Clean by Design by Emma Rigby, MA Fashion & the Environment 2010

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Eve

Clean by Design by Emma Rigby, MA Fashion & the Environment 2010
In her MA thesis, Emma investigates the relationship between design, consumer behaviour and laundry, looking at both social and practical impacts. During the course of a garment’s life, the recurrent use and maintenance of the garment emerges as the most resource demanding lifecycle stage, and links to other environmental problems, such as air and water pollution and biodiversity loss. This initial research phase is a longitudinal study of how and why people use and maintain their clothes. Cultural probes were used to explore user behaviour and measure design characteristics that aim to increase garment use and reduce maintenance. http://popsop.com/wp-content/uploads/clean_by_design_nrdc.jpgEight garments were designed, reproduced twice and given to participants in London and Bristol for the duration of twelve months, with each participant recording the use and maintenance of the garment in comparison to a similar existing garment.
Emma is now developing this initial research into a PhD at London College of Fashion.
Project Portfolio:

Open publication – Free publishing – More design

Source: http://www.sustainable-fashion.com/resources/sustainability-in-action/consumption/

Image Source: http://popsop.com/wp-content/uploads/clean_by_design_nrdc.jpg

ECO FASHION-history


ECO FASHION
Photograph by Hilary Walsh. Published in Vogue, May 2009.
A New York Times headline in March read “The Green Movement in the Fashion World”[1] and, that same month, the first article about the new environmental trend ran inVogue. Norma Kamali’s recent shows featured models in T-shirts bearing slogans like “Acid Rain Squad” and “Earth Children.”[2] By summer, the British statement-maker Katharine Hamnett was speaking out against the eco-evils of fashion at the United Nations.

The year? 1990.
It was then, in the early nineties, that the seeds of sustainable fashion were sown and the concepts of recycling and environmentally friendly fabrics began to grow. In Paris, the Malian-born designer Lamine Kouyaté (better known as Xuly-Bet, the name of his label) was busy repurposing flea-market finds—plaids, Lycra dresses, old pantyhose—into new creations. The Antwerp wonder Martin Margiela was on the rise, furiously deconstructing—and reconstructing—his own artful bits and pieces, and in Milan, Giorgio Armani, the maestro of the suit, would begin experimenting with hemp, weaving it into his lines.
But real, lasting environmental change would be slow to take root. First and foremost, designers faced the formidable task of educating skeptical customers. The commercial challenges of greening the market were massive, too, and public demand, despite all the buzz, was weak. Another major issue was the style factor. While a far cry from their hippie hemp-sack origins, the garments, sold under the catchphrases eco fashion and green fashion,had yet to be equated with chic.
Give or take, it wasn’t until about the spring of 2002, when customers first got their hands on the much-ballyhooed new Stella McCartney label, that eco fashion began to look less like a gimmick and more like a serious business proposition. McCartney’s rock-chick, animal-friendly (no leather, no fur) designs and healthy-living ethos attracted celebrity pals—taking the granola crunch out of words like vegan and organic. In March 2005,Vogue spotlighted Edun, a socially and environmentally conscious label by Bono, the U2 front man, and his wife, Ali Hewson, and designed by Loomstate’s Rogan Gregory. (“We have this idea that we’re going to make people label-aware. . . . Where it was made, who made it, how it’s made,”[3] Bono told the magazine.)
The deep-market sea change finally came around 2007, when A-list celebrities including Naomi Watts and Kate Bosworth began being seen regularly in cupro slips by Organic by John Patrick, say, or green denim from FIN. The nineties supermodel Shalom Harlow appeared in ads for Noir, a pioneering eco-ethical designer label out of Copenhagen; and Barneys New York rolled out its green carpet, spotlighting sustainable fashions—including the new Barneys Green label—on the sales floor and recycling themes in its famous holiday windows. “It’s not a trend,” Julie Gilhart, Barneys’s fashion director, told Women’s Wear Daily. “A trend is something that dies. It’s a movement.”[4]
That spring, the designer Anya Hindmarch became a noteworthy arbiter of eco-cool when the English movie ingenue Keira Knightley was spotted carrying a cream-and-brown Hindmarch tote emblazoned with the slogan “I’m Not a Plastic Bag.” The retro-looking shopper sold out within hours in London and New York and triggered a stampede in Taiwan. The reusable-bag trend was launched. In the fall, the model Lauren Bush’s ethical FEED bag became the latest green status symbol.
At last, what many had feared would be just another passing trend had blossomed into a culture-wide lifestyle change (or at least a culture-wide urge to change). “Green is the new black” became the maxim of the moment. With the endorsement of eco-minded celebrities including Cameron Diaz and Gisele Bündchen, going green became the cool choice—on which many attempted to capitalize. In addition to all the by-then-familiar eco jargon (certified Organic, Fair Trade, sustainable, low-impact, local, ethical, artisanal, and repurposed) consumers became sadly aware of another term: greenwashing.less
First in VogueMarch
Related EntriesStella McCartney
Shalom Harlow
Kate Bosworth
Gisele Bündchen
Designer Denim
Antwerp designer Martin Margiela’s first collection, for spring 1989, features a leather butcher’s apron repurposed into an evening gown. He will soon become known as the leader of the deconstructionist movement, and for his use of recycled materials in his collections.

