Podcasts about conscious chatter

This episode is a little different than what you're used to, as it's a special swap with Commons and their Second Nature podcast. It's an amazing listen and I'm stoked to share it with y'all! “I think this is inspiring people to move away from being passive consumers to instead becoming stewards of their belongings and have that sense of responsibility and it goes beyond this individual action…For us, democratizing repair isn't just a luxury or a trend, it's something essential to creating this future where sustainability and equity guide the way forward.” -Sumaq Alvarado del Aguida, Suay Sew Shop This month's theme is – HOW TOXINS FROM OUR CLOTHES MOVE AROUND THE WORLD. This episode by Second Nature gets into the layers around donated clothing, how BIG of an issue it is, and how global it truly is. From talking about the recent devastating fire in Kantamanto Market in Accra, Ghana, to the onslaught of clothing donations that overwhelmed facilities in Los Angeles after the wildfires in January this year, this episode explores some interested parallels and disturbing realities around the low quality of so much of the clothing that ends up in the donation cycle, as well as the harmful impacts that toxins within those clothes can have on the communities where they land. You'll hear from Sumaq of Suay Sew Shop in LA on the excess of crappy clothing that was donated to them amidst the wildfires, and how they are working to get creative with those textiles. One thing I want to highlight is how Sumaq shares that we need to become “stewards of our belongings”. Passing it over to Katelan, the host of Second Nature, who will share more with you in this special episode!  Second Nature Episode Follow Second Nature on Instagram

In Episode 329, Kestrel welcomes Jennine Jacob, a personal stylist and Instagram phenom, to the show. You may know Jennine from viral videos that explore the many layers of nuance connected to the power of finding your own style. “Anytime I see people quote unquote dressing for their body type, those outfits that look good, they can all be explained through style principles. The rule of thirds, contrast, proportion, texture, color theory. So why do we have to attach a value to a person's body shape when that's not even necessary? I really want to call into question why we use certain language because there's a lot of dismissal of visual language not just in fashion but also in the arts and architecture, and in the spaces that we move that have tremendous impact in how we navigate the world.” -Jennine MARCH THEME — PERSONAL STYLE IS SO MUCH MORE THAN *VANITY* This month, we're shifting the narrative a bit toward the conversation around style. I recently did a post on Instagram about why I post daily outfits and how it's not about vanity, and instead – it's about storytelling, sustainability and branding. It resonated so much with folks and made me feel optimistic amidst a time that can be pretty gloomy lately. I talked about the power of knowing the stories connected to your garments and how that storytelling can come through in the way you wear them. I talked about how when you have intimate connections with your garments, you tend to take care of them so they last longer. I talked about how identifying your personal style is a key part of building your brand, and honing in on the colors you consistently wear can play into determining or realizing your aligned visual identity.  I even mentioned the whole “fashion is frivolous” annoying narrative, and how it's totally ridiculous considering how much your clothing choices do actually truly matter. Turns out, that's one of the many topics we crack open with this week's guest.  “Is The Internet Messing With Your Style?”, IG reel Kestrel mentions “The Power Dynamics Of Comfort”, IG reel Kestrel mentions “Quiet Luxury Helps The Oligarchy”, IG reel Jennine mentions “Focus in on not just how you want to look, but what you want to say with your style, and why you want to say it.” (40:06) -Jennine Jennine's Website Follow Jennine on Instagram

In Episode 328, Kestrel welcomes Dana Zhaxylykova, an environmental scientist & microplastics researcher, to the show. Originally from Kazakhstan, Dana is currently based in Germany — through her Instagram platform, she shares practical and actionable tips about microplastics through a scientific lens. “As a scientist, I want to assure you that every little action in avoiding plastic, it can have an impact. And as scientists and as a scientific community, we expect people, not only the governments and corporations (they have a huge responsibility, of course), but we as people, we also can have an impact as individuals, we can help these problems to get solved faster.”-Dana This month, we're focusing on diverse ways to combat fast fashion. I don't know about you, but whenever I think of fast fashion, my brain automatically goes to issues around MICROPLASTICS. Considering that over 60% of global fiber production is synthetic materials – derived from fossil fuels – it's hard not to make that connection, especially given some of the intimate experiences I've had watching scientists from 5 Gyres literally collect microplastics from the water and air around us, and hear them talk about how so many of the microplastics they collect have come from fabric and clothing.  As this week's guest highlights, with nylon, polyester and acrylic fabrics flooding the fast fashion market, these fibers are actually releasing microplastics in every stage of the process – from production, to wearing the garments, to washing and drying them. Basically, there are microplastics being shed into our environment from every single stage of a fast fashion garment's lifecycle. That feels overwhelming, I know, but I love how this week's guest really puts things into perspective, not only from a scientific lens, but also from a practical hands-on point of view, offering us suggestions on the things we can actually control, when it comes to microplastics in our lives.  “Seasonal variation and removal of microplastics in a central Asian urban wastewater treatment plant”, Dana's research paper “Effect of microplastics deposition on human lung airways: A review with computational benefits and challenges”, paper Dana mentions “Environmental exposure to microplastics: an overview on possible human health effects”, paper Dana mentions “Effects of microplastic exposure on human digestive, reproductive, and respiratory health: a rapid systemic review”, paper Dana mentions “Polystyrene microplastics exacerbate systemic inflammation in high-fat diet-induced obesity”, paper Dana mentions

This episode originally aired on May 29, 2024. As we're prepping for season 3, we're revisiting this episode in honor of our February Collective Challenge in the Commons app: Boycott Fast Fashion. Join us!Fast fashion is cheap, but the low cost to customers comes at a high cost to garment workers, communities, and the environment. So, how do we break free from the fast fashion cycle?Second Nature is your community for practical, sustainable living. On this episode, we're commiserating with listeners over the allure of fast fashion and getting real tips to break free from it. Plus, we're doing the math on the impact of buying less fast fashion and talking to Kestrel Jenkins (journalist and host of Conscious Chatter) about the human cost of fast fashion. ‍On this episode, you'll hear:Practical guidance from real-life, former fast fashion shopaholics. An interview with journalist and Conscious Chatter host Kestrel Jenkins about the human cost of fast fashion and how to recenter the supply chain in our buying habits. What happens when get this right? Commons CEO and founder Sanchali Seth Pal does the math on how ditching fast fashion can make a real carbon impact.  

In Episode 327, Kestrel welcomes Sanchali Pal, founder and CEO of Commons, an app that rewards you for living and spending sustainably. On Commons' app, you can get rewarded for shopping sustainable brands and for taking climate actions like thrifting, taking public transportation or eating plant-based. “When people think about the actions they can take that are sustainable, the most obvious ones are things like flying less or recycling or eating more plant-based. People don't always think about their clothing habits, but I think that's really changing with the conversation around fast fashion. I mean, the fashion industry has a greater environmental impact than the airline industry. It's like two to three times as much, which is pretty crazy. And so it is really exciting to start to see that conversation happen and start to think through what part we can all play in shifting that industry together.” -Sanchali FEBRUARY THEME — DIVERSE WAYS TO COMBAT FAST FASHION This week's episode is brought to you in collaboration with Commons. As a cohost of their Anti Fast Fashion Challenge, I'm stoked to share more about how you can get involved to boycott (in many different ways) harmful fast fashion brands this month. While it can be challenging to fathom, especially being so deep within the sustainability and fashion conversation, fast fashion is booming. From the H&Ms and Zaras, to the more recent addition of ultra fast fashion brands like Shein and Temu, our culture is addicted to fast fashion. From the cheap prices to the convenience factor to the instant gratification, the allure of fast fashion is real. But as many of you know, buying fast fashion comes with an intense environmental and human impact.  Fast fashion aligns itself with disposability and waste, boasting crazy low prices. The materials are predominantly synthetic and often lose their shape after a couple washes. The synthetic materials shed loads of microplastics into the environment. Garment workers face exploitation and non-livable wages. All the while, social media and marketing continue to drive us to think we need another new piece of clothing to stay relevant. It's a lot. And that's why I am so excited for this conversation – and to be cohosting this month's Anti Fast Fashion Challenge. A way for us all to collectively come together to challenge that intense urge to buy another cheap item, and instead – not shop, mend something, get something tailored, shop secondhand, or invest in a brand that centers sustainability. “Our spending is the best data source we have on our emissions.” (14:26) -Sanchali “It Starts At Home?” — research Sanchali mentions on household spending Join The Anti Fast Fashion Challenge Commons Sustainable Spending Tool / Brand Ratings  How Commons Rates Brands  Commons Website Listen To The Second Nature Podcast Follow Commons on Instagram

In Episode 326, Kestrel welcomes Anna Bario, the cofounder of Bario Neal, to the show. Bario Neal creates stunning jewelry while being committed to respecting human rights and environmental sustainability. Anna cofounded the brand alongside Page Neal, in 2008, with an interest in bringing sustainability into the discourse surrounding creativity, fine jewelry and craft. An exceptional designer and also a specialist in responsible gold and gemstone sourcing, Anna's work in sustainable initiatives and social impacts defines the framework for Bario Neal's ethical jewelry roadmap. “I think [for] jewelry especially, the investment question becomes entangled with presentation … we also see that culturally come through jewelry trends. Just like in fashion, pant legs get shifted and there's so many ways we could interpret that as a reflection of the culture. And in jewelry, after the 2008 recession, jewelry got really small. Part of that was because of what people could afford, but also it was sort of like socially, what do we want to present?”-Anna JANUARY THEME — EXPLORING THE NUANCE AROUND INVESTMENT PIECES This episode is part of a partnership with Bario Neal. One of the pieces included in this collab was a redesign of my wedding and engagement rings. If you're wondering why I would redesign my wedding rings? They felt a little too traditional for my aesthetic, especially as I've matured, and also – the prong setting of the lab grown diamond just wasn't practical – it was always getting caught doing all the things connected to mom life. In this episode, we not only get an intimate look behind the scenes of what building an ethical jewelry roadmap means to Bario Neal, we also dive deeper into this month's theme of investment pieces.  One thing Anna brings up that is such an important and often left out layer of this discussion is how “investment” in the jewelry space can easily become entangled with the performance of economic resources and privilege. In jewelry, and other areas of fashion as well, this can mean the designs showcase a blatant reflection of the economic realities around us at any given time. For example, when the economy isn't doing well, often, jewelry trends will reflect that in favoring smaller stones and more quote unquote modest styles. And even if folks have the economic means to choose something with a higher price point or bigger stones, they may choose not to, based on what they feel comfortable presenting to the world in that moment of time. We unpack this and more in this special jewelry-focused episode. Turning To Stone, book by geologist Marcia Bjornerud that Anna mentions Mercury Free Mining Website Ethical Methalsmiths Website Bario Neal's Website Follow Bario Neal On Instagram This week's episode is brought to you in partnership with Bario Neal, a jewelry industry leader in ethical sourcing and progressive manufacturing. GET 15% OFF PERSONALIZED JEWELRY WITH CODE CONSCIOUSCHATTER15 AT BARIO-NEAL.COM

In Episode 325, Kestrel welcomes Emily Fenves, the founder of lander line - a platform she created in September 2021 - after feeling burnt out with her own consumption habits. As a regular shopper, Emily found herself spending an exhaustive amount of time browsing, buying, returning, and purging. She embarked on a journey to learn more about the “why” behind her overconsumption, and decided to help others do the same. “I think a lot of people assume that investment pieces mean luxury. For me, specifically, I always think about – can I pass this down to my daughter? Investment pieces can be secondhand, too. Whether I'm shopping new or secondhand, I'm always asking myself that question – is this something I can pass down to her?” -Emily JANUARY THEME — EXPLORING THE NUANCE AROUND *INVESTMENT PIECES*  This month, we're going all in on – investment pieces. What does that really mean? Well, that's one of the aspects we unpack. But if you google around and start diving into the discussion online, you'll find a lot of people talking about things like: LONGEVITY, JUSTIFYING HIGHER TICKET ITEMS, HIGHER QUALITY, HIGHER COSTS, and EVERGREEN STYLES. We touch on cost per wear, the idea of fewer better things, and recommendations when you're searching for investment pieces.  It's also personal – so remember to take that into account as you listen to this week's guest. What you deem an investment piece may not necessarily be what someone else identifies as an investment piece – and to me, that's some of the fun of it. Speaking of this week's guest – she self identifies as a former overconsumer-turned-fair-fashion-advocate who loves secondhand and influencing others to quit fast fashion. RealReal's 2024 Resale Report lander line's Substack Follow Emily on Instagram

Episode 324, Kestrel welcomes Camille Forde, a mother and entrepreneur working at the intersection of business, sustainability, and community-centered solutions, to the show. With over a decade of experience, Camille has led corporate responsibility efforts at top professional services firms, earned an MBA from UC Berkeley with a focus on sustainable business, and spearheaded seller and brand partnerships at one of the largest fashion resale platforms. As a mother of two, Camille is deeply committed to building a more equitable and sustainable future that prioritizes community care. “Vulnerability, at least for me, it's a practice. It's not: you're vulnerable once, and then you're done. I've had to make being vulnerable a regular practice that I chase even though I don't want to all the time.” -Camille OCTOBER THEME — MAYBE VULNERABILITY IS WHAT FASHION REALLY NEEDS Last week, I got vulnerable. I shared a lot about my personal story over the last year – the challenges I've faced, personally with my health, professionally, financially, with continuing to push an independent media platform forward – I'd say I shared a lot in a short amount of time.  It blew me away to see the response – so many folks reached out, shared their personal challenges, and were vulnerable with me about things they've faced. I don't know – it felt like it opened a bit of a portal to somewhere new. To a more connected realm, where we could actually be honest with each other. A place where we could not only talk about transparency being important in supply chains and messaging, but also in our personal lives and realities.  It felt big. And I want to thank you for allowing that real emotion in, and sharing your own vulnerabilities – because as this week's guest reminds us, so often what we receive with vulnerability is GROWTH (not in production volume, but in ourselves). This episode is really about a lot of challenges I've faced, mental struggles I have grappled with, and questions I've asked myself while working at the intersections of caring for people and the planet, and caring for my own child.  When I was thinking about this episode idea as a way to build on this vulnerability discussion, one mom stood out immediately. I thought – I want to talk to Camille about this - it's who I want to hear from, who I want to learn from, and I just felt like she would have a lot of valuable insight into these crossovers.  Turns out, Camille went beyond. This episode is about sustainability, but not your typical approach to that conversation. It's about caring for yourself, for your family, for your community, while building things that center care. “The perfectionism and shaming that happens both in motherhood or just parenthood and the sustainability space — it's just beyond.” -Camille “The reality is we're not going to be perfect at any of it, but you know, if you're not careful, there's so much shame that can enter the conversation and really slow you down.” -Camille Camille's Website Follow Camille on Instagram

Episode 323 features Kestrel (just me!) in the first-ever solo episode of the show. With a primary focus on vulnerability, Kestrel shares some of the rollercoasters she has faced personally over the last year (from health to finances), why she and Nat are parting ways when it comes to regularly hosting the show, the true costs of producing a podcast, as well as a question on whether performative vulnerability is what we are seeing too often from the industry. “To all of you interested in sustainable fashion or those of you who work in the industry - I want to ask you a question: are you ok!?”-Kestrel OCTOBER THEME — MAYBE VULNERABILITY IS WHAT FASHION REALLY NEEDS As you can see, Nat is not here. It's super bittersweet, as doing the show hand-in-hand with someone I love, a best friend, and someone I admire deeply was truly magical. At the same time, realities happen, things shift, and sometimes what you anticipate doesn't actually work out in the end.  Being honest about the journey is, and always has been important to me. Nat is amazing as many of you already know. Moving forward, she won't be cohosting with me on a regular basis, but she will jump back in as a guest or cohost on the show on and off down the line.  I know this might be confusing for you since there have been a lot of shifts on and off throughout the year. First of all, thanks for sticking around, for caring deeply about the show, and believing in the potential power of change in the fashion space. This episode is all about vulnerability — I hope you can feel my hope to tear down some of the curtains that often separate us for connecting on a deeper level.  Here's what you'll hear from me: A bit about my person health stuff I've gone through over the last year Why it wasn't possible for Nat and I to continue co-hosting together - hint, hint: independent media is hard A little insider info on what it costs to run a podcast  Some musings on whether it's possible for the sustainable fashion / fashion realm as a whole to get vulnerable and what that could look like

