Fashion Revolution Week 2020: get your fashion fix!

Refashioning, upcycling and mending have been some of my favourite topics to blog about, and if you look back through my blog you’ll find a variety of projects, from adding pockets to turning skirts into trousers. I love that Fashion Revolution’s campaigns also cover our responsibility as part of the fashion supply chain - as wearers of clothes, and the people who determine a garment’s fate once it’s been bought, the way we care for our clothes can reduce our environmental impact. Being able to mend clothes, or refashion them if they no longer suit our body shape or personal style, reduces the amount of new clothes we buy and keeps wearable but well-loved clothes out of landfill.

While more and more people are embracing this new mending revolution, there are sadly still plenty of people who think of sewing as old-fashioned, and refashioning as unfashionable. To try to dispel some preconceptions I’ve selected four examples to showcase for Fashion Revolution Week, to show that there are minimalist, flamboyant, practical and even silly ways to get your fashion fix on.

Visible Mending

Darning is a traditional skill but it’s having a bit of a moment right now, thanks to visible mending artists like Celia Pym and Tom of Holland. This old cardigan was one of my first visible mending projects, thanks to its popularity with clothes moths, and I’ve recently had to mend another couple of holes in the sleeve. I love the contrast of the bright yellow darning wool with the dark stripes of the knit, and I couldn’t resist embroidering antennae and legs, adding another couple of beetles to the swarm on this cardi! 

Upcycling

My sister grabbed this silk blouse as an upcycling project for me from a sample sale - the sleeves were unhemmed and were very tight and ill-fitting but the rest of the blouse looked quite nice. I removed the sleeves, then used some fabric left over from a dress I’d made for a friend to create some frills in a contrast colour. The blouse still looks neat and smart, but the pop of colour makes it unique and eye catching.

Refashioning

I’ve featured this blouse on the blog before, but I think it’s a good example of a “minimalist” refashion/upcycle and also illustrates an important point about the relationship between our bodies and our clothes. This blouse used to be a dress, but over the years since I bought it I’ve put on some weight on my hips and the bottom half of the dress had become uncomfortably tight. The top half still fitted well though, so I simply chopped it off at the waist and hemmed it, creating a boxy blouse that looks great with trousers or a skirt. Refashioning or upcycling doesn’t have to be about adding new features, it can be about taking something away, particularly if you prefer a minimalist style. I think it’s also important to remember that we should be altering our clothes to fit our bodies, not altering our bodies to fit our clothes. 

Invisible Mending

This jumpsuit is an example of invisible mending, which is something I get asked about when clothes have ripped around the crotch! I got the jumpsuit at a clothes swap, and when I tried it on at home I noticed there was a hole at the bottom of the zip where the fabric had frayed away - right on the butt. The key to invisible mending is to patch the hole from the back, then catch down any frayed fabric or loose threads with lots and lots of tiny stitches. It’s fiddly, and you’ll probably discover you need glasses, but it’s worth it when you get a smart garment looking as good as new. 

I’ve loved learning how to sew and constantly improving over the years, and I also love teaching people to sew in a creative, relaxed way - no one is going to want to learn something if it feels like a chore. The key to getting good at sewing is practice - try out ideas on old clothes that are heading for textile recycling anyway, or master a technique on a piece of scrap fabric first before making the real thing. Your projects can be flamboyant or practical, depending on your personal style and clothing requirements. I find sewing calming and meditative, especially when my anxious brain wants me to keep endlessly scrolling on my phone. If you feel like you might need a new lockdown hobby, grab some fabric, thread and a sewing needle and see where your imagination might take you.

Re-making homemade clothes (now with added pockets!)

Making your own clothes can be a great way to opt out of the cycle of fast fashion impulse purchases and inevitable dissatisfaction. It will teach you the worth of clothes, as you’ll learn how long they take to make and the variety of skills you need. It can also be an opportunity to finally have clothes that fit properly, rather than having to make do with the imperfect sizing of mass-produced clothing. But there are also pitfalls to making your own clothes, so how do we overcome these to make home dressmaking truly sustainable?

