If it Fits…:SHOES, Pleasure and Pain, V&A Museum in Pacific Place Hong Kong- A Review.

Christian Louboutin, Manalo Blanak, Roger Vivier and Zaha Hadid - SURPRISE! - your true-dream shoe-closet does indeed exist, and its in a small but ambitious black-box exhibition in Hong Kong’s Pacific Place shopping mall. “SHOES, Pleasure and Pain” presented by the Victoria and Albert Museum, London in partnership with Swire Properties, Hong Kong, makes Hong Kong’s Pacific Place, in the city’s swanky Admiralty District, the final location of the its year-long tour throughout retail locations in Asia. The exhibition, originally displayed in London at the V&A Museum (2015), first toured to The Bowes Museum in Durham (2016) then crossed the Atlantic to the Peabody Essex Museum in Salem, Massachusetts (2016) and the SCAD Museum of Fashion in Atlanta, Georgia (2017). In its Asia tour, it has likewise visited a number of cities including Shanghai, Chengdu, Guangzhou, and Beijing. The V&A has no plans on showing this exhibition of 140 specimens of significant footwear again anytime in the future.  


The exhibition is articulated in five themed sections—Transformation, Status, Creation, Seduction, Obsession—and arranged between two separate galleries, both placed inside the Garden Court of Pacific Place, Hong Kong’s premier luxury shopping establishment.  The first gallery features shoes in a purple interior with dim light.  Crowded like the viewers in the small exhibition space nested amidst the vast marble-lined halls of the mall, the shoes have themed windows with different labels. With labels that require a pocket flashlight equipped with a magnifying lens, the exhibition is clearly not intended to satisfy our desire for information but to titillate and seduce. Even the schematic illustrations of the different shoes emphasizing voluptuous contour are sexy. The placards satiate the need for digestibility among everyday mall walkers, fashionistas and sneaker-heads but this is an exhibition that does not shy away from the shoe’s status as the quintessential festish. The decorum of visitors is zealous as ardent devotees of the shoe enter fervently though nonetheless confused, wondering if they should follow the norms of shopping mall behavior or museum etiquette.


In China’s new economic conditions, it is important for every brand that tries to enter the market to make the right impression: finding the right consumer to court can make or break the establishment of brand value. Dilution and saturation of the V&A museum brand is no different and this is no doubt part of what is at play with this seemingly mundane exhibition of fantastic shoes.  In aligning with luxury commerce, the museum is elevating its brand awareness to the level of upscale stores in Asia. The question remains if the value of the museum’s brand is dulled when embedded in an environment of capital goals like a shopping mall, its material-driven host.


On the outside of the first box-arcade, a large screen with interviews of famous shoe idols, and profiles of the most recent collections of designers featured in the exhibition, betrays a commercial wrapping that aims to use the show to encourage museum viewers to become buyers. A graphic on the floor guides the viewer from one gallery to the other, past brick-and-mortars smacking their lips at the potential shoe sales this exhibition should ensure. Seeing Salvador Ferragamo’s 2018 collection displayed outside of the gallery, The walk from gallery-to-gallery is a dirge for the wallet.


Mirror boxes give multiple perspectives of a gold-and pink styled display.  Orange and blue themed line-based displays showcase ostentatious Vivienne Westwood boots worn by Naomi Campbell when she stumbled on the catwalk in 1993. Masterpieces of design, many of the shoes on display are impeccable examples of the boundaries pushed in contemporary design, but many are also artifacts of Internet meme culture.


            These magical shoes have the power to send our steps into other worlds. The vamp of the show introduces the viewer to the section of the exhibition titled ‘Transformation.’ In 1697, Charles Perrualt wrote the fairy-tale version of Cinderella, adding the all important character of the glass slipper. Disney’s version made in 1950, crystalized the slipper as the formidable symbol of Cinderella and the power the right shoes have to change lives. Only the true Princess will fit the slipper and trigger the metamorphosis from rags to riches. Perpetuating the princess complex, a ‘Cinderella Slipper’ made for Lily James shines. Worn in the 2015 feature film Cinderella and designed by Swarovski, the diaphanous pair is displayed on a red velvet pillow.