Episode 322 features Nelson ZêPequéno, a Ghanaian-American Artist and the founder of Black Men With Gardens and Sustain Creative, alongside Cayetano Talavera, a fiber artist, zero waste fashion designer, and the creative force behind HECHO BY CAYE. Through ‘Black Men With Gardens', a digital and print publication, Nelson spotlights the connection Black and Brown communities cultivate with nature through agriculture and the arts. He further exploring cultural identity and environmental stewardship through his Los Angeles-based studio 'Sustain Creative', his current body of works offer a fresh perspective on sustainable contemporary design. Based in Los Angeles, Cayetano transforms foraged plants, homegrown flowers, insects, and even food waste into natural dyes, for his designs in the cocina de su mamá. His journey into the world of sustainable design was shaped by his humble upbringing, where he discovered the importance of resourcefulness and waste reduction. “Creativity is a way of looking at life differently, and by stepping outside of the way that we're seeing life or our own perceptions and experimenting, we're able to open up those new neural pathways and to reach these new places in life. For me specifically, I like to think that creativity is actually the solution not only to the mental health crisis that we're all dealing with, but to actually the sustainability challenges that we're facing. We need to embolden creativity in our culture and our communities so that people can look at the challenges that we have and come up with different ways of approaching it. We can't essentially just fix the problems that we face now with the same thought processes that led us here, and the only way to get outside of that actually is to be creative.” -Nelson “The rhythmic movement that comes from making a craft — I find it to be very therapeutic. Whether it's stirring a dye pot, painting strokes, I think also just the physical aspect that goes into being creative plays a role in ... it's almost like you get so into what you're creating that you kind of escape from your worries and anxieties for a bit. Once I start working, I totally forget whatever is going on around me, even if it's for a split second. I am always encouraging people to just be creative; and don't let the insecurities take over. I host natural dye workshops and a lot of adults tend to be like ‘but this isn't for me'; ‘my tie dye bandana is going to come out super ugly'. And I'm like "‘no, everyone's piece ends up looking really good and unique in their own way'. And so I think there's fear that comes from being creative and I think people need to get over that hurdle first.” - Cayetano MAY THEME — CONNECTING WITH NATURE TO UNVEIL WAYS TO REIMAGINE FUTURES Narratives today often separate humans from nature – think of statements like “we need to protect nature” as if we aren't a part of nature. But we are. Even though we often live and spend a lot of time inside buildings somewhat “separated” from nature, we are still intrinsically linked and woven into the natural world around us. As we have learned through so many of our guests this season, being connected to the world around us is not something new – it's something that has been cultivated by Black and Brown Indigenous communities across the world through culture and tradition and a reverence for the ecosystems that we as humans are a part of. This week's guests both interact with nature through their unique creative avenues – in very different yet overlapping ways. One works more directly with *fashion* through sewing and natural dyes, and the other not so directly with fashion but rather with plants and repurposing.  The myriad of ideas they share remind us of the many things we can learn from nature (when we slow down enough to listen).  What can fashion learn from nature to reimagine a better today and a more thoughtful tomorrow? Fashion folks, nature is calling, and it's time we tune in … Links from the conversation: Hecho By Caye Website Sustaining Creative Website Fast Fashion AD on SNL that Kestrel mentions Follow Nelson on Instagram Follow Black Men With Gardens on Instagram Follow Cayetano on Instagram

Episode 321 features Teju Adisa-Farrar, the founder and co-creator of the Black Fiber & Textile Network and the creator/host of the Black Material Geographies podcast, alongside Layla K. Feghali, the founder of River Rose Remembrance, a Plantcestral & Ancestral Re-Membrance practitioner, cultural worker, author & story re-collector (archivist). Teju is currently the Director of Outreach & Programs for the Fibers Fund, and co-creates with members of BFTN. Layla's book, The Land In Our Bones, showcases an exploration of the herbs & land-based medicines of Lebanon & Cana'an, highlighting the power of culture's relationship with land.  “I think of culture as a way of relating to your environment, including those around you, making sense & beliefs based on your environment, & creating a sense of a shared identity based on the place that you are in. With the creation of colonialism & the transatlantic slave trade, and this very globalized neoliberal world, now culture is less connected to a place & more connected to what and how we consume.” -Teju “I feel like that relational way of existing or of relating is kind of what ultimately yields or inspires I guess what folks would call a sustainable way of navigating things. Because it requires a conversation beyond the self and with the entirety of the living world that I dwell in and that I'm a part of and that I impact and that impact me, and the ways that they're alive.” -Layla  MAY THEME — Connecting With Nature To Unveil Ways To Reimagine Futures As the sustainability conversation continues to evolve, we often will hear mention of regionality, or the importance of thinking more locally in supply chains or manufacturing. While this is a great aspect to explore further, it only touches the surface of the depth connected to geography, location and place. This week's guests each approach education and storytelling through place-oriented lenses. While they are each uniquely different, these geography-oriented avenues teach us so much about what is often missing from the conversation. As we've explored through various angles this season, culture is integral to sustainability. Our guests this week shed light on the many ways that culture can teach us about land, history and legacy. How understanding the land, its history and the cultures woven into it, can lead us toward restorative justice and regenerative practices. As one of our guests so beautifully writes in her book: “The real focus of sustainability should be to recenter these Indigenous technologies rooted in multigenerational relationships to place, and teach younger generations how to harvest in ways that ensure the life of these plants will not only continue but spread per this ancestral knowledge.” Links from the conversation: Teju's Website Black Fiber & Textile Network River Rose Remembrance Website Follow Teju on Instagram Follow Layla on Instagram

Fast fashion is cheap, but the low cost to customers comes at a high cost to garment workers, communities, and the environment. So, how do we break free from the fast fashion cycle?On this episode of Second Nature, we're commiserating with listeners over the allure of fast fashion and getting real tips to break free from it. Plus, we're doing the math on the impact of buying less fast fashion and talking to Kestrel Jenkins (journalist and host of Conscious Chatter) about the human cost of fast fashion. ‍On this episode, you'll hear:Practical guidance from real-life, former fast fashion shopaholics. An interview with journalist and Conscious Chatter host Kestrel Jenkins about the human cost of fast fashion and how to recenter the supply chain in our buying habits. What happens when get this right? Commons CEO and founder Sanchali Seth Pal does the math on how ditching fast fashion can make a real carbon impact.  

Join us on this exciting episode of the Kick Your Boots Up Podcast as we sit down with the talented TK Trask, the creative mind behind Molly & Gidget. Known for her bold and unapologetic designs that light up red carpets and center stages, TK has made waves in the fashion world with her work featured on runways, at the Grand Ole Opry, Nashville stages, Miss Rodeo America, Whiskey Jam, CMA Fest, worn by Universal Music Group Nashville's Catie Offerman on tour with George Strait, and more! For a full episode transcript, visit our website at: https://www.justinboots.com/en/kick-your-boots-up/podcast.htmlFollow Justin on Social Media:Facebook: https://www.facebook.com/justinboots Twitter: https://twitter.com/justinboots Instagram: https://www.instagram.com/justinboots_/ Pinterest: https://www.pinterest.com/justinboots/ Tik Tok: https://www.tiktok.com/@justin_boots? Shop Justin Boots HERE

*DISCLAIMER — this episode features stories connected to eating disorders and sexual abuse.  Episode 318 features guests Francisco Alcazar, a zero waste designer based in Los Angeles, California, alongside Ella Wiznia, the founder and designer of Series NY. Using his 25 years experience as a structural engineer, Francisco is leading the movement that promotes circularity in fashion, and expanding these principles to other disciplines, whilst celebrating the material stories of each textile and the individuality they represent. A New York based brand of ethically made genderless clothing and accessories, Series NY makes every piece in NY in partnership with skilled artisans who set their own rates using only pre-existing and sustainable materials. “What I like about upcycling is the freedom that it gives you. When you're upcycling, you actually remix, rework, reuse. And in the process of doing that, the power is back to you. What I mean by that is when we go to a secondhand shop, all the clothes there are mixed up. You have the power to choose — there is no trend, there is no fashion. And the good thing is it's hard because you have to deal with your inner ‘what you actually like'. And some people follow trends because the process of learning about you is hard. It's easy to just conform and follow trends, you know, you go to magazines and copy a trend. You don't have to actually learn about yourself anymore.” -Francisco “Fashion kind of seems to be one of the only forms of art that is quote unquote gendered in most peoples' minds. I mean, you don't go into an art gallery and say ‘oh no, this is for men; no, that piece is for a girl' — you know, it's just not how it's done. Or architecture — ‘no, this building was for this these types of people'. We're all able to experience them how we want.” -Ella MARCH THEME — Acknowledging The Confines of Gender & The Folks Disrupting Stereotypes The fashion industry can often be described as frivolous with labels, stereotypes and binaries boxing us in – telling us how we need to dress and what identities are deemed quote unquote ‘acceptable', which can create spaces that are harmful, toxic and void of any sort of individuality and uniqueness – it can often be a place where difference in not celebrated but rather hidden. This week, our incredible guests share the power that upcycling has in being a paintbrush to the art you wish to create and see in the world - a world where the gender binary is challenged, where we go against ultra fashion trends, and have the permission to dress freely without societal bias and prejudice. We hear how pain can be the source of our purpose, and how textiles and materials are the vehicle in this journey of pride, play and personal empowerment. We explore the origins of gender-based crafts, the passing over of traditional skills and techniques, and how our guests are challenging the confines of gender stereotypes through reimagining materiality. Links from the conversation: Lynden B. Miller (artist that Ella mentions) Fran's Website Series NY Website Follow Francisco on Instagram Follow Series NY on Instagram

Episode 317 features guests Megan L. Schnitker, an Indigenous Traditional Herbalist and Niha Elety, a fashion advocate, designer, chef, and storyteller. Megan is the owner of Lakota Made LLC, who offer plant medicinals and personal care products. Niha is the founder and CEO of fashion brand, Tega Collective, a brand that co-creates with Adivasi (Indigenous) communities celebrating their craft and knowledge with each collection. “American herbalism was founded on Indigenous knowledge and use of all the plants that are in North America. And so, American herbalism is founded on Indigenous women's knowledge, Indigenous storytellers' knowledge. And we're very rarely credited for giving colonizers that knowledge. I credit the herbalists that saved a lot of that knowledge and are using it and kept it alive, but it came from Indigenous people, it came from Indigenous women, it came from Indigenous medicine; it came from us.” -Megan “The history of fashion production for centuries has been by women primarily. I'm from India, so in India, there's large groups of artisans and garment workers and weavers, and a majority of the population that are in those kinds of professions are women. And over the years, I would say with the industrialization of textile production and all of that, men often became the heads of big fashion companies that we see today. So, a lot of them have profited from knowledge that a lot of female artisans and designers have been creating for a long time.” -Niha MARCH THEME — Acknowledging The Confines of Gender & The Folks Disrupting Stereotypes One of the recurring themes our incredibly powerful guests shared this week is that for true sustainability to exist, we must go beyond commodification and capitalism to focus on consent, compensation, credit, collaboration and co-creation where the individual human is valued and respected, and where preserving culture is at the forefront.  We question things like ownership and agency, and the power dynamics that play into who gets to decide what is deemed “fashion” or “medicine”. Who are the knowledge holders in fashion, wellness, herbalism & health spaces? Whose knowledge do we value? And what are the deep rooted reasons our society often doesn't give credit to certain genders and their intersectionalities?  We learn that craft and wellness are embedded into the wisdom and intuitive ways of life for Indigenous people and cultures, from the Adivasi communities in South Asia to Indigenous people like the Lakota here in the U.S. And that by design, the erasure and extraction of female knowledge, the matriarchs of so many cultures, is a constant struggle.  The solution is more than just words, it's the actions and uplifting and amplifying of Indigenous peoples, and the honoring of traditional ways that have real potential to impact systemic change. It's also in slowing down our everyday interactions and the way we share information and knowledge, in a way where we actually respect and pay homage to the origins of ideas.  NOTE: Megan had to jump off our call to make it to her child's parent teacher conference, so we weren't able to hear her thoughts on our last question during the episode. We were thankful that she was able to send through her ideas on “how to slow down when everything feels fast” so we can share them with you here: I take time at least one day a week or one morning a week. I have nothing scheduled and I clean my house so I can sit in a clean house in silence.  I sit there and look at all my family pictures on the walls, family that's passed on, good times, and sad times and I practice gratitude. Gratitude for everything I have, everything I receive and for the moments that brought me this far. If it's warm out (my fibromyalgia doesn't like cold), I'll go outside and drink a cup of tea or coffee in my backyard and listen to the sounds of nature, and just sit and practice gratitude for everything that brought me to that moment. I sit with the chaos of my kiddos and I smile and thank the universe / Tunkasila for sending me these amazing beings I get to mother, I thank my girls all the time for being who they are and teaching me so much and also bringing so much value to my life; without them, the motivation wouldn't be there. Before bedtime, I read my girls books, and as I read them this story, I cherish the moments before sleep and thank the universe for keeping me here and getting me here. -Megan Quotes & links from the conversation: Lakota Made Website Niha's Website Tega Collective's Website Follow Lakota Made on Instagram Follow Niha on Instagram

Episode 316 features guests Lina Barkawi, a Tatreez practitioner, preservationist, and educator based in Brooklyn, alongside Eman Toom, a Palestinian Tatreez artist, teacher, sewer and crafter. “Part of just doing tatreez, in my personal opinion, is a form of resistance because we're basically just existing and we're showing our Palestinian identity, but there have also been very explicit uses of tatreez as a form of resistance. And so you have thobes that came out of the intifadas in the ‘90s where the flag was banned and so these are very explicit uses of tatreez where they would stitch literally the Palestinian flag. Or different motifs, like new motifs that came out of representing national identity and things like that. So, I just wanted to mention that because there have been very explicit forms of resistance, but I think the more subtle ways is kind of where Eman and I are playing a very big role in — is thinking about how do we help just bring more Palestinians into this art form and help them reclaim this art form and use it, because just by doing that, no matter what your color preferences are, whatever your background is, that is just in and of itself a form of resistance against an occupier.” -Lina “The technique and the skill that you're using to create these motifs — it is at its simplest form, a form of cross stitch. There's other forms of tatreez, but for the most part, it is that. But what I try to always remind people is that tatreez is so much more than that, in the sense that it is a record of our history. You know, the more that we study Palestinian embroidery, the more that we're studying tatreez, the more that we're studying the history of Palestine at the same time. You can't have one without the other, they go hand in hand.” -Eman When we think about sustainability, what's the first thing that comes to mind? Perhaps curbing our addiction to consumption, mass manufacturing, and circular materials. But what about cultural sustainability, craft, connection to ancestral land, and challenging colonization through continuing to uplift centuries old traditions?  In this week's episode we learn from our guests about how Tatreez inherently IS sustainability. The motifs and symbols embroidered on cloth are a language of symbols documenting spaces in time, they tell stories of nature, the flora and fauna around the Women making them. We learn that the hand made process is the antithesis to homogeneous fashion - it is slow, considered and truly one of a kind.   In 2021 the art of embroidery in Palestine was recognized by UNESCO as an important intangible cultural heritage - an artform that connects the Palestinian people to their roots. Preserving culture is inherently and naturally, as our guests share - sustainability. It needs no labels, or commodifying - it is made up of the everyday rituals, traditions, craft and practices that celebrate identity.   Quotes & links from the conversation: “The Land In Our Bones” by Layla K. Feghali, book Kestrel brings up briefly  Lina's Landing Page Listen to Tatreez Talk (Lina's new podcast) Eman's Website Follow Lina on Instagram Follow Eman on Instagram

Episode 315 features guests Amy Denet Deal, the founder of 4Kinship, a Diné (Navajo) owned sustainable artwear brand, alongside Sha'Mira Covington, Ph.D., an interdisciplinary scholar-artist and Assistant Professor in Fashion. “Thinking about sustainability beyond just the textiles, thinking about the land that we're on, how we can live in reciprocity with the people, the four-legged relatives, everything, the plants, the animals here — in all the work we do. Which is why community focus is so much part of what I consider sustainability ‘cause everyone should be thriving from what we do — not just the brand, not just a couple people, everything around needs to be in that harmony.” -Amy “I'm very much so motivated by truth. We, as a society, have gotten really deep in the business of pretending, pretending that things are ok and they are not. We, as as society, are very spiritually unwell, yet we continue to go on as business as usual. This facade of sorts keeps me up and the performative untruths we have to tell ourselves every day to function in this society is very unsettling to me. This motivates me to be a seeker of truth, to better connect to myself, to nature and to other people.” -Sha'Mira In this week's episode, we explore the topic of INTERGENERATIONAL KNOWLEDGE IN FASHION & TEXTILES. To say this episode was healing, would be an understatement.  We talk about how we can learn from the trees, and the sky and the land that we walk on each day. What Black and Brown Indigenous cultures teach us about truth-telling, and the unlearning and relearning of traditional ways. We also explore how community circles are a solution to creating more social impact and better connections … with one another, with our four legged relatives, and the natural world around us.  This episode teaches us how to live in reciprocity, and how fashion is more than just aesthetics; it's about the upholding of cultural practices, and the amplifying of intergenerational knowledge and traditions. In order for these to live on, we all must actively participate in honoring and respecting and appreciating them – not appropriating them.  We all have a responsibility to take part in challenging systems to better heal the planet and its Indigenous cultures who have always been the inherent teachers of these connected ways of life. We can't wait for you to listen and learn from our guests this week who are the holders of so much wisdom, knowledge and truth. Tune in as we contextualize our February theme – Sharing Textile Knowledge Across Generations. Quotes & links from the conversation: Water Protectors by Carole Lindstrom, children's book Kestrel mentions  Images above are from Sha'Mira's recent installation at the Fashion for Good Museum in Amsterdam, Netherlands, entitled Curative: Confronting and Healing the Fashion-industrial Complex 4Kinship currently has 2 fundraisers active for their community initatives: 1) Text SKATEINBEAUTY to 707070 to help them deliver skateboards on Navajo Nation with Diné Skate Garden Project 2) Text ILLUMINATE to 707070 to help amplify and elevate Indigenous creatives with 4KINSHIP INDIGENOUS FUTURES FUND 4Kinship's Website Sha'Mira's Website Follow 4Kinship on Instagram Follow Sha'Mira on Instagram