One of the main advantages of making your own clothes is that you can make something to your exact specifications. But when you’re short on time or money, it’s all too tempting to cut corners in order to have something new to wear as soon as possible. It’s also easy to be seduced by fabric that might not fit with your personal style, to buy more fabric than you’ll ever be able to use or to make things you might not want to wear over and over again. The cycle of overconsumption is difficult to break out of, even when it comes to hobbies that can have many positive benefits. 

I made a dress and cardigan-style jacket about five years ago, but I had noticed that they had crept to the back of my wardrobe, and I’d constantly favoured other clothes over them. I didn’t want to get rid of them, but I did have to be honest with myself about why I wasn’t wearing them, and work on ways to make them more wearable. 

At the Style Yourself Sustainable event (find out more in this blog post), Alex from Sewrendipity spoke about her handmade wardrobe, and the pride she takes in all her creations. She keeps everything she makes, but frequently goes back and fixes faults in garments she made earlier in her sewing career as her knowledge of techniques improves. One of the things I love about sewing, and why it has made such a satisfying career for me, is that there is always something new to learn. Even though I sew professionally, I’d be the first to admit that I cut corners when I make things for myself, and that there is always room for improvement!

My navy dress was a nice shape, but it was very plain, and it could definitely have benefitted from the edition of some pockets! I’d kept the leftover original fabric (I must have subconsciously realised that I needed to go back and add to it) so adding pockets wasn’t a difficult job (to find out more about adding pockets to your clothes, check out my previous blog post about pockets). 

I realised I’d been quite reluctant to go back to the dress and add pockets because I’d considered it finished, so I was interested to see Amy Twigger Holroyd discuss this problem in her book Folk Fashion: Understanding Homemade Clothes. Over the course of her research, Amy had discovered that makers were more reluctant to go back and fix shop-bought or finished homemade items, as the complete or “closed” nature of these garments made them more intimidating to tackle. Clothes that were damaged or unfinished were seen as less daunting because they were “open”, inviting the maker to alter or fix them. Despite ignoring the dress for a year, it only took me an hour to add the pockets, and I wish I’d done it sooner! 

I also wanted to embellish the dress, so the simple pattern of running stitches around the neckline, waist and hem became something I could do without having to apply much thought on long train journeys, or when I wanted something to do with my hands while watching TV (If anyone else struggles to stop multi-screening I’d definitely suggest a simple embroidery project). The fabric of the dress looks interesting up close, but looks dull and flat from far away, so the glossiness of the thread adds a new layer of texture. Keeping the thread the same colour as the dress fabric means the embroidery isn’t overwhelming; it draws attention to the cut of the dress rather than overpowering it.

My jacket was even simpler to tackle: of course the main issue (again) was that I hadn’t added pockets! I didn’t just want to slap on a plain square patch pocket, so I used the reverse side of the fabric, matched the motifs up with the ones on the coat, and cut pocket shapes that echoed the shapes on the fabric. This has added a bit of textural interest to an otherwise flat and boxy garment, and the slight slouchiness of the pockets adds a bit of volume over the hips, subtly altering the proportions of the jacket without adding more waist shaping, which would have changed my original design. 

By looking through my wardrobe and working out which garments I preferred wearing and why, I was able to make alterations to this dress and jacket to make them more wearable. The issue of pockets (or the lack thereof) in women’s clothing is a bit of a hot topic right now, but I genuinely feel frustrated with an outfit if it doesn’t have pockets. I carry a backpack most days when I travel to work, so I need somewhere safe and accessible to put my phone and Oyster card. And yes, I know we probably shouldn’t be as reliant on our phones as we are, but I like to listen to podcasts on mine at work. A phone-sized pocket means I don’t have to waste time fiddling with my phone and headphones every time I leave my desk to go to my sewing machine or the iron (some of my colleagues have made little cross-body pouches for their phones or MP3 players, so maybe this is a topic for another time?)

The best thing about making or altering our own clothes is that we get to decide which features are important to us. Fast fashion cost-cutting means we aren’t going to get everything we want from a garment. Breaking out of the fast fashion cycle means retraining ourselves to see our clothes as “open” garments which can change with us, and seeing the time we put into improving our clothes as time well spent.