Franco Moschino sends models down the runway in T-shirts pleading that consumers “Stop Using Our Oceans as a W.C.”[5]

March: In “Natural Selection,” Vogue spotlights the new environmental trend in fashion. Models at Norma Kamali wear T-shirts bearing slogans like “Acid Rain Squad” and “Earth Children.” New York celebrates the twentieth anniversary of Earth Day with eco-themed events citywide. June: Members of the Fashion Group, including designer Katharine Hamnett, speak to the United Nations about the environmental impacts of the industry.

Xuly-Bet’s repurposed designs are the hot ticket in Paris, New York, and Milan.

Giorgio Armani begins using hemp in his Emporio Armani collection.

Tara Subkoff and Matthew Damhave bring resurrection chic to New York Fashion Week with their line of reworked thrift-shop castoffs, Imitation of Christ.

February: Natalie Chanin launches Project Alabama, employing sewing-circle artisans in her native Florence, Alabama. Her collection of 200 hand-sewn T-shirts wows at New York Fashion Week. October: Former Chloé designer Stella McCartney launches her own line, which becomes known for animal-friendly (no leather, no fur) policies.

Rogan Gregory and Scott Hahn launch Loomstate, the first designer organic-denim line. The first Ethical Fashion Show—a showcase of sustainable, artisanal design—is held in Paris.

February: Nonprofit environmental organization Earth Pledge holds its first eco-friendly fashion show. U2’s Bono and his wife, Ali Hewson, collaborate with Rogan Gregory on Edun, an environmentally and socially conscious label. October: “Ethical Fabrics Gaining Popularity,”[6] WWD reports. November:Project Alabama and eco-minded knitwear line Lutz & Patmos named CFDA/Vogue Fashion Fund finalists.

January: Former vice president Al Gore’s documentary An Inconvenient Truth premieres at Sundance. April: On the eve of the 35th anniversary of Earth Day, Suzy Menkes pens a piece for the International Herald Tribune entitled “Eco-friendly: Why Green Is the New Black.”[7] September: The British Fashion Council launches Estethica, an ethical-fashion showcase. The marquee designer is Katharine Hamnett, who launches a sustainable sportswear line.