In episode 314, you'll hear our first official roundtable format, featuring guests Beth Jones, YouTube star and creator of B. Jones Style, alongside Dounia Wone, the Chief Impact Officer at Vestiaire Collective, a platform that showcases luxury preloved fashion. “It's few and far between that the fast fashion holds up against vintage or really quality pieces maybe made by a designer or things like that … Even if it has a vintage look to it, there's something about it that doesn't hold up in a way. And honestly, I will be a little bummed. It's Zara. I'd rather have the old Kathys of California blazer or dress. I end up not being excited about it, so often, I just go with something else instead.” -Beth “Vestiaire is a 15 year old company. Our founders really believed in fighting overconsumption and overproduction back then in Paris … When I went to them and said ‘ok, let's ban fast fashion,' they were completely in … what we want is that it will educate the consumers on our platform. What we were looking at is the behavior … what we saw for the last year was actually people are staying on the platform, 70% of the people who were impacted by the ban stayed on the platform and actually reinvested more and bought less.” -Dounia JANUARY THEME — Fast Fashion, Consumption & Why Self Work Is Integral To Changemaking When we talk about the messes of the fashion industry, a recurring theme we circle back to is – OVERPRODUCTION – especially with regard to fast fashion. Whether you're super interested in sustainability and fashion or you're new to the conversation, most people today are coming to the basic conclusion that fast fashion is problematic, due to its incessant mass production. There has been a lot of commentary over the last 7 years, about I guess, the questioning of our moral compass, when it comes to how we shop for fast fashion. What do I mean by that? Let's break it down.  We know that fast fashion is everywhere, and that so much of our clothing ends up in charity shops, where sadly, a great deal of it is destined for landfill.  So, to address this cycle, does it make sense to buy fast fashion from the secondhand economy? Can we then prevent these clothes from ending up in landfills?  It's not that simple. Other questions come up like – “If we adopt the same shopping behaviors in the secondhand economy as we have with fast fashion, what really changes? Where do we draw the line?” Or Aren't we just encouraging the fast fashion industry to churn out more *stuff* to feed the overproducing system it has generated? In this week's episode, we chat with two incredible powerhouse women from very different realms of the fashion industry. They each contribute so much to helping dissect this tension –  We explore the layers of responsibility we hold as everyday individuals The power organizations hold in enacting change And how lobbying and legislation is an integral part of fashioning a better future for fashion.  We also discuss the power of personal style and how we can all start shifting our buying behavior by ‘Always Playing Dress Up'. Sound familiar? One of our guests coined that very phrase. Tune in as we dive deeper into our January theme – Fast Fashion, Consumption & Why Self Work Is Integral To Changemaking.  Quotes & links from the conversation: “Not-So-Fast Fashion: Embracing Responsible Consumption Through Online Activism”, article by Dounia that Nat mentions B. Jones Style Website Vestiaire Collective Website Beth's YouTube Follow Beth on TikTok Follow Vestiaire on TikTok Follow Beth on Instagram Follow Dounia on Instagram Follow Vestiaire Collective on Instagram

In episode 313, you'll hear from co-hosts (yes, co-hosts!) Kestrel Jenkins and Natalie Shehata in the launch of Season 7. This is also the first episode in which Kestrel and Nat showcase their new co-host dynamic. With this powerful community-driven change, they've teamed up to reimagine some aspects of the show. Here's what you can expect this season: Roundtable Discussions — featuring at least 2 guests per episode Focus On Making The Conversation More Circular — bringing more folks to the table to learn from various voices at the same time Monthly Themes — we'll hone in on a specific topic each month Bi-Weekly Episodes — expect to hear 2 episodes per month, instead of the previous 4 because, slow media :) JANUARY THEME — FAST FASHION, CONSUMPTION & WHY SELF WORK IS INTEGRAL TO CHANGEMAKING Do you remember episode 303 when we talked about slow media and telling stories through love, not labor? In our kickoff to the new season, we decided to go deeper into this love-not-labor concept – to explore what it really means and how this approach directly relates to sustainable fashion.  Pulling back a little further – our focus of this show is Self Work. But what does this really mean? In general, it gets aligned with the idea of self improvement. Across the fashion media landscape and socials lately, we've seen a heightened interest in looking inward to question what you really want out of your life. Why? Well, it's the time for annual resolutions, as we just celebrated the launch of a new year. And with that – in sustainable fashion lately, there's been a lot of commentary about how things need to be reimagined across the industry, with folks voicing different approaches to achieve larger scalable transformation. At the same time, it feels like the movement needs to have a more organic approach and not be so defined or limited – because as it stands, sustainability is so different to each of us, and in order to cultivate a space that is truly diverse, we all need to be at the table to provide our unique approaches.  But whether or not we're at the table, in order to take any sort of action, we need to go back to the beginning and tune into ourselves. When was the last time you questioned your values? What do you truly care about? Until we are clear on these aspects within ourselves, how can we live out these values and put them into practice?  Therein lies the crux of what we break down in this week's show.  Find more notes at www.ConsciousChatter.com.

In episode 312, Kestrel welcomes Denali Jöel, a non-binary Multidisciplinary Artist, Designer, Educator and Fashion Griot, to the show. Born and raised in Kingston, Jamaica, Denali has been an asylee living in the US since 2014, recently obtaining their U.S. citizenship this year. Their art praxis intersects design, performance, media and community engagement with particular focus on queer identities and Afro-diasporan histories, futures, collective healing, and radical imagination.  “It comes back to us as an individual but also as a collective to recognize that we need to shift our own relationship to fashion and with fashion as a tool for the ways in which that we show up, the ways in which we disrupt our own oppression. I think we place so much emphasis on calling out and asking industry to do better and I'm just like — the industry is actually operating the way it's supposed to, like it was built. Again, when you think about whose imagination we are living in, that is the imagination. And so, when we force folks to shift, are we just bullying them into performing a version of change or is it possible that we could create new ecosystems within our own selves — and using the resources available to us — but creating that shift and slowly moving away from industry and start thinking more about ecosystems.” -Denali This is THE FINAL EPISODE of Season 6. Launched in February of 2022, this season has taken us on a journey – and here we are, arriving at the 52nd episode of this era of Conscious Chatter. Over the last two years on the show, we have questioned so much of how the fashion industry operates, and really dove into unique ways that individuals, companies and initiatives are working to basically unlearn *the way fashion has been done* and relearn new ways of reimagining its future.  This final episode of the season feels really important to me – as it's the last show that will be oriented in this way. As Nat and I have teased a bit here and there, we have a fresh approach to Conscious Chatter coming to you with Season 7. :) But with this immense feeling of wanting to culminate Season 6 in an extra meaningful and circular way, I sat and questioned for quite some time who could provide that sort of grounding presence. When I thought of this week's guest, I felt instantly at ease and an all-encompassing feeling of warmth and hope surrounded me. They were the person that could help us close out this season. It may sound a bit airy fairy, but this episode feels like a massive hug to me – I hope you feel it too. In today's world, we hear the word INTENTIONAL thrown around a lot. It's one of those words that has taken hold in recent years and become a go-to. While we see its use on a consistent basis, I'm not entirely sure whether we're seeing its meaning carried out in practice. What is the definition of INTENTIONAL? According to Dictionary.com, it is defined as: done with intention or on purpose. In order to do something with intention, there is almost undoubtedly a need to slow down and become more present and tuned into that process. As we know, slowing down is not really something the systems around us are advocating for.  But that doesn't mean there aren't folks out there truly taking the meaning of intentionality to heart and very thoughtfully putting it into practice.  I say it in our chat, but I'll say it again – this week's guest takes intentionality to the extreme, in the most beautiful way. They also consistently resist the systems around us by working to reimagine their own approaches and value indicators outside of the vacuum as much as possible. For example, they approach fashion and costume design as an art praxis that is rooted in intentionality, sustainability and social equity, and that is guided by three Afro-Indigenous philosophies.  Instead of commodifying it, they have and continue to use fashion as a tool to slowly further discover themself. But what I love about how they communicate is they are not only talking about themself as an individual, but also being a Black Queer person, they are telling stories as a part of a larger community of intersections, brimming with collective histories, present circumstances and collective futures. Quotes & links from the conversation: “The more I matured, the more I realized that external validation was very fickle and fleeting. And so, it came now to — when I look in the mirror, do the clothes that I wear, does my appearance uplift and reverence the divine feminine and the divine masculine that lives within me?” -Denali (25:07) “Because of me and my own intersections, the work that I do is constantly in conversation with who I am and my positionality in society — the areas within which I feel marginalized and also the areas within which I feel liberated. And so, I want to ensure that I'm making space for that and holding the past, the present, and the future within me. And so, being a griot is essentially that — it's acting as an archive, as a vanguard of sorts, you know protecting and advancing the stories of who I am as an individual but also as a collective body — centering and amplifying the Black femme, shifting the balance to us recognizing that Queer folks, especially those at the intersection of being Black and Queer are diviners historically — reclaiming all of that. And so, being a griot was important to me because like you said, I'm a storyteller and I think it hit me when I realized the vicissitudes I've had to survive in my life are to kind of give me and provide me with all of these stories — these stories that again, through the Ubuntu principle are not just for me, but they're for the collective, they're for everyone.” -Denali (31:52) “Parable Of The Sower”, book by Octavia E. Butler that Denali references connected to their upcoming project in collaboration with The New Children's Museum in San Diego, CA “I think we talk a lot about diversity, equity and inclusion, but we don't talk about belonging. And belonging invites us to think holistically about the space — tactile — what does it feel like? What does it smell like? What does it taste like even when we enter the space, and is it familiar to those of us who have always felt as though we've existed outside of these spaces?” -Denali (44:53) “Songs Of The Gullah” — a fashion film by Denali Denali's Website Follow Studio Asa > Follow Denali on Instagram >

In episode 311, Kestrel welcomes Julius Tillery, founder of BlackCotton, to the show.  A 5th-generation cotton farmer from North Carolina, Julius founded BlackCotton to help center and uplift the Black community closest to the cotton fields in Northampton County, North Carolina. “There's so many demons and like bad spirits and bad tropes around cotton and the industry in general, and you know, just coming from the South, and people having these perspectives of cotton production relating to slavery — I felt like people was making these notions about cotton and not really knowing anything about cotton. And I wanted to start educating people about the cotton business, and even myself and how people like myself — how we end up in cotton. Families that work in cotton like, what was their value-in working in this type of production? And I wanted to change that outlook to make it look more stronger and prestigious than what was assumed.” -Julius About 6 episodes back, we had a chat with the brilliant leader and self-proclaimed solutionist Tameka Peoples of Seed2Shirt. This episode was deeply focused on the work Tameka is doing to rebuild equitable and just cotton systems & foster the reclamation of cotton acreage for Black farmers. It's a really important show that helps provide some of the historical context around cotton in the United States, as well as ways that Tameka and her team are working to reimagine new systems for cotton. When guests lead to new guests, I like to acknowledge that because it's a beautiful thing. So, thanks to Tameka and our interactions, I was led to this week's guest – Julius Tillery. This week's guest was raised amongst cotton fields – growing the fiber is something that runs deep throughout his ancestry. As a 5th generation cotton farmer, he has followed in the footsteps of generations before, but – with a twist.   Known to many as the Puff Daddy of Cotton, he has approached the cotton industry with a focus on remixing what the business looks like today. As a young person, he saw the imminent need to rebrand cotton, and to help expand the narrative around the fiber away from the harmful alignment it often has with simply being a poor man's crop.   Julius shares more about how he's reimagining what a cotton farmer's business model can look like today, how he's creating alternative revenue streams, he reveals some of the financial challenges farmers face, and tells us how he was able to actually turn fiber from his family's plants into fashion. Quotes & links from the conversation: “And I think that's what really makes us to the sustainability component of clothing and sustainable world in general — is this is actually real stuff that comes off a real farm — and I make it culturally and I make it about environmental where it's coming from a Black community from Black people that's growing cotton in an area, in a time period that we used to be oppressed by this crop, but actually now we're trying to control it and make it something that we can be proud of and uplifting our community. I hope that in my community I stand as a symbol of pride and of strength, being a farmer, instead of somebody who was oppressed.” -Julius (10:22) “What I'm doing with my farm is trying to show pride in being a farmer, and that's moreso than just culturally — that's just all of the industry and environmentalism. Like, we have to have more respect for the resources that we create with our planet, so that we don't waste them, so that we don't have to have bad resources come back to us. I'm really into like — why are we importing so many products when people need jobs here in America, people need jobs here in the Western Hemisphere — how can we connect dots so we don't have to ship stuff all across the world?” -Julius (15:22) “Cultivating distress: cotton, caste and farmer suicides in India”, research article that highlights the distressing statistics around cotton farmers and suicide (something that Kestrel brings up on the show) — “Nearly 4,00,000 farmers committed suicide in India between 1995 and 2018. This translates into approximately 48 suicides every day.” “I feel like it's important that as much as possible, we find ways to support sustainable so there's a reason for it to be in the marketplace.” -Julius (19:27) “And that's the only way we gonna be sustainable is these big companies see purpose in dealing with such small companies like myself. I hope that things can change but you know, I'm really being real about who we are in regards to what's the culture of the industry we in. Cause I'm so much smaller than the cotton farmers I'm around but that allows me to make decisions and be someone who can think more efficiently and more lean.” -Julius (20:05) “With urban agriculture and the growth of farmer's markets all across the country, I believe there's people seeing the value and worth of growing their own foods and products. So there's so many people that want to learn to grow their own food and products. So many people want to learn about the business of foods and products. I believe there's new energy around agriculture and it's a constantly growing industry right now. And I think that the way our education system has been set up for many years, and even right now — it's set up to disadvantage agriculture, like it's telling you not to go into it. Like our college prepatories teaching you to be a doctor, a lawyer, some type of high white-collar job / professional, but I think there's a lot of things in pop culture, I believe there's a lot of living arrangements right now that's bringing new energy to people that grow outdoors. The new look of a farmer is a lot more updated than 30, 40 years ago. You know, farmers are aging, but then there's young farmers coming in that's using the internet and really out here networking and connecting, and so there's a tide turning.” -Julius (30:15) “I like to compare myself as an ant to the whole cotton industry, the cotton jungle. Ants make mounds, and before long, there's more mounds than you can count.” -Julius (32:16) “Rewriting The Story Of Cotton” in Our State  “Meet The Puff Daddy Of Cotton”, Human Footprint episode on PBS that features Julius BlackCotton Website Follow BlackCotton on Facebook > Follow BlackCotton on Instagram >