            A pair of Adidas football athletics worn by David Beckham hold court among celebrity shoes that include two pairs worn by singer and actress Kylie Minogue and a pair of knee-high black leather boots with rainbow rhinestone platforms worn by Elton John. For centuries, shoes have been a symbols of status and wealth. This is explored with shoe molds (known in the industry as ‘lasts’) made to craft shoes especially for the slender feet of Princess Diana. There are even shoes with velvet soles created for women so high class they never touched the ground, traveling from carpet to carriage then back to carpet again.


            The representation of historical shoes is impressive. A long-toed moss-filled, black shoe, believed to date from the 1370s, is the most antediluvian pair in the show. A variety of sizes and stages of antique Chinese shoes worn by women whose feet were bound for social reasons and fetish appeal, are on display as well. Some of the latter are so small they can fit in the palm of your hand as women started the painful (and malodourous) process of binding feet from an early age. All this, to secure a quality marriage partner. A tradition started in the Song Dynasty (960- 1279), originally made illegal in 1911, women modified their feet with help of older generations. With chance women could jump classes with marriage. Matches made by mother-in-laws, were easier for Chinese women with small beautiful feet believed to show she would be a subservient wife who would never complain. Binding continued after being made illegal with true trickle-down effects in rural lower income strata, until 1949, when bindings were effectively removed with force during the Chinese revolution. The last generations of women who had their feet bound are now in their 80s and 90s.  Some of the women whose feet would have fit the shoes on display are portrayed photographer and social historian Jo Farrell’s photography project Living History: Bound Feet Women of China (2015).  


            Conception of design in the footwear process is paramount. Whether a pret-a-porter 52-week release or a luxury fashionhouse with four collections a year, designers continue to push the boundaries of intention and material. Imagination is key, even with a capitalist end goal. Pouring her whole ‘sole’ in it, recently deceased starchitect Zaha Hadid designed a pair titled Nova (2013).  The shifting cantilever form supports a 16 centimeter heel; rotation-molding made a shoe of rubber, in which all parts of the shoe are completely interconnected. This chrome star pair is in the creation section of the exhibit. The innovation here surpasses that of any other pair in the show.


            Shoes have the capability to push boundaries and represent many different parts of society. The Seduction section is where shoes have the ‘leg up’ on other garments worn on the body. The pleasure and pain in wearing certain shoes means empowerment through discomfort. In this section the shoe as an object of sexual fixation can is seen in a pair designed by Christian Louboutin in collaboration with cult film director David Lynch. Titled Sous Le Pied (2007), the shoe has a heel placed at an angle impossible to walk in, making the wearer unable to saunter. Reduced to a crawl, the wearer exposes the folds of skin and creases between toes at the bottom of her feet through the open bottom of her shoes.


Nearby heeled slides with feather furbelows are displayed next to gigantic black-gloss Japanese thong-sandal platforms worn by prostitutes.  Like Sous Le Pied these lack their true allure without the live performance of the body wearing them. Movement and the female figure makes these shoes come alive. The curatorial team attempted to reinsert the lost body with video of the Japanese shoes on their wearers playing in the center of the gallery, just a stretch away from the objects themselves. These shoes displayed in the ‘Seduction’ section appear situated in a chamber with ethnographic lighting and suggestive red velvet space submits to the apparent coloration of shoes and sex.


            Infatuation with shoes can cause a compulsion for sole perfection. The famous shoe collector Lionel Bussey (1914-1969) acquired over 600 pairs of shoes over the course of his lifetime. A small part of his collection of mostly leather shoes is featured in the ‘Obsession’ part of the exhibition. Each pair collected by Bussey represented the most trend-driven style at the time they were made. Bussey’s collection even showcases rationing during the war years in the 1940s and its effect on shoes. All the shoes were brand-new, never-worn, many still in original boxes with the receipts evidencing when and how they were acquired.


            Emphasising extremes in fashion, SHOES, Pleasure and Pain, takes the shoe to new heights. Laced with remarkable examples of extraordinary footwear spanning time, social status and geography, the exhibition displays its the subjects with dignity in a commercial space, never dulling the shine of these brilliant shoes rather basking in their afterglow.





Sadler, Victoria. "The Pleasure and Pain of Shoes Examined at V&A." Huffington Post. November 06, 2015. Accessed October 3, 2018. https://www.huffingtonpost.co.uk/victoria-sadler/pleasure-and-pain-of-shoes-v-anda_b_7555464.html?guccounter=1&guce_referrer_us=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS5oay8&guce_referrer_cs=9ZfFaS-bRPCT4LtEa4gxpA.