February: WWD makes note of designers with fur-free policies, including McCartney, Comme des Garçons, and Calvin Klein. At Edun’s fall show actresses Zooey Deschanel and Rain Phoenix sing songs about global warming and gasoline. April: All 20,000 of designer Anya Hindmarch’s cream-and-brown shopping totes, emblazoned with the slogan “I’m Not a Plastic Bag,” sell out within an hour in London. May: In Vogue, Robert Sullivan explores the conscientious-clothing movement in “Earth to Fashion,” and Jane Herman reports on the challenges involved with making jeans green. Vanity Fair puts out its first green issue. October: Portland Fashion Week, in Oregon, stages the first all-green fashion week in the world. November:Sustainable-fashion guru Rogan Gregory takes the top prize at the CFDA/Vogue Fashion Fund Awards. Paris boutique Colette launches “Green Is In” promotion with organic tees by Katharine Hamnett and L.E.N.Y. benefiting Al Gore’s Climate Project.December: Models Shalom Harlow and Elettra Wiedemann and designers Diane von Furstenberg and John Patrick, of Organic, contribute to FutureFashion White Papers, a CFDA-backed book of essays on sustainability in the industry. Model Lauren Bush’s organic, fair-trade FEED bag, sold to benefit the UN World Food Programme, becomes the new green It bag.Vogue’s William Norwich explores this season’s conscientious-giving trend in “Season’s Greenings.” Following the success of its Barneys Green initiative, Barneys New York mounts an homage to recycling in its holiday windows.

January: The nonprofit organization Earth Pledge and Barneys New York team up for FutureFashion, a runway show featuring haute-green looks from top-tier names like Versace, Calvin Klein, and Yves Saint Laurent. July: The Ecco Domani Fashion Foundation announces the creation of the new Sustainable Design Award. December: “Green is the new luxury”[8] is the maxim on the table at the annual New York Fashion Conference,WWD reports.

March: Vogue introduces Style Ethics, a special section spotlighting the best in sustainable chic, edited by fashion director Tonne Goodman. Longtime eco-activist and model Angela Lindvall inaugurates the page in an Oeko-Tex-certified cupro slip and organic Japanese cotton seersucker suit, both by CFDA/Vogue Fashion Fund finalist John Patrick of Organic.June: Green is the theme for this month’s Vogue. September:Princess Charlotte Casiraghi cofounds EVER Manifesto, a print and Web magazine devoted to moving the sustainability movement.

February: New York Fashion Week goes green, with a new carbon-neutral policy involving the purchase of carbon credits to offset all CO2 emissions. Sustainable fabrics are widely seen, and water fountains installed in an effort to banish plastic bottles.April: Christian Cota’s Agua Cota line benefits eco-cause Wine to Water. May: The Museum at F.I.T. mounts “Eco-Fashion: Going Green,” an exhibit focused on the industry’s relationship with the environment. September: First official sustainable-fashion show staged at London Fashion Week. November:Model Sasha Pivovarova shines in “Naturally Refined,” an eco-fashion portfolio. The CFDA and Lexus announce the honorees of the new Eco Fashion Challenge award: Monique Péan, Costello Tagliapietra, and Maria Cornejo.

March: Vogue and Christie’s team with sustainable-fashion-awareness group Runway to Green for a show and live auction. Major brands and nonprofits come together to form the Sustainable Apparel Coalition. May: Eco-active model and United Nations Environment Programme Goodwill Ambassador Gisele Bündchen named Harvard’s 2011 Global Environmental Citizen in recognition of her eco-efforts. Lancôme ambassadress Elettra Wiedemann wears a recycled minidress by Prabal Gurung to the Met ball. July: Ethically conscious label Suno is named a CFDA/Vogue Fashion Fund finalist.

Source: http://www.vogue.com/voguepedia/Eco_Fashion#show%20more%20content

Sourcing textile waste

http://www.ecochicdesignaward.com/learn/
http://www.youtube.com/user/RedressAsia/videos?tag_id=&sort=dd&shelf_index=0&view=0

LEARN
Here you can learn more about how to source, design and market sustainable fashion. Check out our guides and videos to be informed and inspired…

ZERO-WASTE DESIGN TECHNIQUE
Zero-waste is a design technique that eliminates textile waste at the design stage. Here are a few tips to get you started…
VIDEO TUTORIAL GUIDE
UP-CYCLING DESIGN TECHNIQUE

