About Chris Haughton

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So far Chris Haughton has created 182 blog entries.

Interview with Safia Minney People Tree 2008

1) How long have you been working with People Tree? What motivated you to use your creativity to promote Fair Trade and environmental issues?

Ive been working with People Tree for 4 years. I had wanted to become involved in the fair trade movement since travelling in India and Nepal for a summer while i was in college.

It was a very eye opening trip, when i left i was a fairly apathetic art student but i was so dumbfounded by the poverty that by the time i came back i was reading all these books on economics.
I found it very difficult to understand how such hardworking people could be so poor.
 
2) Why did you get fed up working in the conventional creative industry, and want to design for social change as well?
 
As a designer, to keep myself interested and passionate i always really try to put full effort into the work i do.  I had been working with some big companies and did some quite high profile jobs but ultimately I felt i was wasting my time in design and advertising when it came down to it. It was very superficial and mostly the people i worked for only cared about sales, money and the position of their logo. They werent small companies so i didnt care much whether they sold more products or not. In fact some of the more ruthless multinationals (and their marketing people) i worked for i would have quite enjoyed to have seen their sales take a downward plunge. I started thinking that when it came down to it all my really hard work and effort was being wasted. Some of the designs looked pretty good though!
 
3) What is your vision for social and environmental justice?
 
I think one of the biggest problems today is that multinationals are able to dodge laws too easily because there are not enough international laws, and individual governments are powerless when a company is operating internationally. They are effectively above the law. They need to be held to account a lot more than they are now, whether it is enforced by effective International law or from pressure from an educated public.
I think transparency is very important. If people could actually see the difference that their choices made, their buying choices would be very different. Nobody wants to treat people that they meet personally unfairly, but the problem is that all these transactions  are happening outside our view. The only way we can see or hear from the people that we effectively make transactions with everyday of our lives is when the media shows us a story of injustice that makes it to the news. If the public knew more they would change but the companies involved have an interest in clouding the issues.  I have a lot of hope for the transparency that the internet can bring.
 
4) Does it matter to you that People Tree can never pay you your market worth? We pay you in T-shirts and handmade notebooks and Fair Trade chocolate instead.
 
No! I still love working for People Tree.  Its very satisfying to work with something that is making a difference, also i have to say that the people i have met in People Tree are fantastic, as a freelance illustrator i have worked for literally hundreds of different companies and i can honestly say that i dont think that any of them have the same passion about what they do. Its been very life affirming after working with marketing teams. Also the chocolate is very good.
 
5) Where would you like to see your designs on People Tree handmade paper products sold?
 
McDonalds
 
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new web pick interview 2008

Tell us a little bit about your background?

I studied graphic design and illustration in the National College of Art in Dublin, Ireland. While i was there I was always trying to get work in magazines and other bits and pieces here and there. After college I ended up traveling around and about in Asia for two years before moving to the UK in 2004 to work for the London based animation Studioaka. I left there to work again on smaller more creative freelance projects. I illustrate for several magazines and newspapers I have been making hand-made prints and designs for clothing and stationery with the fair trade company People Tree.

Who are your main inspirations? / What are your influences? 

I love Indian madhupani folk painting, and in fact most Asian folk art has something ornate and very beautiful about it, and its so different to what we are used to seeing. I used to be crazy about Rousseau’s work until I saw a book on Bengali painting which just blew me away I’m living in London at the moment and I visit museums pretty regularly. I’ve kind of used this for the work I have been doing for People Tree.
 
How do you keep motivated and interested?
I travel a lot and don’t work too hard!!
 
Do you have any new projects coming up that you can tell us about?

At the moment I am in Korea working on a childrens picture book that I wrote also.

Its about an owl that gets lost and makes friends with a squirrel.
 
Any words you would like to pass it to new comer designers?

I remember I saw Tomato (London based design group ) give a talk about design and they said that as a designer ‘you get the work that you do’, which i think is a really good piece of advice.
If you start out doing fashion illustrations and have nothing more than fashion illustrations in your portfolio or on your site you’ll find it hard to get hired to do editorial pieces.
Art directors are naturally unwilling to take a risk so you’ll find that the only way to get out of that side of the industry is to take a bit of time off and create the work yourself.