Gendimenico, Nancy. "Heavenly Bodies." Art Papers. Summer 2018. Accessed October 3, 2018. https://www.artpapers.org/heavenly-bodies/.


Jepkorir Kiptum, Rose. "I’m Not Who You Think I’m Not #4: Chebomuren." Art Papers. Spring 2018. Accessed October 3, 2018. https://www.artpapers.org/im-not-who-you-think-im-not-4-chebomuren/.


Omer, Sara. "Kirstin Mitchell: Miecznikowski." Art Papers. Summer 2018. Accessed October 3, 2018. https://www.artpapers.org/kirstin-mitchell-miecznikowski/.


Foreman, Amanda. "Why Foot binding Persisted for a Millennium." Smithsonian Magazine. Accessed October 7, 2018. https://www.smithsonianmag.com/history/why-footbinding-persisted-china-millennium-180953971/.














I’m in search of those who have the desire to dignify the fashion industry- instead of having a dusty door locked in front of secrets they want no one to uncover. The conversation is happening but it’s not talking about the urgency and the ethical rules that are being broken.  How we got to a point in the social order where people need new things all the time or where the perfect persona needs to be obtained?  Who are these interlocutors that participate in this conversation? I have so much distaste for the word because it truly says nothing to me in progression of the movement it is supposedly representing.


            Since 1980 the use of the word sustainability has increased by 650% according to google books. The efforts of the word have also increased, yet it’s not enough. This is a buzz word for marketers, a popular panel discussion topic, a pushing the “right” direction. The word sustainable has saturated the 2.4 trillion US dollar fashion market and means nothing to the millennial mindset any longer.  A branding tool not a lifestyle or thinking process, It’s apparent with common buying behavior of the cost conscious consumer, are buying things because they are cheap, not because of need or the items quality.


            In September and October I had the privilege to visit 2 sustainability summits the Hong Kong Fashion Sustainability Summit and Shanghai Fashion Sustainability Summit. In Hong Kong, over 2 days at the Wan Chai Convention Center, leaders of Hong Kong in the conversation presented and encouraged attendees to start rethinking their design process, and find new technologies for smoother and more effective supply chains. A month and half later I attended Shanghai’s version of a Sustainability Summit. Hosted by Shaway of YehYehYeh. Large leaders of the fashion industry spoke and presented about different key topics plaguing the industry currently. In comparison to the Hong Kong summit it was more driven toward public relations than critical solutions to the issues surrounding this issue like Hong Kong did.


            While the summit partakers made bags from discarded Nike gear [MOU1] and others mingled while drinking coffee, the animated CEO of Chinese courier SF Express, Mr. Xu, excitedly debuted a reusable foam box. SF Express will be implementing it for business-to-business shipping. Although a bit of an eager investment initially, these boxes aim to cut back on the 15 billion cardboard boxes China uses in one year. They can be shared easily by all companies since they have with no branding on them and are locked and opened use the QR code—an ubiquitous technology in the PRC.[MOU2]  Not a new concept globally, but these boxes are a progressive step for China.

            The host of the event Shaway Yeh, founder of YehYehYeh and co-creative director for China’s edition of NOWNESS.com, is one of the leading forces behind the push for sustainable thinking in China. She was also a contributor to a sustainability panel during the BOF Summit. Ultimately, the subject and its potential solutions are still at the forefront of concerns for all those in fashion, and she is passionate about making sure Shanghai is part of the conversation.

 She told Business of Fashion writer Casey Hall, “There are a few young fashion entrepreneurs here who are genuinely committed to the cause and other exciting people who are in the R&D stage of things. But getting the rest of our industry up to speed will require a lot of work. I guess the silver lining is that you don’t see quite as much greenwashing and posturing here as you do in the West. Here’s hoping we can leapfrog ahead and skip that tedious stage.”



            So why is this important? Why do we care? Why should we care? Let’s talk about what the nasty S word actually means. Everyone is saying it but what does it actually want to do? According to Global Fashion Agenda’s Caroline Chalmer who presented in Shanghai, these three things can be the basis when you think about a definition; Environmental, Social and Ethical responsibility.


