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dippedanddripped · 4 years

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At the AW20 menswear shows, Raf Simons wrapped his models up in slogan-adorned faux fur muffs, buttoned up stoles, and broad-shouldered coats; Dries Van Noten went for fake foxes draped around shoulders; and Vetements’ first show without Demna featured vintage-inspired faux fur ankle length coats, refreshed in electric blue and parakeet green.

The ranks of brands going fur-free are growing. Gucci, Coach, Versace, DKNY, Burberry, Margiela, and Prada have all pledged to ditch fur in recent years. Even Fendi, a renowned furrier, has begun to debut faux fur looks on the runway alongside the real thing. Compounding brands’ individual decisions, the British Fashion Council encouraged labels showing as part of London Fashion Week to go fur-free in 2018. Meanwhile, just yesterday, Peta announced the end of its naked celebrity-featuring anti-fur campaigns, given use of the material is dwindling among designers.

The big fur shun isn’t just contained to the fashion industry. In 2018, Oldham council banned the sale of fur on its markets and in 2019, Islington became the first London council to do the same. From 2023, the manufacture and sale of fur will be prohibited in California, as it becomes the first US state to do so. Cities such as LA, San Francisco and West Hollywood have done the same and in 2018, the Labour party vowed to ban fur imports to the UK – but sadly, we all know how that story ends.

For many, this about-turn from fur is a positive sign, a win for animals, but for others, concern surrounding the environmental implications of turning to polyester and acrylic alternatives is growing. Made in an automated process, faux fur is created using synthetic fibres which are mostly petroleum-based.

The use of plastic in a world already drowning in it is a major concern, with many anxious about faux fur coats languishing in landfill, refusing to degrade for hundreds or thousands of years (of course, one solution to that could be just: don’t throw your coats in the bin). Another major side effect of our global obsession with plastic is microfibres. 83 per cent of tap water samples taken from around the world were found to be contaminated with plastic in 2017, and in 2018 another study found 10 plastic particles per litre in bottled water too. It’s not just us ingesting plastic, though: fish and marine life do too, with an estimated 1.4 trillion microfibres floating in our oceans right now.

The fur industry in particular has taken the plastic argument and run with it, positioning faux fur as a plastic scourge on the environment and real fur as the only real natural and sustainable option. Mark Oaten, former LibDem MP (the party responsible for the ban in Oldham, incidentally) and now CEO of the International Fur Federation (IFF), voiced his concerns in an interview with WWD. “There is a lot of talk about fake fur these days,” he said, “for me it makes no sense to use a product full of chemicals and plastics when you can have a natural and biodegradable fashion item like real fur.”

“It makes no sense to use a product full of chemicals and plastics when you can have a natural and biodegradable fashion item like real fur” – Mark Oaten, CEO of the International Fur Federation

Backing up Oaten’s public stance, IFF launched a global campaign in 2018 to “highlight the colossal environmental damage caused by plastic based fake fur”, and there are some studies to support them. One 2012 report, commissioned by the International Fur Trade Federation, suggested that faux fur coats consume more non-renewable energy, have greater risk of potential impacts of global warming and greater risk of ecotoxicity impacts. Another, sponsored by Fur Europe, found that real fur biodegrades faster than faux fur. However, much like a study sponsored by Philip Morris that says smoking is good for you, they should be read with the underlying bias in mind.

In their list of fake fur’s ‘deadly credentials’, IFF pointed out that “fake fur is produced in factories from chemicals derived from fossils fuels”. What they fail to mention, though, are the many chemicals used during the processing of real fur, which include formic, hydrochloric and sulphuric acid, ammonia, formaldehyde and lead acetate, all of which are, or can be, toxic.

Unsurprisingly, given the high stakes of the real versus faux debate, for every pro-fur study, there’s an anti-fur one to match, pointing out everything from the unsustainable amount of feed it takes to produce 1kg of mink fur (aka 11 minks), to how the industry adds almost 1,000 tons of phosphorus to the environment each year.