The best thing to do is to work in your spare time and find a way of working that you like and enjoy and then take that to the art directors.
A friend of mine had an agent for Children’s book illustration. She advised him to produce work in particular styles that she thought would sell, so he followed her advice but he still found it hard to get work and he didn’t enjoy doing work in a forced style. It wasn’t until he produced a body of his own work that he felt comfortable with did he start getting serious work.
If your work is unique you definitely will get better and more interesting work.
Having said all that probably the most important thing to do is get your work out there, I went to college with a guy who does really really great work but he is quite shy about showing his work off and as a result hasn’t got half as much work as he should be getting.

What is your most favorite commercial design of our own?

Im quite proud of the recent cover I did for Luce Irigaray’s book ‘sharing the world’. Also one image I did last year for the guardian. (how to turn)

Name some designers you like the most?

jonathan harris
john maeda
nexus
andreas pohancenik
studioaka
yugo nakamura
grant orchard
 
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Interview with Kim Harte 2010

How did the idea for A Bit Lost come about?

I had done an image of some birds in a forest that i really liked and wanted to develop. The birds were quite richly patterned and the forest was a complex web of undergrowth with little elements hidden in it. I really wanted to do a simple story for them that could feature the forest and all its hidden elements and simply introduce us to the animals of the forest, i loved books that are richly illustrated as a child that have hidden elements in them that you can find later.

Originally i had the idea of them coming down from their perches and traveling through the forest hunting for berries, cleverly dodging the other animals. The story was simple and repetitive but In the end it left a kind of sad and lonely tone to the book. The forest seemed like a very inhospitable place. I wanted a way of somehow introducing the other animals in the book that didn’t involve the birds running away from them. Eventually I had the idea that the bird could fall from his nest and then being lost he has a reason for approaching and interacting with the other animals.
i actually wrote a little bit about the process here

 

What illustrative processes did you use in making the book?
 
I start out with a quite quick pencil drawing, i scan that into the computer and colour it in and do other little tweaks and details from there. Its usually a quick sketch because often if its too detailed or elaborate it loses its energy and character.
 
 
What made you decide to make a children’s picture book?
 
I have always wanted to do picture books. I am a huge fan of picture books myself and I like the idea of doing something fun for children that can start them out with an interest in reading and books. Its a very nice area for an illustrator to work in.
Before I made my book I had been illustrating for various different projects from advertising and design to magazines but I had always wanted to produce something that was my own work from the initial idea to the finished result.

 

How did you go about getting published?
 
I wanted to have the story and look of the book quite finished before i contacted the publisher, that way I could do it mostly myself and do it as close as possible to the way I had planned. Some of my friends in London are Illustrators for childrens books but they are often strongly art directed and pushed into doing something that accommodates the author and the publishers vision for the book which they found frustrating. I had a fair idea of what i wanted to do, but the only problem was I could never get around to actually sitting down and doing it as i had no deadline for myself. Years went by, and in the end I decided to book a ticket to the Bologna Childrens book fair as it would give me a deadline to work towards. I managed to get the bones of the story together along with a few images i was happy with. At the fair i saw hundreds of publishing companies but really there were about 30 that i thought would be interested in my book and style of imagery. In the end it was a Korean publisher, Borim Press who agreed to publish it. They do some very interesting books and have a really creative approach so i was very lucky to get published by them.

 

You can read more about them here

 

What are your favourite picture books?
 
I really love Beatrice Alemagna’s work. Un Lion a Paris perhaps is my favourite. It is about a lion that takes the train to Paris, she wanders around the city and falls in love with Paris and finds here home as a famous Lion statue in the heart of the city.
Also Tara Publishing in India do some great unique (even screen printed!) books. Catch that crocodile is perhaps one of my favourites of theirs
Cho Sunk Yung is a huge inspiration for me also. His books are quite different in tone than my own. His Underground Garden is about a man who plants a garden in the middle of a dark city and it bursts through the walls and takes on a life of its own. There is a beautiful poetry in his writing and there is always a metaphor and meaning behind the stories.
Shinto Cho is great for funny very young books I think they really appeal to children. Leo Lionni and Bruno Munari are great for their simplicity and clever graphic ideas. Tove Jansson has great characters.
 
 
You are artistically involved in a variety of projects. Can you tell us about some of those?
 