In episode 310, Kestrel and Natalie welcome Cassandra Pintro, an Associate Production Manager at Vogue and the founder of The Consumption Project, to the show. With a focus on making impact cool, The Consumption Project serves as a catalyst for educating folks about the impact of their buying habits and nurturing a collective mindset that values quality, longevity, and the environment. “So, it was — how do I find myself in this space and how do I make space that opens up a door for other people to feel comfortable, and you're starting from a place that is kind of like a blank slate. And I really felt that sustainability was the right vehicle to tell that story and really get back to basics if you will, cause that is really what, in my mind, consumption is about — it's about people telling you what you need to have vs what you actually need to have or what you might even want for yourself vs what you're thinking you want for yourself.” -Cassandra You have probably heard us talk about consumption on the show – it tends to be a recurring theme that weaves its way into the majority of our conversions, in one way or another. While there are so many issues contributing to fashion's inequitable systems, consumption (fueled by overproduction) is a very significant piece of the overarching puzzle.  And while it may not always feel this way – our consumption is something that we actually have some sort of control over. Do you feel like you are tuned into your consumption habits? Are you aware of what you buy and why you buy it? Do you regularly question what is *enough* for you?  Maybe some of these resonate, or maybe you haven't asked yourself these questions before. Either way, we all have more work to do when it comes to tuning into our buying behaviors. Considering the capitalistic world that we live in, where more is regularly touted as the best option, it can be challenging to turn off all the pro-consumption marketing noise around us, constantly telling us that we need to buy something else to be better.  This week's guest realized that she wanted to challenge herself to be ok with what she already has – to embrace what was currently in her closet as enough. As an associate production manager at a fashion publication – one many would say is the holy grail of fashion magazines — her decision to stop consuming fashion items for a year felt nothing less than iconic. Leading by example, this week's guest decided to open up her personal consumption journey and welcome others in, to join her in the process. She created a safe space where folks are opening up about the oxymoronic realities of their unique journeys. The honest dialogue she's cultivating allows us to feel like we're a part of something bigger, yet without the need to performatively appear perfect. Because when you're grappling with consumption, failure of some sort is expected and should be embraced as an educational tool, not defeat.  Quotes & links from the conversation: “I felt like I couldn't keep going down that path without challenging the space that I'm in, and it was a really big part of the early mission of Consumption Project — there were a couple different things that were really important to me, but one of them being that it needed to feel like something that was easy and accessible (accessibility is huge to me), it needed to feel like something that people could do unconsciously without it feeling like they are a climate expert, which is also really important for me as well. I really wanted to do something that didn't position me in a place for people to think that that's what I was, because I feel like that's unfair to people who are actively in this space and have been in it a lot longer and know numbers and statistics a lot more than I do. And I really wanted to do something that felt like it was talking to my community, first and foremost — my friends — and saying ok, if I'm at step 3 and you're at step 0 or 1, maybe I can at least just hold your hand and be a vehicle to making you think a little bit more consciously.” -Cassandra (16:35) “I'm not perfect at it yet, it's a very new thing. And I think the thing that I was most willing to do with Consumption Project is fail or get it wrong out loud and in real time with my audience and showing them that if I, somebody who works in a place that is considered almost an authority of our industry — 1) if I can gain their support to even talk about this initiative that I'm trying to do, that's incredible and that's a step forward and then 2) while I still am somebody existing in that space, if I can fail in front of people, I think it gives them a little bit more space to feel like they can too.” -Cassandra (37:04) Consumption Project Website Follow The Consumption Project on Instagram > Follow Cassandra on Instagram > In this very painful time globally, we want to offer a reminder to please continue centering Palestinian voices, sharing their stories, and using your voice. We acknowledge that communities who are marginalized and experience ongoing oppression don't always have the capacity or safety to be *active* – so we are calling in our community – particularly our non-BIPOC, who have the privilege to do so – to keep being active in the ways that are accessible to you. As citizens of the world and people working in sustainability, we believe Palestinians deserve the right to justice, liberation and freedom, and acknowledge our responsibility in continuing to amplify their voices and their struggle – but also their resilience and beauty.  If you are feeling overwhelmed or confused or want to refresh your education or further educate yourself on the history of Palestine, check out this resource — A Guide to Palestine for Beginners / A Refresher — that was compiled by Iman, with the support of Bilal Hafda and Aitak Salempour. Also, if you are based in the United States, you can write to your members of Congress and demand an immediate ceasefire here — Tell Congress Ceasefire Now.

In episode 309, Kestrel welcomes Jeanell English, the founder and CEO of ELIZABETH, to the show. An experienced facilitator and people operations leader, Jeanell has worked in an array of roles, most recently as the Executive Vice President of Impact and Inclusion at the Academy of Motion Picture Arts and Sciences, before she dove fully into her own company, ELIZABETH. “Because the reality is — you're never gonna win everything you aim to win. It's not really a competition, it's about progress. And it's so easy to be distracted because you're gonna have people saying: you're not doing enough, you're not going fast enough, you're not going hard enough. You're gonna hear people saying: you're doing too much, you're too hard. So you're really in this challenging intersection. So, for me, establishing very clear goals at the beginning of any role that I take on is so important because that becomes my North Star, my guiding light, the thing that grounds me and keeps me focused.”  -Jeanell What we wear is one way we say something to the world. Each day, we wake up, put on an outfit and step outside into various spaces. The act of dressing, in and of itself, can be an important avenue to express ourselves.  At the same time, we operate within a world that is full of expectations that have been constructed over time, and entrenched in power dynamics. Take for example – executive spaces. You have to *look the part*, right? And don't forget – that usually comes at a high cost. Not only does clothing and appearance play a strong role in these environments, but often, there is an assumption that leaders must act a certain way as well – project a specific persona and showcase their *power position* in how they interact with coworkers. Now let's add another layer. Imagine you work as an Executive in Impact, Diversity, Equity, Climate or Sustainability. You're in a role with the understanding of the imminent need to dismantle systems of power as a part of the work – but you're operating within some sort of hierarchical structure at the same time.  And don't forget the tension of navigating the worlds of activists and executives, as someone working in these fields. How can you satisfy both sides? Are you questioning what this conversation has to do with sustainability and fashion? For starters – the pressure to uphold a specific *image* through the way we dress or act in executive spaces is rooted in inequity. Having to visually showcase that you belong, based on the clothing you wear, is an issue of accessibility. This week's guest has extensive experience navigating so many of these intersections – and working for notable organizations like The Academy of Motion Picture Arts and Sciences. Creating change is challenging, but learning from folks like her who are navigating these intersections is key to reimagining creative ways to intentionally move forward. Quotes & links from the conversation: “Leading with kindness and respect and curiosity is one of the ways to disarm someone who might be coming to a conversation from a place of defensiveness or wanting to protect legacy, because you're not coming to attack, you're coming to understand, to question, to have a conversation, which can be just as effective at dismantling these systems of power. Because you've eliminated this feeling, this tension that is underlying this conversation that really is about change.” -Jeanell (23:52) “I cannot value inclusion and equity and accessibility if I don't model it in my own leadership behavior — that's always been incredibly important to me and for me. And I've seen and had the honor of working with great leaders who have modeled that for me.” -Jeanell (28:53) “The reality is someone is always going to have an issue with the way that you're approaching things — it goes back to what I was talking about and being in this intersection of really vocal, vocal, hugely well respected advocates pushing things forward in a very big way and executives who are satisfying sometimes different needs. They each have different values that are driving them on a day to day. And I think you can get lost in trying to assimilate and align your values with the different parties. When again, what is your North Star? What's your guiding light? What are the goals that you have set out? And of course, you might flex and you might learn from either side along the way and that informs your path forward, but needing to satisfy or having that innate feeling that you have to satisfy is part of the issue of us moving things forward. I sit in the space of progress, again — progress not perfection.” -Jeanell (32:36) ELIZABETH Website Follow Jeanell on Instagram >

In episode 308, Kestrel welcomes Muchaneta Ten Napel, the founder of Shape Innovate and FashNerd.com, to the show. As a fashion economist, a lecturer, a writer, a consultant and the founder of Shape Innovate and FashNerd.com, Muchaneta is powering change through a multifaceted approach.  “To many people, today, to be sustainable is a way of draining money out of your company — it's not a money-making initiative. And that's the kind of thoughts that I would like to really change. Because for me, that merger of fashion and technology is growing and changing. It's going beyond the wearable tech that we all were kind of excited about, and all the different devices. It's now the idea of using innovation to make a social impact and to problem solve when it comes to sustainability — that's where technology is now.”  -Muchaneta Fashion's obsession with technology is something we've spoken about before – there's this sentiment that often permeates the space, hyping tech to be some sort of avenue that will serendipitously save us all from the climate crisis. From investors to the media, tech is often held up on a pedestal, and treated as though it's going to be the reason or the way we change fashion for the better.  From my lens, there's no golden ticket – we need so many avenues and approaches – you know, we need regulatory change and we need corporate change, and we need individual change and collective advocacy.  And as we've talked about before – there are so many important reasons to not only look into the future, but also to look back into history and culture. For example, we can learn so much from Indigenous practices – from farming techniques to dyeing approaches and beyond. And when it comes to tech today, more and more information is coming out that highlights the complications that can come with these new innovations, from an equity lens – I think of some of the conversations around AI connected to the *stealing* of art, or the way some brands have used AI to generate so-called diverse models, instead of actually hiring and paying Black and Brown Indigenous models.  There's a lot there. This week's guest launched one of the early platforms dedicated to exploring the intersections of fashion and tech back in 2015, so she clearly has an affinity for exploring what technology can offer the fashion space. At the same time, she doesn't buy into this sentiment that *tech will save us all* – instead, she thinks of it as one of many tools that are necessary to address fashion's inequitable systems. This week's episode goes down an array of tangents connected to fashion – from technology to policy to media, we're getting into some of the important reasons that the future of fashion is intrinsically multifaceted. Quotes & links from the conversation: “We need to stop using innovation as a marketing tool — because I feel sometimes the fashion industry hasn't got the ability to commit to the idea of innovation and push it forward so everyone can reap the benefits of technology but they're very keen to use it as a marketing ploy to push forward an idea, a thought, an experience. And the problem I have with that is that they don't commit to it — it's a moment and I feel like it cheapens the technology, it makes people not take it as seriously as they could do. The view of what technology is to fashion is I guess muddied by the way it's used as a marketing tool.” -Muchaneta (14:49) “The fashion industry is very me focused, rather than we focused — so how can we as an industry realize the enemy of my enemy is my friend, and work together for a common goal?” -Muchaneta (16:07) “If we are planting these great ideas in bad soil and expecting it to flourish, well, of course we're going to fail. So, when it comes to being sustainable as a brand, you need to have it in your DNA, it needs to be part of your strategy in order for it to flourish.” -Muchaneta (17:45) “You can't blame ignorance and lack of knowledge on your bad decisions because the information is there — it's a question of whether you choose to become a catalyst for change or you choose to just continue trading like we're back in 1996.” -Muchaneta (26:00) “Technology is not something that is going to save us — far from that — but what it will do — is make it easier for us to save ourselves.” -Muchaneta (29:03) “What we're trying to use with technology — we're not trying to take away the creativity of fashion — we're trying to change how fashion does business.” -Muchaneta (31:00) Shape Innovate Website FashNerd.com Website Culture and Creative Industries (CCI) Taskforce UN Climate Change Global Innovation Hub (for those who want to stay ahead of the coming changes) Muchaneta's LinkedIn Follow Shape Innvovate on Instagram > Follow FashNerd.com on Instagram >

In episode 307, Kestrel welcomes Rachel Arthur, a strategist, journalist, and the Advocacy Lead for Sustainable Fashion at the United Nations Environment Programme, to the show. Rachel is the lead author of The Sustainable Fashion Communication Playbook, which was published earlier this year by the United Nations Environment Programme and the UN Climate Change Fashion Charter. “Communicators themselves, on a couple of levels, have had the ability to participate and to contribute I think is what I'm looking for here, and that is the first of all. But they themselves, by being communicators, have a skill set that is missing in the sustainability space, which is around this notion of making something desirable, creative — making people fall in love with things. That is fundamentally what fashion does, and we need to redirect it toward sustainability.” -Rachel Are you a communicator in the fashion space? Whether it's through your work or everyday life, communicating about sustainability and fashion can be challenging and complex.  This week's guest is the lead author of a new framework for fashion communicators – it's called the Sustainable Fashion Communication Playbook, and it's a deep dive into why we must all play a role in shifting the narrative.  The Playbook provides actionable steps communicators can take including: establishing a foundation with verifiable information, acknowledging that fashion is integral in building culture, and highlighting the role storytellers must play in advocating for change. We address head-on one of fashion's biggest issues today – misinformation. As the report highlights, A 2020 study by the European Commission found 53.3% of environmental claims communicated in the EU at large were vague, misleading or unfounded. And a fashion specific report by Changing Markets from 2021 finds that 60% of sustainability claims by European fashion giants are “unsubstantiated” and “misleading”. The Playbook recommends that one way communicators can break the cycle of misinformation is by leading with science. While this is absolutely necessary, I regularly hear frustrations over the lack of accessible scientific data and research available in the fashion space. We explore this tension as well. Telling stories is powerful and can influence change. Quotes & links from the conversation: “So, I don't think that there is a silver bullet here — there isn't the single answer in the playbook, but the intention is to open up this discussion and put it on the table and importantly say that marketers, communicators, anybody in that sort of job function, which basically means that they spend time communicating with consumers in some capacity, has a role that they can play here to help towards change.” -Rachel (16:58) The Sustainable Fashion Communication Playbook Report The Sustainable Fashion Communication Playbook Interactive FashMash, global community Rachel helped cofound  Rachel's LinkedIn Follow Rachel on Instagram >

In episode 306, Kestrel welcomes Tameka Peoples, the founder and CEO of Seed2Shirt, to the show. A Black-woman-owned vertically integrated ethical apparel production & boutique cotton merchant firm, Seed2Shirt is focused on rebuilding equitable systems and institutions. “You're seeing laws put into place like the 1862 Homestead Act where there were millions of acres of land just given to white families. And Black people were at the same time, being burned out of their communities. What I mean by that is — there's elements to this thing that we call fashion — that's connected to raw commodity that's connected to land that is a part of the blood, sweat and tears that Black people have put and poured into this economy and poured into this country.” -Tameka When we look back at agriculture in the United States, a lot of the origins of farming in this country were built on an extractive, harmful, and extremely damaging history. So much was stolen and stripped – from lives to land to livelihoods.  We don't talk enough in the fashion industry about its true origins – about who helped build the cotton industry – a textile that has been deemed and marketed as: *the fabric of our lives*.  From 1765 to 1861, during the years of Chattel Slavery, $528 billion dollars worth of cotton were farmed – mind you, this happened with the use of enslaved labor. Fast forward through layers and layers of other significant historical moments to where we are today. While the cotton industry in the United States was literally grown by Black folks, today – the numbers say there are less than 1% Black Cotton Farmers. This week's guest understands so much depth of this history – and when she discovered she couldn't buy a t-shirt made by Black folks using cotton farmed by Black folks, she decided she had to make one.  This was the seed that has continued to grow and flourish into what she is doing today – while many may call it conscious fashion, for her – it's so much more than that. As a self-proclaimed solutionist, she's rebuilding equitable systems and institutions, with intention and care, while supporting Black farmers along the way. Quotes & links from the conversation: “Yes, they love Black images and Black body and Black fashion and they use us to sell to people for industry. But what part of that industry do we own and control?” -Tameka (9:45) “You're seeing laws put into place like the 1862 Homestead Act where there were millions of acres of land just given to white families. And Black people were at the same time, being burned out of their communities. What I mean by that is — there's elements to this thing that we call fashion — that's connected to raw commodity that's connected to land that is a part of the blood, sweat and tears that Black people have put and poured into this economy and poured into this country. So, we are building back land elements, we're building back equity for Black cotton farmers, we're building an institution that portions of it we control that they can plug into, and then, we're part of larger institutions that allow farmers that are in this space allow their cotton to move through.” (14:29) -Tameka “Everyone has a responsibility to figure out what their role is in doing their part. You walk around anywhere and there's a recycling bin and they're encouraging — hey, if that's a plastic bottle, or if that's paper or cardboard, put it here. So, everyone plays a role — we believe our programs really can change the world for the better.” (21:18) -Tameka “This is about bringing back livelihood, honor and justice into Black farming, Black cotton farming, Black production, and we can't wait for anyone else to do it for us.” (38:04) -Tameka Bridgeforth Family Farms, Black owned & operated farm since 1877 (Seed2Shirt partner) Donate to Seed2Shirt's Farmer Enrichment Program > Seed2Shirt Events Upcoming Farm Tours Seed2Shirt Website Follow Seed2Shirt on Instagram >