But just as the fur industry bankrolls pro-fur studies, the ones that highlight the negatives are often sponsored by animal welfare organisations, leaving people with the feeling that they don’t know who to trust, unable to navigate the best way forward. Consumer organisations in countries such as Denmark, France, the Netherlands and England, however, have tended to lean against the claims made by the fur industry, their argument being that there simply isn’t enough empirical data to support them.

What’s lost in the who’s-more-eco debate, though, are the animals themselves. It’s their welfare, more than environmental concerns, which is often the reason for people boycotting real fur. So should those who will simply never wear it ask why they’re so worried about the synthetic alternative all of a sudden? Especially when they likely have a wardrobe full of synthetics in the form of leggings, underwear, t-shirts, dresses and most other garments you’d pick up in any high street shop.

“Currently the most bio-based faux fur on the market (KOBA) is made with only 37 per cent bio materials, then the remainder is either recycled polyester or just polyester” – Kim Canter, CEO of cult faux fur label House of Fluff

“Of course we are aware of the environmental impact of faux fur, even though we are always surprised to see the intensity of the debate when it comes to faux fur, as we are a small niche, with less impact than animal-based materials,” says Arnaud Brunois, communications manager for EcoPel, a French company which has created KOBA, the first bio-based faux fur. “The defamation campaign created by the fur lobby surely has created a very toxic conversation, as all fibres have their own issues and faux fur has never claimed some sort of perfection,” he continues. (EcoPel has also released a report on faux versus real, showing faux winning out against real on the environmental impact index).

Kym Canter, CEO of House of Fluff, a cult faux fur brand launched in 2017 that has been seen on the covers of Elle and InStyle and worn by Drew Barrymore, Sarah Harris and Oprah, agrees. “Changing the conversation and moving it away from animal welfare, which they can never win, and rebranding themselves as a natural fur alternative was an incredibly smart move,” says Canter, who previously worked as creative director for a fur brand before having a change of heart.

The likes of EcoPel and House of Fluff don’t deny their use of plastics but innovation is happening to move towards more sustainable alternatives. “This year we launched a faux fur made from 100 per cent recycled post-consumer plastic. So it’s made from old straws and bottles that are melted down, turned into a thread and rewoven,” says Canter. The brand also uses Tencel, a cellulose fibre, for lining, and recycles their factory offcuts into plush ‘Scrappies’.

Like EcoPel, Canter is currently working on a bio-based fur made from all natural materials in order to be even more sustainable. “Currently the most bio-based faux fur on the market (KOBA) is only made with 37 per cent bio materials,” she says, “and then the remainder is from either recycled polyester or just polyester. And so, we’re just trying to get a lot better on that bio-based number and hopefully bring it up to 100 per cent.” Canter hopes to bring her bio-fur to market for AW20 but until then, where do vegan, anti-plastic advocates turn?

Vintage fur is great in theory – it already exists, it won’t be using up any more resources, and it’s cheaper. But in reality, many just aren’t prepared to wear it. “I don’t wear fur as it creeps me out,” Clotilde says, while designer Becky said she tried a fur cape that had belonged to her great aunt but “felt icky just touching it”. Vivienne, meanwhile, has concerns about the stigma attached to wearing fur. “I’d worry I’d get abuse!” she says. Her concerns aren’t unfounded.

If you can’t stomach the vintage fur, faux fur as it stands is no worse than most other polyester or acrylic hanging in your wardrobe, and buying it second hand offers a more sustainable approach. But if you’re still feeling plastic-phobic, you might have to place your bets on those bio-fur innovations and hold out for the next gen of faux

#faux fur #ecopel #fur #fashion blog

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tozinhofernandes-blog · 6 years

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ORANGE COUNTY CHOPPERS

Psychedelic motorcycles with high handlebars, thin tanks and tire in the front. The big difference is that they are thematic and for the few: they do not leave the workshop for less than US $ 40 thousand. The client list is starred. Lance Armstrong, Keanu Reaves, Ewan McGregor, Joe Perry (Aerosmith guitarist) and Peter Fonda are some of those who own an exclusive machine from ORANGE COUNTY CHOPPERS, a family owned company run by Paul Teutul, and his bad guy who makes millions of dollars selling rebellion and creativity on two wheels.