I mainly started out with advertising and magazine work, but there has been lots of very random projects. I have done commercial animations, I did murals in Tokyo and London and elsewhere.
I am very proud of the work i do for the fair trade company People Tree. They work with 80 producer groups in 15 different developing countries. They produce ranges of clothing and gifts with womens shelters and disabled groups and I have been helping out with the designs of some of those products. I have done bags / t-shirts / stationery sets and repeated patterns for clothing and dresses for them. The profits all go to building schools and training their workers. They do really fantastic work
 
 
What are you working on at the minute? Might there be another picture book anytime soon?
 
I have actually spent the last 8 months in India and Nepal developing some new fair trade products and designs
One of the ideas im most excited about is making rugs from digital designs. They are an amazing group and support a school and orphanage
Also we have developed a little toy for the A Bit Lost book.
You can see it here
I have just finished the packaging design for ‘Coco Camino’ fair trade chocolate in Canada.
I have done a large 10m mural for the Gibson Hotel beside the Point in Dublin which went up last week
Also Im doing a new book about a bad dog (Oh No! GEORGE!) which will published by Walker Books and will be out in 2012.
 
 
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illustration interview 2007

1. Can you tell me about your background; when and how did you decide that you wanted to be an illustrator?
 
I think I always wanted to do something with drawing. I wanted to do fine art in the beginning but when I got into art college I was sure that I wanted to do something with computers because it seemed like that’s where a lot of the interesting things were happening. Computers seemed to allow more creativity, so I took the graphic design course.
 
 
2. Where were you educated?
 
In NCAD in Dublin, Ireland. I studied graphic design. I finished in 2001.
 
 
3. What material/technique do you use in you illustrations. Has this changed since you started or did you stick with a particular technique?
 
I use pencil and paper most of the time. If I need a particular texture I might use charcoal or ink or sometimes collage. I then scan these in and play around with them on the computer. I probably use the computer a lot more now than I did a few years ago!
 
 
4. I am very interested in animations and moving image, what programme do you work in when you do your animations? How do you go about doing them?
 
I do most of my animations in after effects. I do most of the work in photoshop actually and just make it move in after effects. Its all very very basic!!
I just do a drawing in photoshop duplicate the layer and redraw it in a different position. Then I take that into after effects and show or hide the layers.
 
 
5. Can you tell me about some of the projects you have worked with? Is there any in particular that you found challenging, interesting or exciting?
 
Im very interested in fair trade and im quite involved in the company people tree.
Its very satisfying to get  to do work that I enjoy and is really of use to people.
Working in advertising made me very cynical for a while!!!  They have such a low view of humanity!!!! So I wanted to stop doing so much of that.
I also love to do animations or any work with narrative.
Im doing a childrens book at the moment with a Korean publisher which is really nice to do. Its my first childrens book!
One of my favourite jobs was for a UK government agency called THINK! It was set up to stop young people doing drugs and driving. (Do they really need an advert for that??!!)
They took quite a progressive approach and admitted to themselves that people were going to do drugs anyway. The slogan was ‘Stupid things you do on drugs’ and I illustrated 8 stupid things people do on drugs… and then the last one was ‘GET INTO YOUR CAR AND DRIVE HOME’ I had great fun doing that job!!!
 
 
6. I am very interested in your fair trade project with People Tree, can you tell me more about that?
 
There is a good interview I gave earlier this year…!
That says it better than I can!!!!
 
 
7. Your illustrations seems to have a lot of content and often a message to them, is this important to you? Do you find that your work gets better when you work for a good cause?
 
Illustration and the process of being commissioned is often quite useful because it forces you to  add more and more content to your work. 
If I was just working for myself I would be happy to create work that had one dimension to it but clients are always looking for more and more elements and messages and that ultimately forces me to push in different directions than I wouldn’t usually do.
I worked for a while for a quite creative animation studio (studioaka.co.uk) where I was doing some interesting creative work but in the end I kind of decided there is more important things to do with my life than making commercials for companies I don’t believe in.
I used to spend a lot of extra time on the different projects because Im a bit of a perfectionist sometimes, and then I hated to think that I was spending all my own time and energy (and weekends!) on nothing more than making a very rich multi-national company richer! 
I don’t know if the work I do is creatively any better but it feels a bit better! 
 
 
8. How important do you think moral is for illustrators? Would you work for a company you didn’t approve of if it was a great project/good money?
 