            Environmental- a human responsibility to give back to the earth. To not destroy it, here we focus on the factories who dump chemicals, the clothing in landfill vs recycling and any effects of logistics with air and waste. We can talk about climate change, water consumption.

deforestation in Brazil for clear areas for the meat and leather industry, on average there are 2 million tons of textile in landfills in specific countries where they even keep track.


            Socially responsible communications and communications of manufacturing practices. The consumers’ responsibility to demand from companies the best practices, Wallets speak and so do tags and labels.  When the United National presented at the suitability summit in Hong Kong a main topic was a traceable reliable supply chain with visuals is key. Communications with your customer the most important.


            Ethical Practices are a huge sore spot for fashion in general, equal wages, safe work environments, create input on designs, feminist demoralization.

  Even though more market in fashion is targeting women, female workers in the fashion industry accept a lighter wage for sewing. Many fashion lines the blame on a 3rd party vendor, a company they pay to produce their designs for them.


            Protection for the workers is another aspect of the ethical practice that can be questioned, The once strong, now dismantled unions of the United States were a historical provider of making sure factory workers were guaranteed safe, ethical working environments with fair wage. And in places like Bangladesh were the fashion manufacturing churn is at its height, where 80% of the country’s GDP is produced from it’s readymade garment industry, 20 billion dollars on average yearly. Three million people work in the apparel manufacturing industry in Bangladesh. Mostly working long hour in cut sew and trim factories; young women are exploited by one of the core part of the supply chain. This group of works makes the majority of the worlds tee shirts and easy pattern garments.


            In contrast to popular belief, in China the working environment is leaps and bounds better.  Young workers, men and women move from their rural homes to urban meccas to live in factory dormitories. On average the ages of 19-25 these people send money home to their families and create communities surrounding the plant they work in. These factories are efficient clean and safe. They pay a living wage and have helped create this growing middle class of Chinese consumers that are the main luxury buyers in tier 4 and 5 cities, where there is less brick and mortar luxury stores.


            Chalmer also commented that Global fashion consumption is slated to double by 2030, it is more than the earth can handle. One pair of denim pants requires 11,000 liters of water to produce, with this kind of water consumption it may lead to having to make the decision to provide clean drinking water for certain communities’ vs processing cotton.


How did China and Hong Kong get to this point in the conversation about garment sustainability?


            Chinese industrial clothing manufacturing started in the 1870s, Chen Qi Yuan opened a textile factory called Ji Chang Long Reeling Mill.  In 1899, Jardine Matheson started Hong Kong Cotton-Spinning, Weaving, and Dyeing Company, Ltd. The factory was at So Kon Po, Causeway Bay. It imported cotton and spun it into yarns. In 1914, the factory had to relocate to Shanghai due to the lack of skilled labors, shortage of electrical power and clear water, and also because of the unfavorable humid weather to yarn spinning.


            Before World War two Hong Kong was know mostly for yarn spinning and weaving after the war it developed more and more into textile and garment manufacturing. After World War Two China and Hong Kong both invested in the fashion industry seriously. In 1949 the textile industry accounted for 38% of the China’s industrial output value. The Chinese government invested heavily in the industry in 1950 -1955 creating the base for the future of the industry, but during this time they focused on old style technology and did not evolve very fast so their out put was very little compared to other markets during this time. In Hong Kong with cultural revolution in Shanghai, HK began to start to grow with machines bought from United States of America and workers brought from Shanghai to train Hong Kong workers. In 1979 the open door policy reform brought more advancement in technology and encouraged investment 1979 to 1982, the average annual growth rate of the total value of textile and clothing output was 13.2% from the government. Meanwhile in Hong Kong with rising land and labor costs, combined with growing competition in the region, the city was losing its edge, with many factories moving to China where costs were considerably lower.


            “(In)tangible Reminiscence” a exhibition in the Annex arts space in Hong Kong’s Central district that took place in April of 2018, where the main focus of the exhibition was a social commentary od the garment manufacturing industry and the Artists experiences surrounding fashion. South Korean artist Jung Yeondo film project interviews a elderly woman who was a worker in Hong Kong’s early textile industry. A quote from her;


            “I lived near Kowloon City Pier. I sat there and cried every night … I worked from 7am till 7pm. The wage was as low as $3. I had to monitor big weaving machines. Six, eight machines. Later on, more than twenty. Once you began, fabric came out of the machines with a ‘dong dong’ sound. The machines were set up very high. I had to wear taller shoes. If the fabric was woven badly with wrong lines, they would fine you.”