Up-cycling is the recycling of a material into a product of higher quality. Here are a few tips to get you started…
VIDEO TUTORIAL GUIDE
RECONSTRUCTION DESIGN TECHNIQUE
Reconstruction is the process of making new clothes from previously worn garments or preformed finished products. Here are a few tips to get you started…
VIDEO TUTORIAL GUIDE
SOURCING TEXTILE WASTE
Sourcing textile waste may not be as straight forward as sourcing conventional textiles. It can require a bit more research, but sometimes it may be right under your nose. Here are a few tips on finding your source of textile waste…
VIDEO TUTORIAL GUIDE
MARKETING SUSTAINABLE FASHION
It is important to make information on your clothing’s sustainability credentials available to your customers, both so that they have the opportunity to value the considered nature of your brand, and to allow a transparent and honest contact from the onset. Here are a few tips on marketing your sustainable fashion designs…
VIDEO TUTORIAL GUIDE
THE FASHION LIFE-CYCLE
Do you know what goes into making ONE shirt? Check out our video to find out…
VIDEO
CONSUMER CARE
Did you know consumer influence an estimated 80% of the environmental impact of a garment? Check out our ‘Consumer Care Matters’ video in collaboration with Miele to find out how you can lighten your load…

Image Source: http://farm4.staticflickr.com/3493/3990571790_c1cc618b6e_o.jpg

SUSTAINABLE FASHION

It’s a buzzword of the moment, but is it also a contradiction in terms? Our undercover reporter goes in search of true sustainability …
From INTELLIGENT LIFE Magazine, Winter 2010
Buying truly sustainable fashion is a huge challenge. Sustainability means using resources in a way that does not impoverish the planet for the next generation. Fashion, on the other hand, is wedded to novelty and consumption, neither of which mesh naturally with the concept of sustainability. So it should be no surprise that early attempts at eco-chic were largely green window-dressing. Rather than asking tough questions about their materials, designers in the 1990s seemed more interested in turning out collections of dingy, natural-fibre clothing that made wearers look as if they lived in a field. Only now are questions such as how a material was produced, how much energy will be used to take care of it, and what happens to it at the end of its life beginning to echo through the industry.
So which materials should the sustainably minded seek out? A proto-green fashionista is likely to head off in the direction of organic, ethical or fair-trade natural fibres. They’re trotting down the wrong catwalk. It is eco-hogwash to boast that something is better because it is made from natural or renewable fibres. Cotton may be natural, but most cotton consumes large quantities of pesticides, fertilisers and water during production. Organic cotton makes no promises about whether nasty chemicals were used in dying and finishing, and fair-trade cotton has lower environmental standards than organic. Furthermore, organically grown cotton plants tend to be less productive, which can drive farmers to hack out new agricultural land from wilderness and forest. GM cotton, which requires fewer pesticides, may be more sustainable than organic—but no eco-clothing company will touch it.
There are increasing worries, too, that most of clothing’s environmental impact comes from the energy and water involved in washing and drying. Clothes made from bamboo or linen may sound more wholesome, but synthetic fabrics rarely need the attentions of an iron, or the enviro-horror that is a tumble-dryer. Plus fibres that are, essentially, made from plastic are easy to recycle: the clothing company Patagonia has used recycled plastic bottles to make its fleeces since the 1990s, and re-recycles earlier generations of fleeces. New technology means that recycled polyester fibre, which saves energy and water, has now crossed over into general use and can even mimic very fine fabrics such as chiffon. Recycled cottons, too, have similar resource-saving benefits and are worth seeking out.
Upcycling—where waste products are converted into products of higher value—is also taking off. Niche designers turn left-over salmon skins into swimwear, while on the British high street a collaboration between the upcycling designers From Somewhere and the supermarket chain Tesco has seen discarded fabric from roll-ends turned into a collection of dresses in very of-the-moment colour blocks.