I have only turned down a few jobs because I didn’t agree with the company.
One was for a coffee brand (Kenco) that seemed to want to be seen to be fair trade when it wasn’t. I think they liked the fact that that my style was associated with fair trade. I would not work for anything like that for any amount of money…! Usually I just quote really high for a job if im not that interested in doing it. If they still want to use me then at least we are both happy!
9. How do you start with a new project? What do you do if you get “illustrators block?”
 
To be honest I don’t really get illustrators block…! Im usually too busy!
Sometimes if a project has no deadline it tends to never get started because it keeps getting pushed back. At the moment I have quite a few ideas that id love to work on for myself but im just too busy at the moment. Too many ideas rather than the opposite! That’s one of the great things about working to briefs because it always adds new ideas to your work and vocabulary. Each successful new brief usually adds a few ideas to my head! Most of which I never get around to using!
 
 
10. Your illustrations have a unique style, do you have any advice for students that have a hard time finding their own style?
 
I think just keep doing work that you like and keep pushing the boundaries of what you do.
I did an interview that mentions that too…
Take a look here.. 
11. Do you ever find it hard to compromise with the clients you work for? (If what they want is not what you want to do) 
All the time! They ultimately are paying for it! I try and win them around but it can be very frustrating. More recently people have been approaching me because they liked my work from a previous job… which makes it likely that we will have a fairly similar taste ….but not always! The odd time ill put ‘my version’ of the finished piece on my site… so that at least its not a totally wasted effort. 
12. How did you get your first illustration job? Do you have any tips on how to break into the business?
I got into a magazine in Ireland through a friends brother who was designing it.
Id say that just make yourself a site (or even a myspace page etc!) and get it under the nose of as many art directors as you can. The internet is a fantastic way to promote yourself.
 
 
11. What are you working on right now?
 
Im actually in India teaching a course on Illustration. First time I ever taught really!!! Its great though! Really enjoying it
Besides that im doing an illustration for a german arts festival and I just finished an animation for a fair trade company.
 
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Irish Illustration student thesis interview 2007

– How would you describe your illustrative style?
 
Im always asked that but i still don’t have an answer. It is mostly character based illustration. And mainly produced on the computer. I do a fairly broad range of stuff, everything from animation to repeated patterns for textiles.
 
 
– When you did Illustrate for Irish publications, what publications were they? when was it?
 
Ive been illustrating for Irish publications since 3rd year in college. 2000 or 2001 i think. I started doing regular work for dSIDE in college and did that for a year. (its now gone out of business) I did a few images for the Irish Times Saturday magazine but nothing at all regular and recently Ive done quite a bit for Cara magazine. (Aer Lingus’ inflight magazine) To be honest though a lot of the work i do is advertising rather than editorial. Editorial commissions are probably about 30% of the stuff i do. Only 20% of that is for Irish publications.
 
 
– Do you think there is demand for illustrators for magazines or newspapers? (not only in Ireland)
 
Many Illustrators work almost exclusively for editorial commissions but i tend only to skip from editorial to other different types of illustration, so im not really that familiar with that specific line of work.
 
But having said that, I do think that illustration is getting more popular in general. There has been an explosion in illustration and animation in advertising in the past few years. Id imagine its probably thanks to the computer.  It has made illustration easier and more flexible, allowing more control and creativity in the final images.
 
Many articles can be ‘illustrated’ a lot more effectively through illustration than photography, so there will always be a demand for some sort of illustration. The style can be ‘owned’ which is very useful in branding as it gives consistency in branding that photography cannot do so easily.
This is important for brands who want to be easily recognised from their competition but less so for magazines and newspapers.
 
To be honest I myself dont notice if there is a growing or declining trend for editorial illustration. I really dont know which way its moving.
 
One thing i do notice is that with the internet and distribution becoming more global i think it is probably becoming more and more difficult for more local magazines and newpapers to survive. London is a hub for the whole of Europe really for quite a lot of advertising and design. Ive worked on an a lot of specifically Irish ad jobs through London based companies.
 
 
– What is your opinion of stock illustration?
 
There is a very strong reaction against stock illustration amongst some of the established illustrators. But i dont have a big problem with it to be honest. Stock illustration suits some cheaper magazines because its not too expensive and you know what you are going to get. There will always be a market for original and specific images and illustrators and photographers can focus on that. If a specific illustration isnt really needed for an article they shouldnt really have to pay for one.
 