In episode 305, Kestrel welcomes Lisa Diegel, the Global Sustainability Director at Faherty, to the show. A family business, Faherty is focused on making high quality clothing. “They knew they wanted to do things differently and not follow that conventional way of take > make > waste in the fashion industry. They wanted to build a feel-good brand. And I think to do that, you need to be accountable and you need to take responsibility for the products you put out into the world.” -Lisa As we've explored on past episodes, the fashion industry has a deep history of appropriating and stealing ideas and designs. Our guest Manpreet Kaur Kalra, back on episode 203, said it so potently –  “Fashion has been built on appropriation — it has been built on basically, stealing designs and concepts from communities that have been historically marginalized, and basically, reframing them to be quote unquote minimalist or really ethnic or boho chic.” This week's guest (who is of First Nations heritage) works with a company that used to be one of those so-called appropriating offenders. And this is something they acknowledge blatantly on their website, stating – “For years, the fashion industry has exploited and appropriated Native prints — and for years, so did Faherty. Now that we know better, we must do better.” This is not something you typically see a fashion brand acknowledge in such an upfront way to their shoppers. It feels like an important and meaningful step forward in healing some of the extensive damage that comes from these extractive histories. You may be asking – what does *doing better* mean in practice to Faherty? To start, it means modeling a mutually beneficial relationship with Native and Indigenous artists, it means respecting ancestry, land, community and stories. And it means doing a lot of listening and a lot of learning. With the role of Global Sustainability Director, this week's guest has a lot on her plate – but she's also very tuned into the importance of slowing down in order to be able to continue doing this work.  Quotes & links from the conversation: “So, for me, the appeal really was working for a smaller family-run business. You know, I had been working for large corporations and parent companies for about 15 years. And I felt like in this role, I could build a strategy using the knowledge and the skills that I had acquired over the years, but also be able to be really involved. It's really nice to be able to Slack or text the cofounders and get an answer immediately without having to go through these corporate tiers of hierarchy and weeks or months of time to get approval on things. And then the cherry on top, as a Native person, as a person with this heritage, I was just so impressed by the Native initiatives and the storytelling that Faherty was doing around these initiates.” -Lisa (12:58) “In practice, it really starts from the very beginning — from the concept meeting — where the team sits down with some of our partners and really talks to them about what do these designs mean to them, what does it mean to their people, what are the stories behind them? And then, they really support how these artists want to be represented in our modern culture without sort of that stereotypical image that maybe a lot of people might think of when they see or hear of Native American culture. I think that is very special and unique.” -Lisa (15:50) “How To Work In Sustainability At A Fashion Brand", article in Fashionista that Kestrel mentions Climate Optimism, book by Zahra Biabani that Kestrel mentions Faherty's Native Initiatives  Second Wave, Faherty's new resale platform Faherty Website Follow Faherty on Instagram >

In episode 304, Kestrel welcomes Eric Liedtke, the co-founder and CEO of UNLESS, to the show. A collective of innovators, engineers, artists, and activists, UNLESS make plant-based streetwear designed to leave zero plastic waste. “I think sustainability is one of those hygiene words at this point — like everybody can talk themselves into they're doing sustainable things. I think we need to get more specific. I think as marketers and storytellers, we need to really be very clear with our consumers what we're doing. And you know, this crewneck that nobody can see today that I'm wearing, it's gonna last as long as anything else, but when you're done with it, it will go harmlessly back to earth. And I'm using some of our old product and some of our scraps actually as feed for my raised bed gardens at home. This stuff works and it makes good, nutritious soil that we can grow roses or cotton or tomatoes out of.” -Eric Have you ever heard that recurring question in the sustainability and fashion space? I'd say it's also one that permeates the world of climate advocacy as well – and let's be honest, it's pretty binary-oriented in its framing.  I'm talking about the question of which is needed most – individual action, governmental action or corporate change. I mean, let's be real – we are in a state of emergency here, so all hands on deck is preferable, and many of these overlap, but you know, the mainstream narrative continues to search for the golden ticket that will get us all out of this mess.  One thing I hear so much more nowadays than in recent years is – the need for corporations to change. There are petitions regularly circulated, there's all the advocacy work organizations like Remake are doing pushing brands to sign onto the International Accord for garment worker safety. And in alignment with this, there is a lot going on with legislation to try to pass legal frameworks that would hold brands accountable to do better. And on that corporate change note – at this current moment in time, we are amidst an era of strikes happening across different industries because the power holders on top don't want to share with the folks working further down the hierarchy. From actors and writers in the entertainment industry to municipal workers and hotel employees, the pressure is on for corporations to change – to share a bigger piece of the massive pie they're indulging in. But also – it's important to acknowledge that there are so many folks across the corporate space working in sustainability and beyond, and trying to challenge the system from within to change. And let's be real – that's not an easy task with all the current systems in place.  This week's guest worked from the inside for a so-called *power player* for over 25 years trying to push for change, and then, he left to start his own company with a focus on collaborating with innovators, engineers, artists, and activists, to make plant-based streetwear that leaves zero plastic waste behind.  Quotes & links from the conversation: “I did as much as I could when I was at Adidas to turn us from a brand that was focused on just virgin polyester use — as for those that don't know, 70% of fashion and especially sports brands are made from petroleum. It's basically been this advent of petroleum-based product called polyesters or nylons or spandexes, but it all comes from petroleum-based products, which is forever material. When you start to become aware of that, and you start to become aware of the degradation these forever materials have on the planet, on our fellow species, on ourselves, you find it harder and harder to whisper yourself to sleep. And those voices that were personal to you, come up louder and louder in your head. And you can't unhear and unsee the things you're doing. So, at a certain point, you're like ok, I need to step outside and take this industrial experience I have from 26 years at Adidas and my passion for a better way and helping solve the world's problems, and combine it into one effort, and that really was joining forces with a band of likeminded people to create the UNLESS Collective.” -Eric (9:30) Natural Fiber Welding (one of the companies UNLESS partners with) — listen to past episode 124 featuring their founder Luke Haverhals “Luke obviously has this unique innovation of plant-based leather, 100% plant-based leather (the only one I've found by the way), and there's a lot of plants being used for leather-type material — whether it be grapes or apples or coconut or cactus, I think there's a lot of solutions out there. Most of them, if not all of them that I've found, are fillers for polyurethane which is another form of plastic and also need to have backing, which they have to glue a synthetic backing on the back for stability.” -Eric (21:45) UNLESS Website Follow Eric on Instagram > Follow UNLESS on Instagram >

In episode 303, Kestrel welcomes Natalie Shehata, Conscious Chatter's new Social Media Strategist + Storyteller, to the show. A sustainable stylist, community organizer, speaker and writer, Nat brings exceptional experience and knowledge to how we approach storytelling. “I feel as though storytelling for me has been a very powerful medium in being able to instigate change. I feel like stories really shift culture and they can shift culture on a really large scale as well. But personally for me, I've kind of learned so much over the years through storytelling. And I think it's important that we kind of acknowledge that storytelling and stories in general is a vehicle for survival for a lot of people — for belonging, for connection, for hope. Stories are, especially for the BIPOC community as well, are our legacy in a lot of ways.” -Natalie Welcoming Nat to join the Conscious Chatter team is an absolute dream — I don't even know how else to say it. Being able to work alongside someone that I admire and respect on such a deep level is beyond incredible. And if you aren't familiar with Nat, I'd also recommend listening back to episode 250, where she joined me for a conversation on why diversity can be tokenistic. With this new shift in the Conscious Chatter dynamic, we put together this episode as a unique sort of refresh and check-in — to let you all know where we're at with the show, what we're focused on, and where we're going. Here are some of the key elements we explore: How Nat and I first came together and what it means to have her working on the Conscious Chatter team What storytelling means to Nat and some of the ways we align on the responsibility that comes with crafting narratives What is slow media and what does it look like in practice The challenges that come with telling stories through a slow media lens An update on when you can expect new episodes to drop Our big picture goals for the show (individually and collectively) and how we hope to continue infusing intentionality and care into the content we create Quotes & links from the conversation: “We really want to be able to ensure that the stories and perspectives shared by the guests on the show are kind of always in circulation. And I guess what I mean but that is — really making sure that the perspectives, the knowledge, the wisdom that people share throughout the show — it's not a situation where a show is released, and then that's it, we don't go back to it and we don't reference those ideas. We want to be able to go back to those episodes and to the guests that have appeared on the show, and really be able to continuously keep those perspectives in circulation, and kind of keep resurfacing those ideas.” -Nat (11:35) “Language is super important to both of us, and really thinking about the way that we phrase things, and making sure that it is accessible to as many people as possible, and that we meet people where they are at on their journey.” -Nat (20:40) “Often when we're telling stories we have to market it or promote it in a way where this guest is knowledgable on this area — whatever that may be — but when you go back and listen to these people, because they are people, they are multi-faceted individuals, and they may speak on one issue, but when you go back to listen again and again to these guests, they have so much knowledge to share, on so many different topics, that may not be their field of “expertise”. For me, what I'm really wanting to do is share that with the community and share that as individuals we are multi-faceted and we have a lot of knowledge and deep wisdom. The more we humanize that knowledge, we realize that we've just got so much to offer, but also, that we are flawed as humans as well, and we're all just at this trying to do our best.” -Nat (27:08) “We're not getting into these states of mind where we're having all these light bulbs go off or all the dots are connecting because we're not giving ourselves enough space without notifications interrupting us to get to those places.” -Kestrel (29:49) “It alway feels like you can never keep up, you're further behind, there's more things to read, more things to listen to, more things to watch, more things to catch up on, or more things you need to be posting — it all is just so much on a constant basis.” -Kestrel (34:55) The Root 6-Part Series Hosted & Co-Produced by Dominique Drakeford (mentioned by Nat) Whitney McGuire, Kestrel acknowledges her impact when reminding us that sustainability means getting active in your local community Conscious Chatter episode 250 (previous episode featuring Natalie) Follow Natalie on Instagram >

In episode 302, Kestrel welcomes Jessie Frances (@cuppuccinosandconsignment) to the show. Highly knowledgeable on the world of preloved fashion, Jessie holds a BFA in Fashion Design and French with a Minor in Art History. Through her work, she shares ideas around luxury vintage savviness, smart travel tips, and slow-living hacks, and also consults companies on luxury resale. “It is an addiction. Even when you look on YouTube and whatever social media, you see thrifting hauls. I remember hauls were just specifically for new items — you only did hauls with your fast fashion. It was very singular. Now, there are thrifting hauls multiple times a week. And we have just replaced fast fashion with thrifting.” -Jessie I think it's pretty undeniable that RESALE is having a moment.  If I think about the shifts in recent years, when it comes to the secondhand market, it's overwhelming. I remember thrifting in high school, growing up in the midwest – and for me, it was always about searching for pieces that no one else had – and thrift shops were where I could find those unique pieces.  But the changes since then – almost 20 years later – are immense.  I was looking at thredUP's 2023 Report, and in it, they say that – The global secondhand market is expected to nearly double by 2027, reaching $350 Billion. And the global secondhand apparel market is expected to grow 3X faster on average than the global apparel market overall. Clearly, there is a lot of GROWTH happening in resale fashion. This week's guest is highly knowledgeable on the world of preloved fashion – she started thrifting as a kid out of necessity. As she reflects – at that time, you didn't want anyone to see you at a thrift store and you didn't want anyone to know you were wearing thrifted styles. So, she would always find ways to customize her secondhand pieces, to give them an extra edge.  Since then, as I mentioned, a lot has changed. This week's guest now consults companies on luxury resale. We talk about whether this growth in resale is connected to folks simply transitioning their fast fashion addictions to secondhand instead. We talk about luxury's obsession with exclusivity and how that conflicts with the potential accessibility of the resale market. And we touch on the gentrification of thrifting and how this weaves into the luxury resale conversation today.  Quotes & links from the conversation: “So, it's being very, very strategic when you're shopping with thrifting because it really is a thrill. It has turned into like modern-day hunting, it's for sport now. People get such a thrill because the prices for the most part (depending on what city you're in), the prices are so good that you just want to buy, buy, buy. You love saying — look how much I got for $100. But you want to know — how much out of the $100 haul are you keeping? Are you returning $85 of that to your next thrift store run? So, it's really being strategic when you are thrifting.” -Jessie “Not just in fashion, we've all seen what happens when big brands come in and take over smaller ventures. I mean, look at ride sharing, without naming any names. You see how it changed things. So, it makes me question — ok, now you're offering me, let's say 80% of what I paid. Now, once you wipe out these smaller consignment shops, once you wipe out these smaller resellers, what's gonna happen then? Cause now you have the upper hand. So, are you now gonna offer me 50% for what I purchased? Or are you just not gonna offer anything at all because you know — there's no competition.” -Jessie (27:19) “How Are Luxury Brands Creating (Even More) Scarcity In The Resale Era?”, article in Fashionista Kestrel mentions “It's accepting, knowing and being secure in your style. Once you know who you are, you're not swayed by a trending hashtag, by what the princess is wearing — when those things no longer matter, when you know who you are, it makes life so much easier.” -Jessie (47:07) Cappuccinos and Consignment Blog  Follow Jessie on YouTube > Follow Jessie on TikTok > Follow Jessie on Instagram >

In episode 301, Kestrel welcomes Winona Quigley, the founder and CEO of Green Matters Natural Dye Company, to the show. Based in Lancaster County PA, Green Matters is dedicated to bringing pollution-free color to the textile industry by using all-natural dye ingredients. “I think that what brands are going to have to embrace about working with more sustainable fibers and textile-making practices, is the fact that we are working with plants. Not just for the dyes, but for some of those fiber crops — they are plants. And it's like winemaking, in that we need to think about production not as how do we make something identical a hundred thousand times, but how do we build production systems that not only account for, but embrace the organic nature of working with plants.” -Winona Something that has become a knee jerk response – whenever someone starts a business endeavor within the sustainability space – is to ask about how SCALABLE that venture is.  It's a question that I found myself asking on a regular basis early on with the show 7 years ago, and something that I have become increasingly aware of in my discussions. I mean – it's obvious once you step back and get a little perspective – we are all entirely entrenched in the prevailing ideals of our capitalistic system, and it makes us regularly think that in order for something to be successful, it must constantly grow from an economic lens.   I'm not saying we shouldn't talk about scale, but maybe it's time to reimagine what it actually means. Especially for those of us advocating for a different fashion system than what currently exists. This week's guest is specifically working to scale natural dye techniques through their professional fabric dyeing services. A lot of the time, we hear about natural dyeing on a very small scale, a craft that folks experiment with at home or in textile art spaces. But for our guest's company, they have an intention to do natural dyeing at scale, per se.  We talk about what SCALE means for them, how they're reimagining it from various angles, and how “limits” come into play with the way they approach scaling in practice.  Quotes & links from the conversation: Brooklyn Tweed, company Winona mentions (first big project she did was for them) “So that's a really interesting challenge, I think, for our generation of business owners is — how can we solve the problem we're hoping to solve, make enough money to pay everybody, and not expect to embark on this endeavor just because we're trying to make as much profit as possible.” -Winona (28:53) Westfield Flower Company, a dahlia supplier Green Matters works with Chipotle merch naturally dyed with avocado pits by Green Matters Blue Light Junction, Winona mentions their work Kenya Miles (founder of Blue Light Junction)  Stony Creek Colors, company growing indigo in the U.S. Organic Living Blue Indigo (company based in Bangladesh) Green Matters' Community Indigo Dye Vat Green Matters Events Green Matters Website Follow Green Matters on Instagram >

In episode 300, Kestrel welcomes Dr. Lisa Erdle, the Director of Science and Research at 5 Gyres, to the show. A microplastics researcher and lifelong sailor, Lisa is passionate about keeping waterways clean for wildlife and people. “A load of laundry can shed anywhere in the range of hundreds of thousands to millions of microfibers, depending on how you wash and what you wash. There can be 850 times more microfibers shed from a high-shedding item compared to a low, so the textile design really matters. And washing isn't the only source of microfibers to the environment — we know there's also dryers, carpets and upholstery, cigarette butts, wet wipes, there's quite a long list. But the one that we know the most about, and one we have a solution for, is our washing machines.” -Dr. Lisa Today, we hear a lot about microfibers in our oceans and waterways, and how they are an issue we're facing. There are consistent news articles out there about it. At the same time, the narrative is generally very much aligned with polyester and synthetics and you know, the plastic side of things.  But as this week's guest reminds us – all fabrics shed microfibers. And it's important to note that when fibers shed from our clothing, it's not just the base fiber that is of concern – whether it's cotton or polyester, a natural fiber or a synthetic material – these fibers are generally also carrying some sort of chemical cocktail (a mix of dyes and treatments and coatings that are added to the fabric throughout the supply chain). You may be asking – how are all these fibers ending up in our waterways? According to researchers, the biggest culprits are washing machines. But these microfibers can also shed from dryers and even simply from walking around throughout the day. All of these layers make understanding the impacts of microfibers on people and the planet very complex. But as much as we don't know, we also know enough from a scientific lens, to act. There are solutions out there that can at least help slow down the rate of microfibers released into the environment.  Quotes & links from the conversation: “The Widespread Environmental Footprint of Indigo Denim Microfibers from Blue Jeans”, study Kestrel mentions “Capturing microfibers – marketed technologies reduce microfiber emissions from washing machines”, research paper that Dr. Lisa contributed to “Washing Machine Filters Reduce Microfiber Emissions: Evidence From a Community-Scale Pilot in Parry Sound, Ontario”, research paper that Dr. Lisa contributed to The Microfibre Consortium, organization that Dr. Lisa mentions Info about AB 1628 (California filtration bill) “The research on microfibers shows that used clothing typically sheds less than new clothing, poorly constructed garments shed more microfibers than well constructed garments. So, buying used when possible, or buying higher quality garments and washing less, washing cold — these are all things that can reduce your microfiber footprint.” -Dr. Lisa (40:58) 5 Gyres video about textiles & microfibers  5 Gyres video about textiles & microfibers (in Spanish) More on 5 Gyres research 5 Gyres Website Follow 5 Gyres on Instagram >