            In the 1980’s international pressure was on the rise for better working conditions in China and globally. 1990’s The fashion industry has been under the watch dog eye of the ethically conscious community since the 1980’s for human rights violations. Yvon Choiunard of Patagonia and fashion designer Eileen Fischer have built a environmentally friendly and ethical base into their companies.


            China’s garment industrial value increased by about 7% per annual on average between 1997 and 2002 and with China’s entrance into the World Trade Origination in 2002 the industry grew into the major power house it is today.  Meanwhile the USA lost 42,400 factories and 32 % of all manufacturing jobs. There was $178 billion increase in the U.S. trade deficit with China between 2001 and 2007. China had successfully transitioned 32 % of the USA work force over to its shores. In 2000 and 2001 Garments accounted for almost 70% of total exports from China.

 From 1996 to 2000, the world’s chemical fiber production rose from 21.98 million tons to 28 million tons, with an increase of 1.2 million tons per year, these are fibers that could potentially be recycled if given the chance. Presently, China is the largest exporter of textile and garments in the whole entire world and accounts for one-tenth of the world’s exports in the apparel industry. It has about 24,000 enterprises and employs about 8 million workers.


            Currently Online sales are the top of all sales made, companies like Alibaba, Amazon, Net-a-Porter, and Zappos dominate the market with packaging used this creating in excusable waste globally. In addition, to the CO2 emission created while transporting garment to where ever they are going. With an average of 30% of a items price taken up in logistics, it’s also in the best interest of everyone customer and retailer to rethink some of these practices.


            In Hong Kong there is not a huge natural biodiversity and amount of natural resources, we import most of what we need. When focusing on markets like Hong Kong and Shanghai the sustainability conversation is in full swing. Yet the way Hong Kong’s people live we would need 3.9 Earths to sustain the current way of life according to WWD’s ecological foot print report. With retail reports forecasting the main points of growth in 2018 are emerging-market countries across Asia–Pacific and Latin America, they are slated to grow at rates ranging between 5 and 7.5 percent in 2018, this includes Hong Kong. With consumption accounting for 58.8 percent of China's economy the "consumer upgrade” is not helping China focus in on a Circular economic fashion industry.


            Hong Kong has a movement going in it encouragement for it’s citizens to be conscious with fashion choices with companies like Redress. Christina Dean, the founder set up a a Hong Kong-based environmental NGO organization with a a mission to encourage people to keep environmental sustainability in the forefront of their mind. They are working to reduce waste in the fashion industry - A competition held yearly by Redress appoints young up and coming designers to make high end sustainable collections the will  be picked up by Local Hong Kong power house retainer Lane Crawford. Dean told Business of Fashion “the fantastic news for the world is that the upper middle class are definitely transforming the way the ethical fashion market will progress in China.”.



How do we connect with Ethical Fashion? What do we need to do to move forward . Even though we have more clothes in our closet than ever before.


With the 52-week release system that is currently in place, consumers are not given the chance to let anyone trend run its seasonal course. By the time you have bought this week’s look there is something new out as soon as you have left the store. The trends are overwhelming for consumers. The sheer amount of clothing discarded just because it is deemed uncool by the Social Media is beyond the amount of clothing that is actually not wearable. Companies like H&M contradict themselves with programs and collections like the Climate positive supply chain where the promise is to recycle and create circular designs (where the end of the garments life is decided in it beginning) and then they still support this release system that encourages over consumption. In the Instagram induced shopping crazes we can’t help but feel “FOMO” ( fear of missing out) that the clothing we are wearing is deemed un cool per the mainstream social media machines. This a ridiculous sped up version of Roland Barths perception of trends –

 “Clothing "in print" ·provides the analyst what human languages deny the linguist; a pure, synchrony the syn­chrony of Fashion, changes: abruptly each year. but during the year it is absolutely stable; by studying the clothing, in magazines it is possible to study a state of Fashion without having to cut it artificially, as a linguist must cut the tangled continuum of messages'.”