As for the animal kingdom, leather is problematic. Some green dressers argue that most leather is just a by-product of the meat industry. The truth is that the meat and leather trades are economically intertwined, and all the environmental issues that come with raising cattle for meat—such as habitat loss, emissions of greenhouse gases and resource use, not to mention the overuse of antibiotics—also apply to leather. So an alternative option is to look for skins that have a positive impact on habitat and wild-animal numbers.
Crocodilian skin, particularly wild alligator, is one of the great success stories in sustainable wildlife trade. Many species of crocodiles, caimans and alligators are now thriving where they were once threatened, thanks to a strictly controlled, sustainable trade. Buying alligator from America makes a direct contribution to marshlands that are vital habitats for wildlife, millions of migratory birds and many endangered species. And most of Louisiana’s 4.5m acres of alligator habitat are privately owned, so trade is essential for supporting these areas and their rich biodiversity. Wild skin gives a more direct benefit, but alligator farmers in Louisiana pay fees to support the alligator marshes, so farmed alligator is also beneficial. Look for a Convention on International Trade in Endangered Species (CITES) certificate with your purchase, as this is proof that the source is legal and sustainable.
For similar environmental reasons, there’s an argument for wearing wild beaver or muskrat fur. In Canada, these animals are abundant and managed sustainably—so though some animals die as a result of the trade, the larger population, and its habitat, benefits from it. Plus the skins are durable, long-lasting, and make the epitome of what’s known as “slow fashion”—items that cost more, but which can be repaired, repurposed, adapted or traded to give a longer life. Admittedly, none of these wild-animal products has solved the environmental downsides of tanning, dying and production—but that’s also true of similar products that don’t have such environmental upsides.
Still uncomfortable? You could try vicuna, an incredibly fine fibre sheared from a camelid that lives in the Andes. It too was once threatened but after a trade ban in the 1970s, the population recovered and it went on to be successfully managed by local communities. Trade with a CITES certificate is legal and sustainable, and supports this animal in the wild by fending off threats such as habitat loss and poaching. A cheaper alternative is a wild silk scarf—silkworms cultivated in open forest also encourage forest preservation.
Finding—and affording—these products is the tricky bit. Few mainstream designers use beaver fur, preferring instead to fluff up their collections with intensively farmed fox and rabbit. One leading American house, whose rails are currently hopping with rabbit-embellished clothes, even told me, with some pride, that they had “never, ever” used beaver. Crocodilian skins tend to be used by the highest of high-end houses: Hermès sells an exquisite pair of narrow-cut Mississippian alligator trousers, but you need a second mortage to afford them.
And though the labelling on clothes has by law to be accurate, there’s often confusion on the shop floor about what’s what. In one ultra-cool boutique in London, I was told that a cowl-necked cape was “definitely beaver”. When I pointed out that the label said it was nutria fur, I was told first that nutria “refers to the colour”, then that the nutria is “a kind of beaver”. This was about as biologically accurate as saying a goat is a kind of sheep.
Yet it’s worth persevering. The green pound, euro or dollar has never been more powerful, driving progress towards sustainable fashion. Buy well, and we’ll all prosper.
Coat, Maison Martin Margiela
This 1950s-look baize coat from Margiela’s menswear line uses sheared Canadian beaver on the collar. Canadian beaver fur comes from sustainably managed, wild animals; almost half of the local trappers are aboriginal, so groups such as the Cree are able to make a living while protecting the wilderness. £1,365
Felt hat, Pachacuti
Pachacuti, certified by the World Fair Trade Organisation as following sustainable environmental and fair-trade practices, uses local sheep’s wool to create its natty felt fedoras. Production water is cleaned and recycled, and dyes are free of heavy metals. £32.90
Mid-length dress, Tesco
A bi-coloured, body-con dress from Tesco’s “From Somewhere to F&F” line that is both flattering and upcycled—made using obsolete textile stock, damaged or endrolls, and pre-consumer waste. £18
Alligator bag, Asprey
This classy, berry-coloured clutch from the British luxury brand Asprey is farmed alligator; wild alligator would be even better, as buying it gives more support to marshland in Louisiana and Florida. £3,900
Vicuna scarf, Esgyrn
Vicuna products that are sold with a CITES certificate—like this over-size, tan-coloured scarf from Esgyrn—support the animal in the wild. The fibre is lighter and softer than cashmere; it’s also more expensive, but there’s little else that feels as pleasurable to wear. £480

This is the latest in the Sceptical Shopper series, in which undercover experts give impartial advice on how and where to find the best buys. The last instalment was on men’s watches. Photographs Neil Mersh, Stylist Beatrice Hurst

Source: http://moreintelligentlife.com/content/lifestyle/intelligent-life/sceptical-shopper-sustainable-fashion

Image Courtesy- http://www.theshopwindowdresser.com/

Is Fake Leather Really More Eco-Friendly Than Real?