In episode 299, Kestrel welcomes Liz Spencer, the natural dye wizard behind Dogwood Dyer, to the show. With experience in both tending organic natural dye gardens and coaxing color from plants, Liz has devoted her artistic practice to discovering as much as possible about color that can come from plants. “That's sort of the pathway to understanding — is having the time to be intimate with one thing in particular like indigo or any dye plant, especially if you're growing your color, or even growing your own fiber — is spending a whole year just getting it to where you have the raw material, and then starting the process of creating the color or creating the textile. It really affords you ample time to ask many questions, and to holistically get to know it.” -Liz Something that's super important to me within this conversation is cultural sustainability – and ensuring we are acknowledging and respecting the roots of cultural traditions and craft techniques that have origins within many Black and Brown Indigenous communities.  As many of you have heard my guests and myself talk about over the years – the mainstream sustainability movement has done a lot of stealing and co-opting of knowledge and ideas, without crediting where these concepts originated.  Ever since I read an article by Nathalie Peña in Katie Pruett's Ethical Style Journal, I instantly think of these realities with regard to natural dye techniques.  For example – the dusty pink color, also known as millennial pink – that has been trending for the last several years has origins in Mexican culture, with the color being derived from avocado pits. But rarely do we hear this origin story from natural dyers or folks using these techniques in the space today. This week's guest has a voracious curiosity when it comes to all things natural dyeing. She has been growing plants for natural color and experimenting with adding color to garments using natural dyes for years now.  As a white woman in the sustainability space, I admire the deep learnings Liz has collected, with regard to the cultural origins attached to the techniques she uses, and the ways she continues to work to find creative and thoughtful ways to honor these roots.  We get into these layers, as well as more on the differences between synthetic, biosynthetic and natural dyes, and some nuanced thoughts around the so-called *scalability* of natural dyes. Quotes & links from the conversation: “Cultural Sustainability and Natural Dyes in Fashion”, article from Ethical Style Journal that Kestrel mentions in intro  “What are biosynthetic dyes & could they replace the toxic petroleum-heavy ingredients in today's predominant indigo garment dye?” (Conscious Chatter episode 274 that Liz mentions) “Those stable colors, I feel are worth the investment, but it just takes more time. And so, that's the biggest difference between retrieving brilliant colors with natural dyes vs synthetic dyes. And each has its consequence. One is — with natural color, more time investment. And then, one is — with synthetic dyes, the potential for having to problem solve when it comes to the product, the potential toxicity of synthetic dye effluent and what's left over that's really not biodegradable.” -Liz (29:27) “I think it's really important for anyone that gets into natural dyeing or starts on a path to do conscious digging and question-asking when sourcing the dyestuffs, and then of course working with them. Because you invariably will uncover complicated and painful context of history of these beautiful colors. I always recommend too — if you have the privilege to work with any of the dyes, in situ of their native habitat that they come from, or if you've worked with any of the dyers who hold the dye knowledge within their cultural and historical lineage — to share their work and to encourage others to seek out from them, to go and learn from them if they're seeking students. It's really important to understand the provenance and the historic context of the material for the artist, I believe — it's part of exploring the dyes and then paying respect to all of those who have contributed to millennia of this knowledge base that we all now benefit from.” -Liz (35:26) Stony Creek Colors American Grown Indigo Natural Dye Podcast Highlights Listing BIPOC Natural Dyers/Artists/Farmers/Educators Green Matters Natural Dye Co & Botanical Colors (natural dye houses scaling dye production in the U.S.) 'Earthcolors by Archroma' (making biosynthetic natural dyes from agricultural waste) Bio Black Dye by Nature Coatings (biosynthetic dye made from wood waste) The Dogwood Dyer Educational Subscription 'A Year in Natural Dyes' (natural dye knowledge for anyone) Dogwood Dyer Website Follow Liz on Instagram >

In episode 298, Kestrel welcomes Anjana Baburaj to the show. An impact-focused strategist and communications specialist, Anjana works with mission-driven organizations to leverage communication platforms to increase visibility and achieve sustainability and impact goals. “No matter how much we try to control — if we keep overconsuming, we're not getting anywhere with anything that we're doing for sustainability. So, that is one of the reasons I wanted to know — why is this happening? And that's how I got into my research.” -Anjana If you've been following along over the last couple of years, I have often brought up the links between fast fashion and fast media. In today's world, I believe the only way to slow down fashion is to also slow down media – since fashion and media are intrinsically linked predominantly around driving consumption. This leads me to this week's guest, who recently conducted some powerful research focused on fashion, social media, and consumption. Have you heard of the TikTok Shein haul trend? You may have seen it – basically, it involves individuals sharing all the items that they purchased from ultra fast fashion brand Shein in a video (or haul). Sometimes they disclose how much money they spent on the clothing, and as this week's guest concludes, it's largely interconnected to showcasing social status. The United States is Shein's largest market – I have personally experienced their aggressive social media tactics – I get these messages that are tagging me in a visual telling me how to become a Shein ambassador. I feel like I am constantly flagging them as spam and blocking the accounts, but they never stop rolling in. The surprising thing is that it's not Shein's actual *influencers* or *paid partners* that drive the company's sales – instead, it's User Generated Content, which is basically content individuals post on social media without receiving any payment. They do it at their own will, and it's fueling the continual growth of this ultra fast fashion brand. There is so much to break down when it comes to these layers — tune in to hear more directly from Anjana. Quotes & links from the conversation: “The reality is that we will always be pressured to consume more — that is how business works. Because the idea of growth is tightly linked to economics of sale, and that is how even the fundamentals of GDP work. And we can see that the developing countries will soon catch up with the developed nations in terms of the amount of consumption, which is bad. But to change that, the definition of growth should change — GDP should probably not be the sole indicator of how a nation is classified as developed. And systems should change. This will take more time and effort, but reducing consumption and choosing wisely, even it is from a mass-market brand, can be done faster if individuals and communities engage in conscious consumption.”-Anjana (35:53) Connect with Anjana on LinkedIn Anjana's Website  Follow Anjana on Instagram >

In episode 297, Kestrel welcomes Lizz Leral, the Executive Director of Quilting for Community, to the show. A nonprofit organization, Quilting For Community is focused on building community by teaching the art of quiltmaking. “The act of focusing on such a small area of the world — nothing else exists in that little area but that piece of fabric, and whether you're measuring or you're cutting or you're pressing — and my experience has been that when you're in that state, the answers for the other questions come to you.” -Lizz Over the last several years, I've been super curious about the links between activities we do with our hands and our mental health. I've read research about how quilting or other crafting activities can reduce overall stress and provide benefits for our mental health. There's this idea of being in the FLOW state, or this feeling of being entirely in the moment and hyper-focused, and in a sort of zone. Amidst today's world where speed reigns above all else in many circumstances, this is something that I find very interesting. According to books like Stolen Focus, we are having a harder and harder time accessing the flow state today – because we are constantly interrupted by a text or an email or a DM or whatever other random notification that comes through. Or let's be real – we also just get that urge to check our email or texts or IG or whatever, because most of us are addicted in one way or another to our tech. In the book I mentioned, Stolen Focus, it's explained that if you get interrupted while focusing on something, on average, it takes 23 minutes for you to get back into that state of focus. But like I mentioned, certain HAND-ORIENTED activities can help transport us to that special place. One of them being – QUILTING.  This week's guest has a powerful story that led her to quilting. After feeling the significant mental health benefits of it herself, she's now found creative ways to share it with others through her nonprofit.  Quotes & links from the conversation: “I know that it's possible to do things and to have an impact on your community using the things that already exist. Sometimes people have an idea to do something, and what stops them is — oh, how can I afford this and I'm going to have to get all these things. And they go on Amazon and they add it all up, and they say: I can't do it. And I think we're missing that — look a little deeper; everything you need is here.” -Lizz (29:02) “The relationship between quilting and wellbeing”, research from The Journal Of Public Health The Third Place, mentioned by Lizz (the places you go when you aren't at home or work) Quilting For Community's Website (access free quilting classes there) Follow Quilting For Community on TikTok > Follow Quilting For Community on Instagram >

In episode 296, Kestrel welcomes Kelly Drennan, the founder of Fashion Takes Action, to the show. A Canada-based non-profit, Fashion Takes Action works to remove barriers to sustainability through education, awareness, research and collaboration. “We often talk about our school program, and just fashion is inherently cool, you know. And so, we're able to really, through our school program, touch on some of these bigger, broader climate change issues, but through the lens of fashion, which for kids is relatable and cool. They get up every day and they put on clothes, but they don't get up every day and drive a vehicle or pay the energy bills or go grocery shopping. So, for us, it's just a really great way to reach them and we try to do it in a way that's cool.” -Kelly Have you looked into educational programs around fashion and sustainability? Or maybe you have completed a program focused on sustainability or fashion and sustainability? The options out there are definitely growing in the higher education realm, but I think there is still a lot of work to do when it comes to ensuring the curriculum becomes more holistic and includes the root issues that have led to why we are where we are today. But we are seeing changes at the higher education level, which is important. At the same time, what about kids? What about our youth?  When are they getting exposure to questions like:  Who made my clothes? What are my clothes made out of? What does a fashion supply chain look like? I hear whispers from folks in my community that little projects connected to fashion and sustainability are sneaking their way into elementary and high school education through educators who care about it, but on a large scale, I rarely hear that our young people are getting access to learn about why what we wear matters, on so many levels. This week's guest developed a program back in 2014 to help teach youth about the impacts of fashion. While it was delivered in person by educators for several years, their workshops are now available online.  As she says – “If we can reach these young people before they're out there in the world buying things, then, maybe we have a better chance at changing that behavior.” Quotes & links from the conversation: “We realized early on — we weren't just going to be working with industry, because if consumers (I hate that word, I know we all hate that word now), but if the general public wasn't aware of the negative impacts of the industry and what sustainable alternatives there were, then they weren't necessarily going to have access to sustainable designers. And so, we always felt that we needed to keep educating the general public, while at the same time, supporting the industry.” -Kelly (10:22) My Clothes My World Program WEAR Conference Fashion Impacts 101 (RCGD Global x Fashion Takes Action Video Series) Fashion Take's Action Website > Follow Kelly on Instagram > Follow Fashion Takes Action on Instagram >

In episode 295, Kestrel welcomes Rayouf Alhumedhi, the creator of the hijab emoji, to the show. Deeply passionate about bridging the creative space and tech, Rayouf founded the hijab emoji project to push for digital representation for Muslim women around the world. She was named one of Time's Most Influential Teens and Forbes 30 under 30; currently, Rayouf is a senior at Stanford majoring in Product Design. “I think there needs to be more thoughtful exploration of when is it good to make new product and when is it even better to rethink existing product? Like I mentioned in my table furniture building project, I noticed my team and I were getting excited about —what if we do this and we do that and we do that. But at the end of the day, all of that requires extra junk in the world. And yes, it's an enhancement and yes, it's an add-on, but it's not necessary at all. So, I wish more design students or more product design students had that framework instilled in their minds as an educational toolkit.” -Rayouf One point that comes up often in the sustainability and fashion dialogue is the way that our intentions are not aligning with our actions. There's this sort of dissonance between what we say vs what we do. As a report by Zalando from 2021 showed, we often say we believe in shopping more mindfully, but often don't actually follow through when it comes to acting upon those ideas. For example –  While 60% of survey respondents said transparency is important to them, only 20% actively seek out information as part of the purchasing process. Or while 60% of consumers say repair, second-hand and sustainable disposal are important to them, but only 23% repair their clothes and 25% regularly buy second-hand. While data can be skewed or interpreted in one way or another, the important sentiment that I take from this sort of information is that changing behavior is CHALLENGING, and it doesn't happen with the flick of a switch.  This is something that this week's guest and I riff on throughout this episode – questioning the reasons why, trying to understand what's leading to this disconnect, specifically analyzing how Gen Z fits into these behaviors, and ideating on what could potentially help propel more positive behavioral change moving forward.  But again – it's not all on the individual. It's also about corporations and regulation and DESIGN – something that this week's guest is very passionate about. As she says, it's important to design for the extremes, to ensure products are created with more accessibility and equity from the get-go.  Sidebar – this week's guest is pretty legendary – she's also the creator of the hijab emoji – which she developed 6 or so years ago, at the age of 16.  Quotes & links from the conversation: Oddli, brand Rayouf mentions  “If being a part of your sustainable company or your sustainability vision is already an added value, buying something feels less of a burden. And if I know my friend is also buying it, naturally, I'm going to be pulled to it.” (21:46) -Rayouf “Teen behind new hijab emoji: ‘I just wanted an emoji of me'”, article in CNN about Rayouf's work on hijab emoji Panel Discussion With Computer History Museum featuring Rayouf  Dr. Marten's Zine that Rayouf contributed to  Rayouf's Website > Follow Rayouf on Instagram >

In episode 294, Kestrel welcomes Jeff Garner, the designer behind Prophetik, to the show. A romantic visual artist, pioneer and unconventional designer, Jeff's sustainably-minded label Prophetik is focused on changing our perception of luxury. “It's interesting how everybody in their different segment of market just want to do the cheapest ingredient because they don't expect the buyer to buy it, cause it's more. So, it's this idea that if you go into a design, and just try to make it the cheapest way possible, so that you can turn around and sell it for the most money, and nobody wants to spend extra to make something better. And I'm like — where have we gone in a society that we don't want to carve our stone for our patio, let's say … we don't want to carve the wood to do our door.” -Jeff This week's guest was the FIRST sustainability-focused designer I discovered that I got really excited about. Over the years, he has dressed notable stars including Fleetwood Mac, Miley Cyrus, Cheryl Crow and Taylor Swift, among others.   A little background – I started a blog called Make Fashion Fair back in 2010. I had just finished my internship at People Tree in London, and was trying to find my voice in this space. My 4th blog post on February 20th, 2010, was titled – “elephants, ethics, and fashion”. It featured two creatives I was drawn to at the time – musician Trevor Hall and this week's guest. They both had this random connection to elephants and painting. Trevor Hall had a music video where he is getting painted by elephants, and this week's guest had a collection that featured prints painted by elephants. So – with that in mind, getting the chance to have this week's conversation feels very circular.  In addition to continuing to challenge what fashion can look like on the runway and at a luxury level, this week's guest is also behind a new documentary series that uncovers the fashion industry's toxic secrets and highlights the importance of making and wearing nontoxic clothing. Quotes & links from the conversation: “elephants, ethics and fashion”, Kestrel's blog post from back in 2010 that feautures Jeff An article from Choc & Juice that highlights more information on the Singer Studies that Jeff mentions  “My mom passed away from breast cancer, so I'm a firm believer that nylon and polyester bras are a huge part of breast cancer. Unfortunately, you cannot pinpoint and say this particular chemical in this bra caused the breast cancer, but it does have those toxins that are carcinogenic in it that have been proven, and research proves it, that do cause it.” -Jeff (23:12) “Chemicals from textiles to skin: an in vitro permeation study of benzothiazole”, published study that backs up Jeff's theory of toxins entering the epidermis or skin through textiles / dyes Prophetik Follow Prophetik on Instagram >