The story The concept of motorcycle choppers originated in the United States was disseminated throughout the film "Easy Rider", released in 1969, in which actors Peter Fonda and Denis Hopper interpret the two motorcyclists who travel by America about their incredible machines. The movie's bikes, which had a name (they were called: Captain America and Billy Bike), may be the most famous Choppers in the world today. Another famous film of the time that featured the choppers motorcycles featured was "The Wild One", played by the heartthrob Marlon Brando. With their powerful bikes, Hollywood stars inspired many young people in the 1960s and 1970s.

It was in this context, from the fever of motorcycle choppers of Hollywood movies, that the American Paul Teutul, owner of an unmistakable and big mustache, tattooed arms and face of bad, had his love awakened by the machines of two wheels. However, the origin of the business of the Teutul family was another. In the 1970s, Paul started a steel framing company called Orange County Ironworks (known as OCI) in Montgomery, New York. At the time, the firm's address was the bucket of Paul's van and made from apartment stairs to car bodies. At the same time that the OCI was thriving, the entrepreneur developed the idea of using his passion for motorcycles to create a new business. It was the success of the pioneering OCI that allowed Paul to develop the dream of riding motorcycles in the off-hours with the help of his son, Paul Jr.

At only 12 years old, Paul Jr. spent most of his school holidays at his father's company, learning everything about using steel, which would later be used to assemble motorcycles. While still attending the gym, he participated in the Cooperative Educational Service program, improving his assembly skills. Soon after graduating, he went to work with his father at Orange County Ironworks, becoming head of the railing and grille session. In 1999, with three factories of his own, the entrepreneur decided to transform his hobby - the assembly of "chopper" motorcycles - into a new company located in Rock Tavern, 130 kilometers from New York: the OCC (ORANGE COUNTY CHOPPERS). That was when Paul Jr.'s talent came on the scene, leaving OCI to head the design and manufacturing of the newly created company. ORANGE COUNTY CHOPPERS took the initial step in the world of custom machines at the Daytona Motorcycle Festival, known as "Biketoberfest", in 1999, featuring the "True Blue" motorcycle, manufactured in the basement of the family home.

The creation of the team, formed by father and son, caused a great interest in the consumers. Other themed motorcycles came next, such as "Spider Bike" (in red tones, with fenders imitating cobwebs), drawn from the comic book character Spider-Man and bought by Wyclef Jean from The Fugees.

The fate of the small and familiar company would change in 2001 due to the huge success of the famous reality shows. Because of the success of custom-built car shows like "Monster Garage," Sean Gallagher, development director for the Discovery television channel, intended to expand this genre with a different kind of "reality show" that portrayed a manufacturer of motorcycles with excellent design and talent. In the search for motorcycle manufacturers, the director found the OCC website. The Teutul family had a distinctive talent in the manufacture of custom-made motorcycles. From a list of more than 20 motorcycle shops he had in mind, the relationship between a father and his son, working together on a successful family business, attracted the interest of the producer and the OCC was chosen to make the program . On September 29, 2002, the first installment of the AMERICAN CHOPPER series was broadcast on the BBC's People + Arts and Discovery Networks, a lifestyle channel.

The grand balcony of the program and the Teutul family to make rapid success was to explore American patriotism at a delicate moment in its history. The TV program, no wonder the word "American" at the beginning of the name, became extremely popular when Paul Jr. invented a motorcycle to honor the firefighters killed in the tragic terrorist attack on September 11. Then came a model for soldiers fighting in Afghanistan and another called "Air Force One" (like the United States presidential plane). Not surprisingly, at the company headquarters was posted a plaque sent by the Pentagon, with the words: "Orange County Choppers - True American Heroes." The tension between the members of the program and the public's fascination with the super machines ensured the program's audience.