    I caught an NPR segment a few weeks ago that raised the question of whether it’s possible to have “eco-conscious fur.” The story centers on a project down in Louisiana where they’re turning the pelts of nutria—an invasive, semiaquatic mammal that looks rather rat-like—into high-end fashion pieces. (It’s a subject we’ve covered in a previousEconundrum as well.) The segment got me thinking about whether fur, or for that matter, any other animal-derived material used for clothing, is inherently a bad environmental choice. I can’t say I own many articles of clothing that involve fur, real or fake, but I’ve been opting for so-called “vegan leather” (or, if you prefer, “pleather”) for years, sort of assuming that it was the more conscientious choice. My boots, in addition to involving zero dead animals, were also quite a lot cheaper than the real deal. But you get what you pay for, and at barely a year old, the soles are already detaching from the fabric, and the toe is scuffed irreparably. My cheap knock-offs might not have been a great investment—whereas a good set of real leather boots can last a decade, if not longer (sorry, PETA). My kickers are likely destined for the landfill in the foreseeable future. Advertise on MotherJones.com I’ve also realized that I really have no idea what my synthetic leather boots are made of. The best I can discern from the label stamped inside of them is that they were made in China with “All Manmade Materials.” Most fake leathers are made of some kind of plastic product—which was almost certainly derived from petroleum. Some faux leathers are even made of polyvinyl chloride (better known as PVC), a product that contains, among other not-so-nice chemicals,phthalates. Thinking about nutria coats and my mystery boots got me wondering how people who work on making our fashions more environmentally friendly evaluate what qualifies as a smart, sustainable choice. The question is not as simple as synthetic versus natural fibers, says Huantian Cao, a professor in the Department of Fashion and Apparel Studies at the University of Delaware. The school launched a Sustainable Apparel Initiative in 2008, an attempt to help the apparel and retail industries make smarter choices on this front. “Natural fibers and synthetics have their own problems,” says Cao. For nearly every option, one can list off pros and cons. Petroleum for plastics is a depleting resource. Most cotton production involves a lot of water and a chemical pesticides and fertilizers (less than 1 percent of the world’s cotton is organically produced). Some companies are starting to make plastics from renewable biopolymers, derived from sources like corn, but those come with the same land-use and lifecycle concerns as biofuels. The list goes on and on. Plenty of things to think about that go into making apparel often fall off the radar, like the types of dye, the temperatures needed to set them, and the amount and type of chlorine needed to bleach fibers, says Lynda Grose, a fashion designer and assistant professor at the California College of the Arts. Grose also points out that, while many of the synthetic fabrics are derived from non-renewable petroleum resources, a number of companies are working on closed-loop recycling programs that will allow you to return worn out synthetic products made from things like polypropylene—sometimes used to make long underwear and other technical gear—which would then be turned into new products from the same material. The outdoor apparel giant Patagonia has been at the forefront of efforts to develop this kind of closed-loop recycling for clothes. Timberland has launched a similar option for their shoes in a program called Design for Disassembly. Both programs let customers drop off the used items at their stores for recycling. If these kinds of closed-loop programs take off, says Grose, “You could find ways to use this non-renewable resource in perpetuity.” But even looking at it as a question of comparing apparel choice A with choice B is probably the wrong place to begin, says Gwendolyn Hustvedt, an assistant professor of fashion merchandising at Texas State University. “When you start the conversation with ‘How should I shop?’ rather than ‘Should I shop?’ then you’ve already given in a little bit.” Of course, if you want something new, there are plenty of ways to acquire new-to-you things—like shopping at thrift and consignment shops or hosting clothing swaps. If you are looking to buy something that’s actually new—particularly something like a pair of boots or a jacket—”You’re better off focusing on something you know you’re going to keep for a long time, that’s going to stand up to the care or not need as much care,” says Hustvedt. It’s generally good policy to spend a little more on something that is going to last you longer. Pete Lankford, design director for Earthkeepers and Timberland Boot company, notes that while there are plenty of things to be concerned about in the leather-making process, from the resources that go into raising the cows to the industrial processes at tanneries, the products stand the test of time. “Leather wins hands down over anything you can think of,” says Lankford. If you can buy a pair of boots that last twice as long as a synthetic alternative, you’ll end up with half the environmental impact in the long run, he notes. Timberland and other major retailers, meanwhile, have partnered to form the Leather Working Group to craft a rating system for tanneries based on their efforts to reduce their environmental impact. The takeaway: Cheap, flimsy options like my boots, whether they come from animals or oil products, are the junk food of fashion. They may be satisfying in the moment, but not good for you (or the planet) in the long run. “That’s the fashion Twinkie,” says Hustvedt. “So if you’re asking if it’s better to by a polyester Twinkie versus a cotton Twinkie, they’re still Twinkies.” Photo Credit: Slider image by idhren Got a burning eco-quandary? Submit it to econundrums@motherjones.com. Get all your green questions answered by visiting Econundrums on Facebook here. —By Kate Sheppard Source: http://www.motherjones.com/blue-marble/2011/01/fake-leather-really-more-eco-friendly-real   Image Courtesy – http://www.polymerclayweb.com