In episode 293, Kestrel welcomes Jenna Hanson and Jon Hershman, the cofounders of Revival Eyewear, to the show. Offering an extensive collection of deadstock vintage glasses and sunglasses, Revival Eyewear is dedicated to reminding us that it's possible for old things to be elevated in both quality and style.  “I fell in love with the glasses and the idea that these were vintage but brand new. I had never in my life heard of that concept — deadstock, new old stock. It was so fascinating to me. At Jon's shop in PB, I would take them out of their cases and just be like — what is this? This is a YSL from the 1970s, it has its original packaging, I can't believe this exists.” -Jenna Another niche (yet massive) realm of the fashion industry that we rarely discuss is the GLASSES industry. I'm talking sunglasses and eyeglasses – which I would say are a very integral part of the world of fashion and style. This week's guests started a company where they sell unworn deadstock frames from the ‘60s to the ‘00s. If they were made so long ago, how were they never worn? Where have they been sitting, waiting to find a face to wear them? Well, we get into that. Also, we get into the mud about the powerful Italian conglomerate that owns SO MANY PIECES of the eyewear industry – from insurance companies to eyewear brands to manufacturing to retail eyewear stores. It's amazing the stronghold this megacompany has on today's eyewear industry. Just as we talk about with the fast fashion industry, the eyewear industry has lost much of its quality luster. We often refer to the planned obsolescence of our era, and how — “They just don't make them like they used to.” Well, my guests actually have the knowledge to articulate what makes vintage glasses so different from their current counterparts. What has changed in how they're made today, and what aspects of craftsmanship made them so elevated back n the day? We also touch on the massive waste that the glasses industry is generating, considering the materiality and disposable approach to manufacturing them today. It's wild to think that the styles made today may never be considered *deadstock* or deemed worthy to resell.  Quotes & links from the conversation: “Meet the Four-Eyed, Eight-Tentacled Monopoly That is Making Your Glasses So Expensive”, article in Forbes, that explores some of the power of Luxottica “Eyeglass Start-Up Ready to Battle Industry Titan, Sets Sights on Online Growth”, article in Yahoo Finance, that explores some of the power of Luxottica “We went to a conference last year called Vision Expo, and it was literally just Luxottica everywhere — so they own lenses, they own the lens manufacturer, they own the frame, they own the insurance, they own the places to sell the glasses. I don't know how it gets any more monopoly than that. They own LensCrafters, Sunglass Hut, Target Optical, Pearl Vision, they own the big online store EyeBuyDirect, they own the insurance company EyeMed, and then, just about all of the brands that are inside of a LensCrafters or Sunglass Hut like RayBan, Oakley, Persol, Oliver Peoples - everything basically that you can find inside those stores, they also own those brands.” -Jenna & Jon (20:58) Revival Eyewear Follow Revival Eyewear on Instagram >

In episode 292, Kestrel welcomes Denica Riadini-Flesch, a development economist and the director at SukkhaCitta, to the show. A social enterprise started in 2016, SukkhaCitta works to give women in rural Indonesia fair access to education and market. “We have grown this company, this mission, these projects on the ground with that mindset that we want to build a model for change. So, we are not here to grow and make the most profits or be the best company in the market, you know, but it's really a very different mindset. We're here to connect consumers with the full story of how and why something was made.” -Denica One aspect of the complex and opaque fashion supply chain that is often overlooked is the number of homeworkers that are an integral part of making our clothes today. I was reaching for some sort of statistic, and that led me to Nest's website – where they outline that upwards of 300 million people around the world work from home, engaged in primarily craft-based handwork. They are predominantly women, often invisible and without social protections. This week's guest, a trained economist, saw this firsthand when she returned to her home country of Indonesia and was working as a social development consultant. This work took her to villages across the country, where she saw women literally making things with their hands from their homes.  She even spoke to a woman who was dyeing garments in her home – she had been given toxic dyes to use and was feeling the harmful health effects of it directly, not only on her lungs but also on her surrounding environment, when the dye would be dumped in the nearby river, where her children would play. These experiences led her to realize that it could be possible to make clothes in a different way – where regeneration is actually central to the process. And maybe the status quo could actually no longer be the status quo! From working with women farmers to rediscover the regenerative farming techniques of their ancestors to finding ways to use natural and upcycled food waste dyes, this week's guest is constantly asking more questions, seeking new solutions, and listening – to unearth the Indigenous knowledge that can help us reimagine what fashion can look like today. It's undeniable that she's advocating – through action – to challenge the status quo. Quotes & links from the conversation: Episode 284 with Angel Chang (Kestrel mentions it in the intro) “Then we completely gave her the freedom to design the farm according to her memory of how her grandmother used to do it. So, she planted 20 different crops in the farm — one of them is cotton, but she also planted chiles, she also planted cloves and all these trees. And now, I learned that all these things that she was planting by memory is actually really what is being known globally as regenerative farming … and that was so mind-blowing to me — like literally, this Ibu, this woman, is planting by memory.” -Denica (29:08) “Through this work, I've come to realize that you can grow in a different way.” -Denica (48:16) “The new generation of companies should think about how we can grow with less.” -Denica (50:41) SukkhaCitta Foundation  SukkhaCitta Social Enterprise  Follow SukkhaCita on Instagram > Follow Denica on Instagram >

In episode 291, Kestrel welcomes Abby Mills, aka @abbyontheinternet, to the show. A product designer working in tech in the San Francisco Bay Area, Abby is a style enthusiast, thrifter, beginner sewist, and a slow fashion + sustainability advocate. “If we're talking about the original definition of de-influencing, I think it's great that more people are talking about this. There's a wider conversation that's happening now, and it's this newer idea to a more mainstream audience. And I think that a lot of people are craving this conversation. I think there's a strong response because people are pretty sick of being advertised to — they're craving the substance, they're craving this authenticity, they're craving people with a unique point of view.” -Abby You have most likely heard about this week's topic – DE-INFLUENCING.  It's something that started trending over on TikTok earlier this year, and has taken on many forms since then. In its origins, it was about becoming more critical about the things that we buy – and it started when a lot of so-called influencers started telling folks what NOT to buy, instead of their typical MO which is to focus on selling us things from their brand partners – things we more often than not, don't need. This is a refreshing idea – I mean, our feeds are flooded with sponcon these days. Apparently traditional influencer marketing was a $16.4 billion industry last year, and we are becoming increasingly aware of how much we are being marketed to on a constant basis. But while the initial concept of de-influencing is refreshing, it's definitely not new. There are several *influencers* or *content creators* who have been talking about issues around overconsumption and fast fashion and buying less for years now. Insert writer Aja Barber or creator Heidi Kaluza or drag queen Kimberly Clark – who was doing anti-hauls on YouTube 7 years ago, or this week's guest – who sometimes calls herself an ex-influencer. Over the last couple of months, we have seen the meaning of de-influencer shift rapidly. It's gone from being about critiquing our consumerist society to instead, being co-opted by influencers and marketers as an opportunity to share why you shouldn't buy this product and instead, you should just buy that product! Before we dive deep into all these layers – let's take a step back and momentarily examine what the origins of the influencer industry were all about.  This week's guest reminds us that the influencer industry was built off of the idea that folks trust the authenticity of everyday people, aka influencers, more than actual brands. But, aren't we all struggling to trust *influencers* today? Aren't we regularly overwhelmed with searching for some sort of authenticity, because so much of the content we consume was created, solely because someone was paid to create it? As this week's guest proposes – if influencers were actually doing their jobs (which includes being truthful and honest with their communities), would the de-influencing trend even exist? If you can't tell yet, we go down a labyrinth of a rabbit hole with this one – but a lot of the discussion circles back to this primary question — Can de-influencing help us combat overconsumption? Quotes & links from the conversation: “Deinfluencing EXPLAINED Sustainability, Overconsumption, & Deifluencers” — video by Queer Brown Vegan that Kestrel mentions “The new TikTok trend is convincing people not to buy things”, article in The Washington Post that Kestrel mentions “Can Social Media's New Deinfluencing Trend Really Encourage Us To Buy Less Stuff?”, article in British Vogue by Aditi Mayer that Kestrel mentions  Aja Barber — one of the original folks who have been talking about de-influencing concepts (mentioned on the show) Heidi Kaluza — one of the original folks who have been talking about de-influencing concepts (mentioned on the show) Kimberly Clark — one of the original folks who have been talking about de-influencing concepts (mentioned on the show) Mandy Lee — *trend* analyst who has discussed de-influencing (mentioned on the show) “I started to understand what monetizing was all about — when I came into this industry, I naively did not understand how to get paid to be on the internet. And now, if you're a content creator or a vlogger or an influencer or whatever you call yourself — if you're monetizing, you're in the advertising industry. And this is not a judgement, you know, the advertising industry is a huge industry — there are many smart and creative people. So, it's not a judgment, but it's a fact. If you want to be paid to be on the internet and you're not being paid by your following, like through subscribers, you're part of the advertising industry.” -Abby (15:14) “That's something that I try to practice throughout many aspects of my life is allowing myself to have little moments of failures and mistakes and being kind with myself so that I can feel confident to try new things … mistakes are an integral part of the learning process. You know, they're not accidental — they really are necessary if you want to learn and you want to grow.” -Abby (49:20) Follow Abby on Instagram >

In episode 290, Kestrel welcomes Samata Pattinson, the CEO of RCGD Global, to the show. A women-led global change-making organization, RCGD Global is bringing environmental and social sustainability to the forefront of conversation and action within the global apparel and design industry.  “All I really want to be part of is helping other people see where they fit in this. And helping them to identify something that means something to them. It could be any of the things we talk about — it could be climate on a specific realm, it could be biodiversity through a specific realm, it could be women's rights, it could be advocating for Indigenous or Black representation. It could be any of those things, but it's almost like — let me try and help you see how you form a way of being in this conversation.” -Samata Have you ever heard of the term generative conversation? It's a newer concept for myself and it's one that this week's guest reminds us of. On a basic level – generative conversations are conversations that involve genuine inquiry and sharing. They are conversations in which we engage in deep listening. They are conversations in which we feel truly heard and nourished – they involve a space where respect and trust are cultivated. And through generative conversations, they allow the possibility for expanded understandings and the discoveries of shared meaning. In order to truly quote unquote *move the needle* in the sustainability and fashion space, these types of conversations are mandatory. As this week's guest reminds us, when we talk about sustainability, we have to lead with questions … not our individual agenda. Questions welcome an openness to learning and sharing. And they help avoid the critical tone that can easily sneak its way into these discussions. Because remember – how we have the conversation influences where the conversation goes.  Thoughtful communication is so KEY for this week's guest. As the CEO of a global change-making organization, she is navigating storytelling with notable talent across a massive platform – the Red Carpet at the Oscars. This year, she wrote the first ever Oscars Sustainable Dress code, that went out to every single attendee of this year's event. Imagine condensing the many layers of sustainability and fashion into one document – she shares how she did it. I love how she welcomes a constant expansion in the sustainability narrative, and never loses sight of a key ingredient: hope. Quotes & links from the conversation: RCGD Global Sustainable Style Guide “We do say we want representation, we want these varied voices, but we don't talk about how much more interesting the conversation is, how much more enlightening the conversation is. The same way we will say — oh, you know, we have Indigenous communities protecting 80 percent of our biodiversity, but what we don't say is like but they protect it better. Comparatively, like 30-40-50 percent better growth biodiversity of fauna and flora. So, it's not just saying like, this should exist — it's saying it's more interesting, it's more expertise, it's more engaging, why aren't we doing more of it?” -Samata (30:22) Follow Samata on Instagram > Follow RCGD Global on Instagram > Follow Red Carpet Green Dress on Instagram >

In episode 289, Kestrel welcomes Amy Powney, a UK based fashion designer, creative director and activist living in London. After starting as an assistant who swept the cutting room floor, Amy worked her way up, and is now the Creative Director and owner at Mother Of Pearl. A luxury womenswear brand, Mother of Pearl celebrates individuality, authenticity and sustainability. Amy is also the star of a new documentary called Fashion Reimagined, that tells some of her story building Mother Of Pearl into what it is today. “I guess growing up on a farm, growing up the way I did, working you know, in the bottoms of the supply chains and agriculture, et cetera, it just kind of — it felt homely and it felt raw and it felt honest and it felt important and it's really motivated me even more to want to tell that story, and for us to really understand when we see our product, what people and places and craftsmanship has been added. And that we can't just focus on this pure kind of end part, and we need to be really respectful and honored for the farmers and these workers — you know, without them, we don't have clothes and without them, we don't have food. I think we need to connect that supply chain up and respect it. And it's given me so much more respect as a designer to what I'm doing and why I'm doing it.” -Amy In Fashion Reimagined, Amy takes folks along with her on a journey to shift Mother Of Pearl toward a more sustainable direction. It all starts in 2017, when she wins the British Fashion Council/Vogue Designer Fashion Fund award and decides to invest that cash into tracing her supply chain back as far as possible to the raw materials.  The most exciting part of the film is watching them navigate their way through the sourcing process. We see their adventures in Uruguay to find a wool supplier, and their journey in Turkey to find a denim mill and factory, we see how they cultivate a relationship with a mill in Austria that uses steam rather than chemicals to soften the fabric, and of course, unexpected events happen, reminding us how important it is to be an exceptional problem solver in this industry.  The film culminates in the launch of the No Frills collection at London Fashion Week in September of 2018 – when Mother Of Pearl was the ONLY sustainable collection on the schedule. A reminder that this was only 5 years ago. While we are undoubtedly seeing a lot of shifts in recent years – more brands showing more sustainably-focused collections, entire fashion weeks like Copenhagen dedicated to sustainability, and more mainstream discussion about it, Amy reminds us in the film that – “It's not enough – we aren't changing fast enough.”  As Pedro, the owner of Lanas Trinidad (Mother Of Pearl's wool supplier), says in the film — “We talk about sustainability and the environment – but we have to live the way we say.”  Quotes & links from the conversation: “I guess, the highlights, albeit being obviously one of the hardest parts of the process, was just reconnecting with the people in the supply chain. You know, in the fashion industry, it's notorious for promotion and sales and social media. We see fashion and we very much see it a kind of a glossy moment. And I think historically, a lot of the conversations around supply chains has been a bit boring and it's turned people off. And I think there's one thing learning about a supply chain or thinking about it, but another thing is when you actually meet these humans involved in it.” -Amy (17:11) “If you look at a cotton garment, a wool garment, a viscose garment — I mean, even if you get into polyester and synthetics; obviously it's all been through these plastic processes and fundamentally, it is plastic. But its origin is actually oil, so we're actually taking from the planet in a very raw way to make our products, but we're so disconnected at the end. And actually, if we look at farming and agriculture, it's exactly the same in fashion — it's just it's a few more steps back, and people just don't connect the dots, and I think that's the piece of education that we all need to understand to respect our things in a different way.” -Amy (21:54) Lanas Trinidad, Mother Of Pearl's wool supplier Fashion Reimagined Website (Fashion Reimagined - in cinemas 3rd March, 2023 and available on Sky Documentaries and streaming service NOW from 9th April, 2023) Mother Of Pearl Website  Follow Amy on Instagram > Follow Fashion Reimagined on Instagram > Follow Mother Of Pearl on Instagram >

In episode 288, Kestrel welcomes designer, Trish Langman, to the show. With over 18 years of experience working with a long list of prestigious fashion brands, Trish is currently the Program Knowledge and Content Lead for the Fashion CEOs Accelerator program by Sovereignty, a partner with Argentinian NGO Hecho Por Nosotros and an advisor to the Board of Fashion Ghana, West Africa. "Obviously, the companies need to be complicit — you know, they should stop making stuff. But the consumer, you know, because they're uneducated, they don't understand what they're buying. It's just a piece of clothing, but they're not thinking about any consequences of how it's made or what it does to them. Is it shedding microplastics, is it clogging the water? The consequences of you buying something that costs two dollars means that somebody's not being paid somewhere.” -Trish Have you ever thought about some of the basic knowledge that's shared with us in primary school? I'm thinking about the practical information that can help us in our everyday lives.  For example – as this week's guest mentions, the food pyramid is something most of us have probably learned about in school. (Ok, so I've read a plethora of concerns about the traditional food pyramid and how it was largely influenced by big business — hint, hint: grains, especially refined ones, are not necessarily the food we should eat the most of…) BUT the point here is, the idea of a balanced diet is relayed to us at an early age. It's a basic component of the education system. However – how often are kids learning about the ingredients used in our clothes? How often are we taught that the fabric used in our garments can come from a plant grown on a farm, or from fossil fuels that are processed into thread?  There are a lot of layers at play, when it comes to who can access which clothing options. But with that in mind … we should have the right to learn basic practical knowledge about clothing in school, beginning at a young age. Because let's be real – how many of us have finally been collecting pieces of this practical clothing knowledge as adults?  This week's guest is very passionate about the power of education – for children, for everyday people, and for business owners. In one of her most recent endeavors, she's working as the content lead for a new Fashion CEOs accelerator program that's focused on empowering fashion entrepreneurs of color to collectively solve climate change and inclusion challenges.  The focus is on transforming entrepreneurs in a more holistic way through both access to capital and access to layers of education, with the intention of helping folks build more circular fashion brands.  As this week's guest said in an article in Women's Wear Daily – “I have not seen this in the industry … I have not seen an accelerator that speaks to circularity, that speaks to sustainability and that speaks to the BIPOC community. It's just something that's not there.” Quotes & links from the conversation: “New Fashion CEOs Accelerator Set To Advance The Industry's Sustainable Business Models and Its Racial Representation”, article in WWD that Kestrel mentions “You know, at the moment, every company has their sustainability manager, but it doesn't really mean anything — it's just the box they tick off. You know, they're ESG person, their social responsibility person ... not all, but a lot. So, just really making sure there's that understanding, there's that education, just the awareness.” -Trish (19:45) “People have changed I think, in terms of how they see the value of their business. I think a lot of people feel like their business has to, for them, mean more to them than just making money. It's more about what they give back to their community in some way.” -Trish (30:52) “In order for us to sort of think about the future, science and design need to come together. You know, about a hundred years ago, science and design and arts were kind of almost interlinked — sort of the alchemy of them all together. And then we got more industrialized and technology took over, and they just seemed to separate.” -Trish (48:50) Hecho Por Nosotros Website > Sovereignty's Website > Follow Trish on Instagram > Follow Sovereignty on Instagram >