            Now with faster technology, Roland Barthes theory of a code created by fashion is accelerated 52 times faster. How fashion magazines are supposed to maintain is an anomaly to me. Instagram has 800 million users on a monthly basis, that purchase merchandise directly from accounts. Now luxury fashion has lost it exclusivity and now is building its brand awareness and brand value through highly curated Instagram feeds. It is no longer Barthes world, anyone can see the collections and anyone can access images of them. Originally couture fashion was created for the elite, who valued the artesian aspect of the fashion designers craft. Barthes was interested in the way that these sign systems produce not clothing, not women, but the abstract notion of Fashion.


            In our contemporary state the conception of the stories of fashion have become so reckless, Recreating the same designs over and over as seem is in the recent display of Hedi Slimate interpretation of the CELINE brand, I feel a statement was made in reaction to the current state of fashion where the markets are moving too fast, I feel like this designer is saying “it’s too much, lets make a solid aesthetic and stick with it”. He disrupted the fashion industry with a shocking collection that was a mirror to his last from another brand loudly defeating the understated aesthetic of his predecessor Phoebe Philo at CELINE. I feel he was saying fashion is moving too fast and we need to focus more.


            The general blue collar perception of fashion has lost its value, in terms of taking time to appreciate the laborious process, it seems like a waste when the general public is just as happy wearing athletic leggings and graphic tee shirts. There is a lack of thoughtful gratitude of what it takes to create and produce beautiful garments. The amount of clothing people own is larger than it has ever been people feel the over consumption is normalized. We use clothing as a mask, as a way for society to interpret who we are, yet with a blanket of image generalization created by the sharing of images on the internet. There are global trends that are more common then ever, you see the same outfit in Chicago and Shanghai. With this mindset how can a truly sustainable Fashion industry exist?


            My thought on shopping ethically for consumers; ask yourself can I wear this 30 times?

Can you wear your garment with at least 6 pieces you own already? Is it a fabric that can be recycled? Is it made in a ethically responsible factory? Were animals hurt in the process of making my garment?  Social responsibility for effect sustainable fashion is everyone’s responsibility. Consumers need to know how do we connect with Ethical Fashion? What do we need to do to move forward? Even though we have more clothes in our closet than ever before. The misconceptions of aesthetic can lead one to think being a sustainable consumer means to be wear old things, People are trying to put  green carpet challenges in place, where more fashion mileage per dress is the goal.


            As a world are we suffering from a state of stale monolism, can we not see outside of ourselves? ACF a clothing line produced in Shenzhen and designed in Hong Kong with dead stock fabric –fabric that is left over from large production runs of garments. Garment rentals like Yeechoo in Hong Kong and Ycloset in Shanghai are pushing KOL’s and debutants to rent garments for special events rather than buy new every time they have an event. Having a closet in the clouds, Gives consumers a aspirational looks in a sustainable way.


            Other designers are focusing on recycled and alternative fabrics made from unusual materials like mushrooms, oranges and even proteins inspired by spider-web DNA, some are using orange peel or growing their own leather. Lab grown silk is another new alternative being produced. Some designers are focusing on the concept of using cloth on that transforms into different shapes for maximum multiple reuses. Consumer values and company values will be the collective push that will ensure ethical fashion production.  Urge people to know to ask questions about where their clothing is made or how it is made.


            In a city where newness and monetary value is treasured at the highest level of social currency, Hong Kong blindly views the world as a forever renewable place, countless water bottles, take away packaging, garments, online shopping materials, countless flyers, business card galore and People. They, a group of hard working people mostly from the Philippians, Indonesia and Malaysia are a renewable resource in the eyes of Hong Kong elite, where when you actually see them in numbers they are resting on the one day a week they get to be out of their employer’s home. This hidden underwire of a support system, made of mostly women that churns Hong Kong forward. These “helpers” can be seen as an exploited 300,000 strong group of workers who put other people’s children to bed at night. Some have their own children in their native home, being raised by family members with funds sent from their monthly earning rumored to be estimated around $500 USD per month. This in comparison to the Au pair system in The States where for a live in AU pair (nanny) you pay 1500 USD for 40 hours a week and 1 day off a week.