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interview with masala chai (india) 2008

 

1. Have you ever been to India or seen the process in action  i.e. the producers screen printing the t-shirts etc. , what was it like? how do you feel about the impact your designs have on their lives?

 

I have actually been to India three times now, I love India! Unfortunately I never made it to meet the actual artisans yet, the first two times i was there i was just backpacking around and i hadnt started working with People Tree then. And the last time it was a bit of a rush. Ive been around a fair bit of the country, i think ive spent about 4 months there all in all.
I have met many of the people who have set up the workshops when they come to London and they have a lot of stories about their projects, they are doing really great work there. It makes all the difference to think you are doing work for projects and companies you really agree with…
The last time i went to india was three months ago, i taught a 3 week course in illustration at Srishti college in Bangalore. I was really impressed with the college, they’ve a very forward thinking approach. The teaching staff were all really passionate and very good at what they do, it was very inspiring.

 

2. Do you take any design influences from Indian culture? If so, what are they?

 

I really love Indian folk art, Madhubani and Warli paintings and also a lot of the textiles. When I was in 3rd year in college I went backpacking around India for the summer and when I came back I went through a phase of being really crazy about Indian folk art. I bought a lot of books on Indian painting and textiles, it was very fresh and inspiring for me to see that then. I spend quite a bit of time in the British Museum and the V&A in London (when i feel burnt out) they have some really nice work … although ive been visiting the african and pacific island section more often than the indian one recently… they have some amazing stuff in there.

 

3. Who are your favourite artists/illustrators/designers ?

 

I like a lot of folk art mainly and get a lot of inspiration from visiting museums in London. David Shrigley’s work is always outstanding, also I really like Sara Ogilvie, Neal Layton and Tom Gauld. Michel Gondry and Traktor have done some great short films and videos. I worked for a year at a very good London animation studio a few years ago and was very lucky to meet some really inspiring animators in there, Grant Orchard, Ben Bocquelet and Steve Small are all doing really amazing work.

 

4. Do you really , honestly love vegetable fried rice? 

 

Not really actually… ive gone right off it! I was living in Hong Kong when i set up the site. I was living in a youth hostel and i had no money at all (and im vegetarian) so it was a running joke that the only thing i cooked or was seen to eat was vegetable fried rice. I used to boil a huge pot of rice and freeze so it would last for the week.

 

 

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Interview with Fast Company: Jenara Nerenberg August 2010

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fast company

Are books and toys the future of fair trade?
 
I dont know if its the future of fair trade but it makes a nice gift!  Every part of the little owl made from scratch from raw cotton, it is hand-spun, dyed, woven and sewn all by the women from a womens shelter. It is helping to provide the income to support 90 new women per year and their children, as well as supporting their literacy training and educating their children. Mahaguthi, the fair trade company that makes the toys was actually set up with a donation from Gandhi eighty years ago and has a really fascinating history. One of the things i love about the toys is that each owl is slightly different and each one has a different (worried!) expression on its face which just isn’t possible with industrial manufacture. Its just a more meaningful gift as it benefits people who need a hand and has this nice story behind it.
 
 
How did you get involved with PeopleTree?
 
I was friends with a designer who was designing the clothes for People Tree around seven years ago. She had told me about the way the company was set up and I wanted to get involved. Initially I volunteered some designs to produce a line of children’s clothing, i designed some little animal prints for cute little t-shirts and bibs and they sold really well so i was asked to do more. Then we did some adult tees and stationery. In the end I have done a whole range of things for them and i sort of ended up branding the company by default.
 
 
So tell me, why has the bulk of your work been carried out in Asia? 
 
My illustration work is quite popular in Japan and Korea and I seem to get a lot of commissions from there. People Tree was actually started in Japan, and also my picture book was first published in Korean when it was picked up at a book fair. Also this year i have spent 8 months developing products in India and Nepal. I’m not sure why I have been so centred around Asia. Maybe it’s just co-incidence or maybe because of the lovely food.
 
 
What role do young designers like yourself play in changing social norms in the design field at large? 
 