Style Yourself Sustainable: swapping, shopping, sewing and more...

Trying to make changes to our wardrobes can feel overwhelming, and ethical and sustainable brands are at a disadvantage when fast fashion has such an overwhelming presence both online and on the high street. But for those of us who are looking for something a little more personal, both in terms of style and shopping experience, a community of likeminded people are working together to make this happen.

Rachel Kan, founder of Style Yourself Sustainable, put together a great event at Hackney Showroom,  showcasing many different but stylish options for a more mindful wardrobe. The day included talks, sewing workshops, vintage and sustainable brands, and a swap shop, demonstrating that there are a wide range of solutions to the current problems with the fashion industry.

Sustainable brands were represented by Komodo and WYNAD clothing, and Rob from WYNAD, along with Lizzie from We Resonate, Alicia from Bourgeois Boheme and Kate from Fabrikk took to the stage to talk about the stories (and struggles) behind their businesses. 

Rob spoke honestly about the difficulty of keeping track of the supply chain. He worked with NGOs like SAVE, who were able to direct him to Jacob’s Well, a garment factory which trains and employs vulnerable women and pays them a living wage. He also had to work hard to find a dye house that was environmentally friendly. WYNAD clothing are pioneering the use of Lotus silk, made from the stems of lotus flowers. It is soft and wrinkle-free, and an ideal cruelty-free alternative to traditional silk.

Lizzie from We Resonate makes her one-off dresses from vintage silk scarves. She recognised the importance of employing a good seamstress who could work with luxury fabrics, and wanted her brand of sustainable luxury to be truly handmade and unique.

Lizzie and Kate from Fabrikk both talked about the high price points of their products relative to high street fashion. Huge economies of scale combined with the use of sweatshops has made the price of clothing and accessories artificially low. Paying a seamstress a London wage for her expertise means that We Resonate dresses are a good reflection of what good quality, unique clothes actually cost to make.

Fabrikk make bags and accessories from cork, combining sustainable vegan materials with wearable tech to create handbags with interiors lit by LEDs; perfect for finding your wallet or keys in the dark! Like Bourgeois Boheme, who make smart and stylish vegan shoes, Kate wanted to find a leather alternative that wasn’t plastic-based, and had its own set of aesthetically pleasing qualities rather than simply being a substitute for leather.

Alicia from Bourgeois Boheme talked about her interest in working with innovative new materials: while the leather industry is a major source of pollution (not to mention cruelty to animals) simply replacing leather with plastic poses its own set of sustainability problems. Bourgeois Boheme use materials like Pinatex, which is made from pineapple fibre, but working with new materials takes a lot of development and time, and many new sustainable materials are not at a stage in manufacture where they can be scaled quickly.

While I love bold and striking sustainable innovations, I realise that statement dressing might not be everyone’s cup of tea. We also need to make sure the everyday clothes in our lives are sustainable, as these are the things that are going to get worn (and replaced) most often. Komodo make eco-friendly wardrobe staples: soft organic cotton t-shirts and jumpers, and colourful bamboo socks, as well as stocking jeans from brands like MUD and Monkee Genes. Seeing such a range of ethical brands was really encouraging; showing that sustainable fashion isn’t just one style but is available for everyone is really important.

Of course, another excellent option is to buy secondhand, and Style Yourself Sustainable had a great selection of vintage sellers, who have each curated a beautiful selection of desirable vintage clothes. Lucinda Vintage has antique theatre costumes amongst her sparkly stock, Honeykins Vintage has a kaleidoscope of eye-catching prints and colours, and Retold Vintage has a very contemporary looking collection of classic pieces. There was also statement jewellery by Twisted Vintage, made from upcycled pieces of broken vintage jewellery cleverly remade into something unique.

Manifesto Woman had a great selection of good quality secondhand clothing, including designer labels at very reasonable prices. Style Yourself Sustainable also had a swap shop rail; I took along a few unwanted items and came away with a beaded vintage jacket! It’ll be making an appearance on Instagram soon, so keep an eye out for it!