             These women have a created a unintentional sustainable force by reusing Hong Kong’s elites items, by reselling discarded clothing from their employers, Perhaps only because of their economic status. With the manufacturing industry dwindling out of Hong Kong the helper industry is thriving as ever and you see this with a sea of colorful outfits in Victoria Park and in Central tucked in a luxury shopping district. A economy of their own, seen through markets on the street making extra money and I’m not sure if they are meaning to, but making ridiculously ethical moves with the garment exchange. They sell the discarded items under the shining cloaking of light of their aspirational luxury stores behind them. These as a cold reminder of the capitalist oppression that depicts their social status in Hong Kong.


            Why are we lacking this activation energy?  Why is the fashion industry dragging its feet in changing? The game of pointing fingers should stop, 3rd party vendors should be held accountable. Communication of this should be held accountable. Not only is it the CEO’s of these organizations it’s the consumers as well. Take a moment to think what it’s like for a established supply chain to switch everything. Change is hard and it takes courage, it takes the bravery on the consumer to educate themselves and the CEO to take charge. A collective effort. To wear that garment for 9 more months Who is making your clothes? Who was your clothes? Do you swap your clothes, throw them away?  It takes courage to speak up to your friends about where there items are from. If you work in fashion take the extra thought to think of the death of the garment. According to Green Initiatives, a non-profit focused on environmental education and solutions in China, , an estimated 70,000 tons every day, with 2.5 billion tons of polluted waste water produced annually and  53 % of the world’s textile production waste comes from China. I’m not saying everyone should be a thrift Dandy and alter their thrifted clothing, but more thought is required. In Chinese culture according to tradition my HongKongnese friend Kendy Folk tells me “You just don’t want someone’s bad luck to come to you by way of their old clothes”. So in country a where the waste is some the most in the world, the concept of reuse is hindered by cultural authority.


            What if you could rent your clothes to others with a curriers system? Or Does the future involve more reuse of clothing, where mending and swapping are main modes of obtaining garments. Vestimentary Education is key, the new generations should be educated in the importance of conscious consumption. “If we know exactly where we're going, exactly how to get there, and exactly what we'll see along the way, we won't learn anything.” said phycologist Scott Peck.  I feel systemic behavior change needs to happen before the word sustainable can be considered a true type of life style adjective.




Google Books. Accessed November 14, 2018. https://books.google.com/ngrams/graph?year_start=1800&year_end=2008&corpus=15&smoothing=7&case_insensitive=on&content=sustainability&direct_url=t4;,sustainability;,c0;,s0;;sustainability;,c0;;Sustainability;,c0;;SUSTAINABILITY;,c0.


"HOng KOng Goverment Sustainable Development Report." HK.gov. Accessed November 14, 2018. https://docs.google.com/spreadsheets/d/1uwGRWWoEzyKB148dkdu4HIzMlUpjswtGsboUvVnfSlA/edit?usp=sharing.


WWF. "WWF Living Planet Report,Hong Kong Report." WWF. Accessed November 14, 2018.


Don-Alvin Adegeest. "Global Fashion Sales to Increase in 2018, Says McKinsey Report." Fashion United. Accessed November 14, 2018. https://fashionunited.uk/news/business/global-fashion-sales-to-increase-in-20218-says-mckinsey-report/2018011227622.


HALL, CASEY. “At Chic Shanghai, Quality and Design Grow in Importance: China’s ‘Consumer Upgrade’ Is Driving Spending on Designer Fashion from Local and International Brands.” WWD: Women’s Wear Daily, March 22, 2018, 12. http://0-search.ebscohost.com.library.scad.edu/login.aspx?direct=true&db=buh&AN=131644216&site=bsi-live.


ongpei Liu. 2016. “E-Commerce Intellectual Property Rights Protection in China.” Intellectual Property & Technology Law Journal 28 (8): 14–16. http://0-search.ebscohost.com.library.scad.edu/login.aspx?direct=true&db=buh&AN=116946017&site=bsi-live.


Knot, Kylee. "History of Hong Kong’s Textile and Fashion Industry Explored in Exhibition That Is Both Emotional and Immersive." Scmp.com. Accessed November 14, 2018.


Talks, TEDx. YouTube. August 07, 2014. Accessed November 14, 2018.


"Artmargins.com." Go.ksbar.org Error Analysis (By Tools). Accessed November 14, 2018. https://www.websitesuccesstools.com/artmargins.com/.



Moatti, Valérie. "How Instagram Became the Natural Showcase for the Fashion World." The Independent. June 24, 2018. Accessed November 14, 2018. https://www.independent.co.uk/life-style/fashion/features/instagram-fashion-industry-digital-technology-a8412156.html.