Taking advantage of the success, Paul Teutul did what almost all the stars of the American media were doing: he lent his image to products. From there came the miniature motorcycles, manufactured by Matchbox, and even the colony aftershave. The series established a connection with viewers because the Teutul family represented the true hero of the American working class: they came out of nowhere, set up shop and are on TV. Driven by success in television the company began to stand out worldwide as a reference in the manufacture of motorcycle choppers. In 2002, OCC was recognized by American Iron Magazine as one of the 12 best motorcycle manufacturers in the world; as was quoted in the book Haute Motor: The Art of Chopper (November 2003), among the 19 best automakers. The bikes of the workshop were also covers of renowned magazines such as "American Iron Freeway" (France), "Norsk Biker Journal" (Norway), "Street Chopper" and "V-Twin Motorcycles".

The success of the program, and consequently of the company ORANGE COUNTY CHOPPERS, can be measured when Teutul family revenues reached $ 360 million. Of this total, only about a little more than 10% came from custom bikes. The remainder came from the contract with Discovery and the sale of products licensed under the OCC brand. At that time, the phenomenon had already taken over the world. So much so that the store of licensed products receives orders from Japan, Russia, South Korea, Nigeria and even Brazil. Among other famous models built and created by the company are "The Comanche" (that has as reference the helicopter Bell RAH 66, used by the American army); the futuristic "I Robot" (inspired by the film "I, Robot" and commissioned by actor Will Smith), two of the most famous machines, whose constructions were exhibited in episodes of great audience of the program; and "The Original," a black and silver bike with blue details and a 1638-horsepower S & S (Smith and Smith) engine. In addition, in 2009, OCC presented SMART CHOPPER, its first electric motorcycle, built in partnership with Siemens, which provided battery technology, engine and recharging system. The motorcycle went on auction in 2010 to raise funds for a charity project.

The company's customer list has several famous names. At a cost between $ 35,000 and $ 150,000 (a traditional Harley-Davidson costs an average of $ 20,000), the company's choppers have already been sold to stars such as cyclist Lance Armstrong, rocker Tommy Lee, actor Will Smith and host Jay Leno.

The Reality Show

The initial idea of the program (seen in more than 170 countries) was to centralize actions in the creation and assembly of motorcycles, which was almost left in the background when watching what was happening on the television screen. The members of the family had an intense and explosive relationship and this jumped in the eyes of the directors of the program. AMERICAN CHOPPER has become less about motorcycles and more about the dynamics behind manufacturing them. In the relationship between Paul Teutul and Paul Jr., his work styles are contrasting (they were always struggling with problems in building motorcycles or even for small reasons, such as a lost drill or dirt in the workshop), but note a series interesting "father-son" conversations, while striving to meet, with delivery deadlines seemingly impossible to accomplish, a high-quality job that represents the OCC. Each week, they created a new model and presented throughout the program the entire process of designing the bikes. Thematic designs are trademarks of the family. In addition to Paul Teutul and Paul Jr., Michael Teutul (the "Mikey") was also featured in the show's plot. In the United States, each episode of the show has attracted an average of four million viewers. In Brazil, the attraction was also a resounding success of pay-TV audience. At Orkut, there are more than 70 Brazilian communities dedicated to the program and its characters. In 2010, the program ended early in February, as a result of the final fight between Paul Sr. and his son, Paul Jr., to have been taken to the New York State Courts. He continued with OCC and his son opened his own company. Well, it was not long before the two returned to work in one program, only with separate recordings. The program, dubbed "Paul Senior Vs. Paul Junior ", was recorded with two production teams, independent and without any form of communication between them, where father and son entered a dispute building different motorcycles, which compete with each other.

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