In episode 287, Kestrel welcomes Sage Paul, an award-winning artist and designer, to the show. An urban Denesuliné (Den-a-sooth-leh-nay) woman based in Toronto and a member of English River First Nation, Sage is the artistic director and founder of Indigenous Fashion Arts. “There's all this talk about sustainability and you know buy this or buy that, but the truth is, is that these corporations that are preaching this are just making too much. They are making too much, they are mass producing it, and the way that they mass produce it is unsustainable for the Earth. And so, it just doesn't seem like they're painting the full picture for everyone. But then going back to cost — is the fact that people aren't getting paid enough in order to purchase items that are quote unquote sustainable, because the only thing that's accessible are these mass-produced items.” -Sage You may have noticed that the idea of *sustainability* is often aligned with luxury or having extra money to invest in less harmful things or less polluting options – for example, an electric car or organic produce or a more thoughtfully-made garment. These options generally cost more than the conventional option in our society.  While there are a lot of narratives challenging the eliteness of sustainability today, the mainstream conversation has been led by a very white and capitalist-centered idea that promotes buying this, instead of that product.  Like we talked about on last week's show with Kristine of Doen, the sustainability conversation has been very binary in its approach – very good vs bad, and often, oversimplifies what quote unquote sustainability could look like. Through several conversations on the show, we've explored how resourcefulness is a grounding pillar of true sustainability. But it's not just resourcefulness, it's also culture.  As this week's guest shares, thinking sustainably and locally is innately an Indigenous cultural practice – and for many folks, it's not anything *shiny and new* to be learned – it's instead, an integral part of their own history and identity.  Of course, we all have a lot of unlearning and relearning to do – from an individual to a community to a corporate to a governmental level. At the same time – it's important to acknowledge where some of the true knowledge lies in order to collectively move forward in a less harmful way. I love how this week's guest reminds us that it's OK to actually ask the industry to change the way it works.  Quotes & links from the conversation: “Sustainable Clothing Is Fashion-Forward. Just Ask Innovative Indigenous Designer Sage Paul”, article in CBC that Kestrel mentions “I was raised with the values of only taking what you need and sharing those extras that you don't need. And leaving no trace behind wherever you are. Using everything of what you do take, and giving thanks to those items. There's also — in a lot of Indigenous cultures — there's the value and understanding and belief that everything is living, everything has a spirit. So in that way, you would treat things as you would a friend or a family member, even though these are inadimate objects. So, your respect for these inanimate objects become far greater than just a disposable item or a short-term item that you purchase.” -Sage (11:22) “Changemaker Sage Paul On Building A Future For Sustainable Design”, article in FashionMagazine.com that Kestrel mentions “Your Clothes Are The Most Political Choice You Make Every Day”, TedTalk by Sage which was given in 2020 Christian Allaire, writer at Vogue that Sage mentions — listen to the Conscious Chatter episode featuring Christian White Milano, trade show that Indigenous Fashion Arts is taking part in this year Section 35, Indigenous-owned brand that Sage mentions Indigenous Fashion Arts  Follow Sage on Instagram > Follow Indigenous Fashion Arts on Instagram >

In episode 286, Kestrel welcomes Kristine Kim, the Director of Impact at Doen, to the show. An LA-based women-run business, Doen offers collections inspired by a nostalgia for the coastal California of decades past. Doen recently unveiled their 2030 Roadmap, spearhead by Kristine, which provides an overarching blueprint for the business that will encapsulate both social and environmental elements of impact. “We wanted to see our supply chain as a value chain — not just as a global supply chain that creates beautiful products, but also generates social and environmental value across that process as well, and to find opportunities for us to maximize that social and environmental value.” -Kristine You've probably heard me say this on the show before, but the fashion and sustainability space has an issue with obsessing over binaries – I mean, it's not the only space constantly questioning what's right vs wrong or good vs bad.  These very simplified binary structures have been deeply embedded into our society – by way of concepts from white supremacy, colonialism, and the patriarchy. They also lead to a lot of pinning one perspective against another – which doesn't help us move forward collectively, and instead tends to force us to choose one side over the other.  I've said it before and I'll probably say it again, but there is a lot of gray area here — a lot of nuance that must be welcomed so we can actually get somewhere in our efforts to transform the fashion industry. This week's guest leads impact at Doen, and she is determined to accept the challenges that come with these *gray areas*.  As she said in a recent blog post: “Like any industry, ours is often viewed—but does not actually function—within a black and white framework of right vs. wrong, sustainable vs. unsustainable. We know that labeling any brand as a “sustainable fashion brand” is greenwashing and misleading, but have we challenged ourselves beyond this? Every business on a sustainability journey will be confronted with a series of complex micro and macro decisions, often on a daily basis. The “right” answer for each organization looks different, and requires collective problem-solving and collaboration. Weighing all of the various trade-offs involved in any single action is the real impact work facing companies.” This acknowledgement is key and I find it so refreshing coming straight from a Director Of Impact. She's recently unveiled the company's 2030 Roadmap, which represents their desire to do better in an imperfect industry. Quotes & links from the conversation: “Kristine Kim On Defining Impact For Doen”, blog post Kristine wrote about the 2030 Roadmap “The main intention that I wanted to communicate to the organization was — this type of value chain work, this type of sustainability work in fashion is very not straightforward, it's nuanced, multiple shades of gray, it's not a black and white binary, right or wrong, you're sustainable or you're unsustainable. And trying to get comfortable with that level of ambiguity and unfamiliarity is what I really wanted the teams to openly embrace.” -Kirstine (21:38) Empower@Work, collaborative effort that Doen has joined Doen's 2030 Roadmap Hand Me Doen Follow Doen on Instagram >

In episode 285, Kestrel welcomes artist and illustrator Kelly Lottahall to the show. An artist and illustrator, Kelly incorporates preloved textiles and scraps into her unique works of art. “It's so like not that significant to most people, but for me — when it's an item, a shirt, anything that's used … this doesn't have to be vintage, I'm talking about stuff that's just regular old stuff people don't want. Not like vintage that's 30 years old and super cool because it's another era — no, I'm talking about like 10 years ago and you don't care about it anymore. I'm like no, but I do — that could be really really cool, are you kidding me?” -Kelly Have you ever noticed how the fashion world often orients itself as very separate from the art world? They are obviously intertwined, and we see some overlap in the mainstream, but there tends to be a very distanced relationship – especially in the way that the fashion industry disregards the artistic aspects of fashion.  Here's a couple examples – Garment construction has been devalued and not treated as though it is a REAL art form – both in the way sewers are paid (so often less than a living wage) when they are true artists; and also in how the industry has reduced our perceived *value* of garments through fast fashion and lower prices. There is the way that traditional fabrics and garments (which literally ARE art) have been disrespected and/or appropriated for the sake of commercialism – so stealing cultural fashion art and then replicating it in a way to simply make a profit off of it (in turn, totally detaching it from its artistic roots). This week's guest is literally BRINGING the fashion and art worlds together through her unique craft, and she's repurposing quote unquote *trash* while doing it. As she says – “I like finding old things and turning them into new things. I like gadgets that used to work that don't anymore. I like clothes that are too old to wear the original way, that can be recreated in a new way.” Quotes & links from the conversation: “I think there is something in me — there's just this natural connection with somebody's lived in story.” -Kelly (9:36) “The biggest thing we need to understand is that our culture — we just consume so much, excessively consume so much stuff that we just don't have to have. But we also have to understand that brands — fast fashion brands — they also know this about us, and they've made it so easy for us to just click and buy the second we think about it.” -Kelly (32:14) “A Photographer, A Stylist, And An Artist” collaboration Kelly's Website > Follow Kelly on Instagram >

In episode 284, Kestrel welcomes designer Angel Chang to the show. Over the last decade, Angel has been working with artisans in southwest rural China, making garments using zero carbon design / Indigenous practices (all-natural, locally-made, zero electricity). “For the past 20,000 years, we've been making our own fabric and you know, using ingredients from our own backyard. It's only in the last 150 years that electricity was invented, that chemical dyes were created, that plastic and plastic textiles were created. And all the stuff that we say is polluting for the fashion industry — well, that was all created in the last 150 years. So, if we really want to create quote unquote sustainable clothing, we just have to make clothing like it was before then, before the Industrial Revolution." -Angel The sustainability and fashion narrative has an obsession with whatever is *new and innovative*. The focus regularly leans toward innovations in fabric development or tech-centered approaches to reduce carbon emissions. There tends to be this obsession with looking forward into the future, instead of slowing down to look back and maybe unveil what we could also learn from the past.  This week's guest has deep knowledge around this. After falling in love with the hand-embroidered Miao traditional costumes exhibited in museums around the world, Angel found herself traveling to remote mountain villages in Guizhou Province, China, searching for the elders who made them. And she ended up finding them.  Years later, she's working in collaboration with several communities, in an effort to help preserve their textile traditions that over the last 30 years or so, have been eroding amidst China's rapid modernization. As she says – “Saving these textile traditions is not just about preserving the past. They can also provide tangible solutions for an environmentally sustainable future.” Turns out, zero carbon design – fashion that's all natural and locally-made with no electricity — is possible.  Quotes & links from the conversation: “I think maybe it's human nature to always want to find something that's new and flashy. But I feel like it's also feeding an obsession that will never be satiated. There's always so much emphasis on technology and the future, and the thing is — technology is not going to be the thing that's going to save us from climate change or whatever. We have to learn how to work with nature again.” -Angel (49:59) Alexis Bunten, Angel mentions them and some of their wisdom about the need to reconnect with our own roots “I think not being able to know who you are fuels a lot of insecurity and unrest internally. And so, I feel like learning about where we come from, our ancestral roots, and going to that physical land and just feeling it and spending some time there — I feel like that will give us a lot of solace and calm us down and bring more satisfaction to our hearts and souls.” -Angel (59:38) “How Ancient Textiles Can Help The Future”, Angel's TEDTalk Angel Chang Website > Follow Angel on Instagram > Follow Angel Chang (the brand) on Instagram >

In episode 283, Kestrel welcomes Kristin Morrison, the founder and designer behind All Species, to the show. A textile arts and design studio, All Species investigates the potential to create regenerative garments and textiles. The below story was written by this week's guest — it's vision-inducing and reminds us of all the value that can come from further connecting ourselves to the natural world. It's a beautiful way to envision what could happen if we work toward literally wearing the land around us. “Can we imagine together the rumble of 200 hooves- the vibration spiraling up from your feet to your heart as you witness wooly Rambouillet sheep running in the distance. Your work boots kick up dust as you run alongside to get a closer view. Sipping in the scent of wool, grasses, soil, you can sense the vitality of this wild ecosystem. Hooves till the soil…wild grasses are mowed by hungry animals and the carbon gases are sequestered safely back into the earth in the process. Today is a special day, sheep shearing day. You are here to witness the fine wool be cut from the animals, leaving them with small bare bodies. Shearing is a necessity and tradition that keeps the sheep healthy and also provides a source of income for the farmer. Giant pillows of dusty, grassy, potent wool will be sent to local mills to be made into cloth. Sensing the good intention of this in your belly, brings a feeling of wholeness to your being, like you are part of something bigger than yourself. The wools is then spun and woven into exquisite cloth in artisanal mills. In your minds eye, you imagine the supple yet stiff fabric and how it will be draped into form passing through hands of more creators…how it might shift from cream to charcoal as it is colored with native plants-and eventually come together as calf length coat styled with other fibers from the land. This embodied garment, carries the vibration of all the hands who have imbued love into its cloth and echos the rumble of those 200 sheep.” Quotes & links from the conversation: Sally Fox, one of Kristin's fabric suppliers — listen to Sally on episode 267 of Conscious Chatter > CA Cloth Foundry, one of Kristin's fabric suppliers — listen to founder Lydia on episode 135 of Conscious Chatter > “When we are wearing the land, we embody the frequency of it — it's subtle quiet and yet, powerfully transformative. And in this, we are invited into the wisdom and the knowing, to what the lands needs to regenerate.” -Kristin (32:09) All Species website > Follow Kristin / All Species on Instagram >

In episode 282, Kestrel welcomes Katia Dayan Vladimirova, a senior researcher at the University of Geneva, to the show. In addition to her research on fashion consumption, sustainability, and degrowth, Katia is the founder and coordinator at the Sustainable Fashion Consumption Network, and recently contributed to the Hot or Cool Institute's Report – Unfit, Unfair, Unfashionable. “Sufficiency is part of —very much interlinked with degrowth conversations today — it's about abandoning economic growth in favor of wellbeing and enoughness as a positive vision of the future, in which we are content with enough and are not looking for more all the time.” -Katia I've been thinking a lot about the sustainable fashion narrative (over the last decade or so) and as I see it, we've seen a few big stages in the conversation – mind you, there are so many more nuanced narratives that have been out there, but these are the narratives I've heard the most noise around: Stage 1 – A focus on redirecting your consumption habits. The idea that you can be more sustainable with your wardrobe if you buy differently. The narrative was very much interconnected with capitalism and focused on the notion of BUY THIS, NOT THAT. Stage 2 – A basic understanding that massive corporations are the biggest culprits of carbon emissions and human rights violations in fashion. The narrative shifted a bit away from *blaming the consumer* and a bit toward highlighting the need for brands to change. This also involved an acknowledgement of the important role that legislation can play in transforming the industry. This was when we saw the rise of the fashion activist. Stage 3 – (This is the stage I believe we are currently amidst.) It's a combination of the previous stages, with greater context and more specific recommendations on HOW to truly make an impact. It involves an understanding that there is not one specific avenue to change the way fashion currently operates – but instead, we need all hands on deck, and multiple avenues working to address the industry's inequities. This week's guest was one of the authors of a recent report that came out by the Hot or Cool Institute. I feel like the findings in this report directly assist in providing specific ways that a so-called CONSUMER can transform their behavior to make measurable impacts on climate change (something I'm seeing as an integral part of this Stage 3 we are currently amidst).  In the report, it highlights that – “If no other actions are implemented, such as repairing/mending, washing at lower temperatures, or buying second-hand, purchases of new garments should be limited to an average 5 items per year for achieving consumption levels in line with the Paris Agreement – to keep the average global temperature rise below 1.5 degrees Celsius by 2030. This is very exciting – to see a report tell us a target number – to let us know that we can still buy clothing, but if we can all reduce our purchasing to only 5 garments per year, we can stay within planetary boundaries.  Tune in to hear more from this week's guest on HOW MUCH IS ENOUGH? when it comes to our fashion consumption. Quotes & links from the conversation: Hot or Cool Institute's Report "Unfit, Unfair, Unfashionable: Resizing Fashion for a Fair Consumption Space" Sustainable Fashion Consumption Network, international research network on sustainable fashion consumption "Consumption Corridors in Fashion: Deliberations on upper consumption limits in minimalist fashion challenges", Katia's article that explores how much is enough “When we're talking about the key driving force behind the growing emissions in fashion — these are the wealthiest 20%. And we may think that, wealthiest 20%, oh this is somewhere far away from us. But if we look at the numbers — in Germany, to be within the wealthiest 20%, the individual income has to be over 3.2K Euros per month. So, many people who are participating in policy conversations, in research — many people who are asking these questions actually are within the richest 20 percent.” -Katia (26:17) “Those who really should change is the middle class and upper middle class who can afford to buy better, but they choose not to.” (27:22) “The positive message here is that when we're talking about staying within planetary boundaries, we're not talking about having 2 pairs of underpants, 2 socks and a pair of jeans for the whole year — that's not the case. We actually have a very generous allowance — our allowance to stay under the 1.5 degree limit is higher than the number of pieces that a woman in France used to have in the 1960s in her wardrobe. So we're really very generously allowed to experiment.” -Katia (29:30) “Citizen Insights: Clothing Longevity and Circular Business Models Receptivity in the UK”, WRAP study that Katia mentions Follow Katia on Instagram >