"China's Sustainable Fashion Paradox." The Business of Fashion. October 11, 2017. Accessed November 14, 2018. https://www.businessoffashion.com/articles/global-currents/chinas-sustainable-fashion-paradox.


"China Clothes Sharing Start-up YCloset Secures US$50m in New Funds." South China Morning Post. September 07, 2017. Accessed November 14, 2018. https://www.scmp.com/business/china-business/article/2110128/china-clothes-sharing-start-ycloset-secures-us50m-new-funds.


Wendlandt, Astrid. "Fashion's Interest in Alternative Fabrics Keeps Growing." The New York Times. November 12, 2017. Accessed November 14, 2018. https://www.nytimes.com/2017/11/12/style/alternative-fabrics-sustainability-recycling.html.


"Climate Positive Value Chain by 2040." H&M Group | At a Glance. Accessed November 14, 2018. http://about.hm.com/en/sustainability/sustainable-fashion/climate-emissions.html.


 [MOU1]Describe this, what kind of gear were used, and what kind of bags were made? Did the participants seem excited?

 [MOU2]Is QR code good? What does it do?

12 Stylist approved tips for suiting up for work!


12 Stylist approved tip for Suiting up for work!

By Lynn Serulla 

1. Let’s talk about your suits and how often you wear them, how often you clean them and how many should you have. If you wear a suit every day try this rule of thumb: Every 5 wears assess: stains? smells? Then after 10 wears, you may be in the danger zone… I suggest having at least 5 suits in weekly rotation, if you wear suits every day. Make sure you switch it up, if you don’t want to be known around the office as the guy who wears the same suit every Monday.


2. Make your belt / watch / shoe combo stand out, these are the bottom of your look pyramid and pieces to invest in. Try having a few different color schemes. Perhaps a relatable dark brown set, a lighter caramel brown, and black classic. The shinier the fancier, formal patent leather is nice to have for evening events. Stick with one color of metal. Once you have mastered the basics, branch out. Try colors.


3. Don’t disrespect your suit with a casual shirt. Buttons on the tips of your collar means a casual shirt. They don’t belong with a suit. Maybe try a mock turtleneck knit instead. Go ahead, get your bad Beat poet self on.


4. When your jacket is off, you want to show you mean business. Practice rolling your sleeves up, no seriously there is an art to it. Please make sure it does not look like two large lumps on your arms.


5. Details details details: think about your personality and visually expressing it in your look. Ties, tie bars, watch bands, cufflinks. Finish your looks with class and individuality. Pocket squares, watches, bracelets, rings, necklaces and glasses. Don’t forget your cell phone cover, sunglasses, and wallet. These details are what makes your look uniquely yours. Anyone can have a navy suit, it’s what you do with it that will make heads turn.


6. Belts, suspenders. If you wear one, don’t wear the other.


7. Pocket squares and ties should NOT be the same fabric but they should look as if they would go to the same party. Make sure your accessories are in the same color palette but not exactly the same. Do your research for your signature tie knot, and practice it.  Find your favorite fold for your pocket square.


8. Try layers. Button ups, light knit jumpers.  If it’s winter, a long wool coat, scarf and hat can be the chill factor.


9. Your luggage and bags are part of your style. If you travel for work you should consider this. Try a silver case or quality brown leather with strong brass hardware, it’s timeless and you will be able to use it for the rest of your life.


10. Gross items that can’t be helped should go away! Throw out stained clothes, armpit stains, wine, food. Have you washed it and it still smells? Get rid of it, and replace your basics. You’ll want a nice white tee, and a few crispy white business shirts for styling options when things seem a little too colorful.


11. Hire a Tailor & Dry Cleaner in one. It will be more convenient. Bring them your ill-fitting suits and pants. Have your pants hemmed. Make them love you, so they make you look amazing. I’m saying do whatever it takes: Chocolate, candy, extra tips!


12. Find a signature scent, you will be surprised on how far you will be surprised how far a scent can go in making a good first impression. Find a cologne that flatters your chemistry. Charm them through the nose, but make sure you don’t put on too much or smell like a hippie. You can get testers at a department store of scents you want to try. Poll your friends. I have a few guy friends who love dressing. They even consider what scent will be appropriate for the event they are going to.