Humans-“Don’t try to be someone else’s beautiful.”

@Stella Flygare commented- It really bugs me that this person has to be labelled as either gay or referred to as a she or he/she (I hate that English doesn’t have a proper pronoun for this, but in Sweden it’s called hen). Don’t get me wrong, if they are that’s absolutely great. And if they’re not, also great! But the point is that it shouldn’t be such a MAJOR thing for a man to wear “women’s clothes”. Because the clothes should just be, clothes. By labelling it as women’s clothes and saying that they’re either gay or trans because they’re wearing it (it couldn’t possibly be that a male is wearing women’s clothes (because that would be degrading for the man, right?)) is degrading to women. Women wear “men’s clothes” all the time, and it’s no biggie, but the second a man puts on a dress he’s doing something wrong. And THAT is wrong. Gaius Torranosaurus Jacobus: What is a man? What is a woman? The answer to these questions are not quite so simple as one might initially think. In American society, only two genders are recognized by the majority — male and female. The way that people are originally classified into this dichotomous gender system is through the determination of anatomical and physiological sex. However, this poses an issue for people whose gender identity and sex do not match the system in American society. The most commonly recognized system of gender in the United States is called the gender binary system. The rigid social norms of this system are fundamentally oppressive to the genderqueer, intersex, and transgender population. These people transcend the gender binary and break the boundaries of American social norms. However, the only reason that this occurs, is due to the fact that the gender binary system is not an all-inclusive system. As such, it is inefficient. One of the greatest flaws of the gender binary system is that it considers sex and gender to be equivalent, which is inherently incorrect. Sex refers to biological differences — chromosomes, hormonal profiles, as well as internal and external sex organs. Gender refers to socially constructed roles and relations between humans. These two things, gender and sex, are hardly the same at all. One is not required to have male biological features to identify as a male. Gender identity refers to a person’s internalized sense of identification with gender. An individual may identify as male, female, in between, both, or neither. Identity is an internal state, which is not readily visible to others. As such, it is determined by the individual alone, and therefore cannot be redefined by other people. Gender expression is how individuals externalize their internal gender identity. This encompasses practically every way that people can communicate their gender. Clothing, hairstyles, mannerisms, speech, and social interactions. Sarah Conte: Hear, hear! And yet, people seem to be threatened by things they don’t understand. Quit being threatened and learn to understand. Or at least accept. http://en.wikipedia.org/wiki/Andre_J. Source: http://www.facebook.com/photo.php?fbid=517761588297946&set=a.102107073196735.4429.102099916530784&type=1&theater