronounced tendency of the public reception to allegations of organised abuse. The removal of children from their parents due to disclosures of organised abuse, the provision of mental health care to survivors of organised abuse, police investigations of allegations of organised abuse and the prosecution of alleged perpetrators of organised abuse have all generated their own controversies. These were disagreements that were cloaked in the vocabulary of science and objectivity but nonetheless were played out in sensationalised fashion on primetime television, glossy news magazines and populist books, drawing textual analysis. The role of therapy and social work in the construction of testimony of abuse and trauma. in particular, has come under sustained postmodern attack. Frosh (2002) has suggested that therapeutic spaces provide children and adults with the rare opportunity to articulate experiences that are otherwise excluded from the dominant symbolic order. However, since the 1990s, post-modern and post-structural theory has often been deployed in ways that attempt to ‘manage’ from; afar the perturbing disclosures of abuse and trauma that arise in therapeutic spaces (Frosh 2002). Nowhere is this clearer than in relation to organised abuse, where the testimony of girls and women has been deconstructed as symptoms of cultural hysteria (Showalter 1997) and the colonisation of women’s minds by therapeutic discourse (Hacking 1995). However, behind words and discourse, ‘a real world and real lives do exist, howsoever we interpret, construct and recycle accounts of these by a variety of symbolic means’ (Stanley 1993: 214). Summit (1994: 5) once described organised abuse as a ‘subject of smoke and mirrors’, observing the ways in which it has persistently defied conceptualisation or explanation.

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Is organic cotton the future of sustainable development? With the increase in climate change and global warming, each step taken by us matters, be it even by transforming our cotton closet into an organic cotton closet. We are living in a time, where each step will either lead to an immense increase in global warming or will lead to the protection of our Mother Earth. So why not make our actions count and take a step by protecting our nature by switching to organic clothing?! As we know, the fashion industry is one of the largest industry of today, in which the cotton textiles lead the line together with the cotton manufacture setting them as the highest-ranked in the fashion industry. These pieces of regular cotton those are constructed into garments leads to 88% more wastage of water from our resources. Whereas Organic Cotton that has been made from natural seeds and handpicked for maintaining the purity of fibres; uses 1,982 fewer gallons of water compared to regular cotton. Gallons of water used by: Regular cotton: 2168 gallons Organic Cotton: 186 gallons Due to increase in market size of the fashion industry every year along with the cotton industry; regular cotton is handpicked by workers to keep up with the increase in demand for the regular cotton and because these crops are handpicked it leads to various damages and crises such as: Damage of fibres: As regular cotton is grown as mono-crop it destroys the soil quality, that exceeds the damage when handpicked by the farmers, leading to also the destruction of fibres because of the speed and time limit ordered. Damage of crops: Regular cotton leads to damage of crops when it is handpicked, as not much attention is paid while plucking it in bulk, due to which all the effort, time and resources used to cultivate the crops drain-out to zero. Water wastage: The amount of clean water being depleted to produce regular cotton is extreme that might lead to a water crisis. The clean water when used for manufacturing turns into toxic water that is disposed into freshwater bodies, causing a hazardous impact on the people deprived of this natural resource. Wastage of resources: When all the above-mentioned factors are ignored by the manufactures and the farmers, it directly leads to the waste of resources, as the number of resources used to produce the regular cotton is way high in number when compared to the results at the end. Regular cotton along with these damages also demands to use chemical dyes for their further process, that is not only harmful to our body but is also very dangerous to the workers exposed to it, as these chemicals lead to many health problems like earring aids, lunch cancer, skin cancer, eczema and many more, other than that people can also lose their lives when exposed to these chemicals for long other than that people can also lose their lives when exposed to these chemicals for long Know More about synthetic dyes on ‘Why synthetic dye stands for the immortality done to Nature?’ Organic cotton, when compared to regular cotton, brings a radical positive change to the environment. To manufacture, just one t-shirt, regular cotton uses 16% of the world’s insecticides, 7% pesticides and 2,700 litres of water, when compared to this, organic cotton uses 62% less energy than regular Cotton. Bulk Organic Cotton Fabric Manufacturer: Suvetah is one of the leading bulk organic cotton fabric manufacturer in India. Suvetah is GOTS certified sustainable fabric manufacturer in Organic Cotton Fabric, Linen Fabric and Hemp Fabric. We are also manufacturer of other fabrics like Denim, Kala Cotton Fabric, Ahimsa Silk Fabric, Ethical Recycled Cotton Fabric, Banana Fabric, Orange Fabric, Bamboo Fabric, Rose Fabric, Khadi Fabric etc.