I think that design will have to pay more attention to things other than surface or aesthetic appeal. As I see it, design right now (especially graphic design) is more part of the problem than the solution. I had become very disillusioned in design because i had been working in a very superficial way. I think many designers feel this and there is a growing movement of designers who are thinking more seriously about design, but not nearly enough is happening right now. I think the most effective thing to do as a designer is to try to create or instigate projects from the very start. Otherwise graphic artists and designers tend to get hired right at the end of a (usually!) ill-conceived project and our work is just simply tacked on to ‘make it look nice’.
 
 
What’s next for you?
 
I have developed some products working with four different fair trade groups in Nepal and I hope to find distribution now in London. The one im most excited about is producing rugs with KTS, an adults technical school that supports an orphanage. I realised we can create rugs from digital images where each pixel corresponds to a carpet knot. They produce the most amazing hand knotted rugs from tibetan wool. We have produced some test rugs and I hope to have an exhibition in London soon and perhaps also sell the designs from my website.
I also have two more childrens books in the pipeline. One is about a bad dog!
 
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Textile student thesis. Interview about fair trade

Does your work for Fair Trade companies differ much in terms of style from other projects you have worked on?

I try to approach every new project from a different angle. Every project has a different aim or objective, so a different approach or style is needed.

With the work I have been doing with People Tree I wanted my imagery to fit in with the rest of their collections so I drew inspiration from the beautiful folk art and textile designs that they produce and tried to create illustrations and designs that echo those designs.

I have actually been a huge fan of asian and african folk art and textile designs so it was something that i really wanted to use in the designs.

 

What is it that interests you about designing for Fair Trade companies?

I believe in the work they do. I had been too long working with advertising companies and other design jobs, and i found it very frustrating and unsatisfying to work for companies and products that i don’t agree with or believe in.

 

Do you feel restricted as a designer when working on Fair Trade projects?

Not at all. The only problem I have had is sometimes the standard of production is not as good as it could be. But thats because fair trade is sometimes about training unskilled workers to give them a help onto the first step of the ladder.

They need help to improve their skills and People Tree and other fair trade producers work closely with them to do that.

Having said that, many of the artisans that People Tree work with are first class highly skilled artisans and many of the products have come back looking twice as good as I had imagined. It depends on the project. People Tree’s workers come from many different backgrounds and skill levels.

 

Where does your inspiration come from for your work with People Tree?

I had actually been a huge fan of asian and african folk art and textile designs and i had travelled around asia before working with people tree and collected all sorts of designs and inspiration. When I was asked to do some t-shirts for people tree to start with i looked back at these images and also went to the british museum to pick up some inspiration there.

 

What image/message are you trying to create for Fair Trade? 

I hope i am helping to create a more modern and fashionable image for fair trade.

Because of their lack of money and their non design-led background some of the fair trade brands are not as well designed as they could be. Most of the fair trade brands come from an activist background. They are often affiliated to charities or development groups whereas most fashion brands are set up by designers. I hope I could attract some people that wouldn’t otherwise think about buying fair trade. 

 

What is your opinion of other existing Fair Trade design?

I think it is really improving, if you asked me that five years ago i dont think anyone was really doing anything too interesting design-wise. There are some great new independent designers choosing to work with fair trade. 

 

What would you change about the way Fair Trade is marketed to help it become more mainstream?

I think it is doing quite well as it is. The commodities (bananas, tea, coffee etc) are doing really very well with almost no advertising, it’s incredible how far they have come. Most of the coffee sold in the UK is now fair trade and ten years ago it was less than five percent. I think clothing/manufacturing needs more work to compete with that, there are a few things holding it back. Firstly its is much more difficult to certify as there are so many parts all made in different areas and also the designs and brand names are not there yet.

 

What do you think the future for Fair Trade fashion holds?

 The future of fashion I think has to be fair trade and more environmentally aware. The whole of the fashion industry is completely unsustainable, high street fashion is almost entirely branding with little thought to anything else. Most of my fashion design friends are very disillusioned with the industry. The turn-around for clothing is so fast, there is little consideration for the environment, cotton is probably the single most polluting farmed crop the way it is currently farmed and dyeing and manufacturing are also a real problem. The way that the industry works is so wasteful, one year knit-wear is fashionable, the next year its out. And the whole knit-wear industry in asia behind the making of those knitwear items is suddenly out of work.

I think if we as consumers could see the damage that we are doing with out spending habits we would all be buying fair trade. The job of fair trade and the trade justice movement is to make people aware of these issues. 

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