Sewing is an important skill when it comes to maintaining a sustainable wardrobe, and combined with some creativity we can use these skills to transform our clothes. Kate from Time to Sew taught a workshop where participants made a zero-waste skirt in an hour, showing that sewing doesn’t have to be time-consuming or complicated. The Style Yourself team taught a bag-making workshop; a good-quality tote bag is a must-have for a sustainable lifestyle, and a quick sewing project like this can improve confidence if you’re new to using a sewing machine.

I also taught a short workshop, showing some easy options for mending clothes. I brought along some samples from previous blog posts on hemming, and invisible mending, as well as demonstrating a basic darning technique and handsewing stitches. I wanted to show that sewing is accessible to anyone who can get their hands on a needle and thread, and an expensive sewing machine or fancy gadgets aren’t essential when it comes to repairing your clothes.


Another important aspect of a sustainable wardrobe is, y’know, actually liking your clothes and wearing them! Alex from Sewrendipity, who describes herself as a “sustainable living striver” talked about her rules for owning a more mindful wardrobe. Alex advises shoppers to think carefully about what we add to our wardrobes, and to look for garments that will be with us for the long haul. She is a woman after my own heart, emphasising the importance of knowing what’s in your wardrobe and keeping track of what you wear regularly and why to inform future purchases. Alex also makes most of her own clothes, and talked about the way it had helped her to see her wardrobe differently; she knows how long clothes take to make, and the effort that goes into them.

Roberta Lee from the Ethical Brand Directory also appeared via video to dispense some holistic style advice. Wearing our values should be a key factor in deciding what to wear; as well as reflecting our personalities and aspirations, our clothes should reflect the positive change we want to make in the world. Roberta’s work as a stylist, coach and sustainable fashion advocate are closely linked, and her stance on fashion resonates strongly with me: enjoying clothes and taking care of your appearance isn’t shallow, but it needs to align with your values to be truly empowering.

The weather took a turn for the worse during the course of the day, with grey skies and pouring rain reminding me that I didn’t have a stylish waterproof coat. As if by magic, a gold rain mac caught my eye at Retold Vintage. I had planned to buy something in a neutral colour, but when I put the coat on in front of the mirror I couldn’t help but giggle with glee - the thought of putting on an actual ray of sunshine on a dreary morning really appealed. I also treated myself to a pair of earrings from We Are Africa so I can sparkle even on the gloomiest of autumn days! To me, this is what sustainable style is all about: clothes that bring you joy, that you can’t wait to wear over and over again.

My Slow Fashion Summer: no new clothes for three months!

I know some readers are probably rolling their eyes at the title for this week’s blog post. I know I am lucky to be able to afford new clothes fairly regularly, and that many people have to prioritise other expenses when they really do need new clothes for themselves or their families.

Collaction's Slow Fashion Summer isn’t about shaming people for their shopping habits, it’s about challenging the way the fashion industry tries to drive consumer demand. With high street fashion chains launching new stock in store every couple of weeks, we are encouraged to become dissatisfied with our clothes faster than ever before. The average item of clothing is only worn four times before being discarded, so refusing to buy into this for a few months is a good way to reassess the way we shop.

The rules of the Slow Fashion Challenge only stipulated no new clothes, so here are all the alternatives I found to ensure I could still have a fabulous summer wardrobe!

Wear clothes that are waiting to be worn
Being a vintage fashion fan means snapping up those bargains whenever you see them, so I bought summer dresses in the autumn and winter, then had to wait for the appropriate weather to wear them! The wait was worth it though; I’ve had so much enjoyment (and some lovely compliments!) from wearing these fab frocks! You can check out some of my other vintage finds here.

Clothes swaps
Even when we shop sensibly, we still end up with clothes that we don’t really wear any more. As well as rummaging through my sister’s cast-offs and picking out a few gems, I also went to Walk In Wardrobe and exchanged some of my old clothes for some lovely new ones! Stylist Daisy Schubert has come up with an innovative “rule” for her swap shop: you’re not limited to a number of items, you just have to try everything on to make sure you actually like it! That way everyone ends up with clothes they will actually wear, rather than more items destined for the back of the wardrobe.

Charity shops
Giving to a good cause and stopping secondhand clothes from ending up in landfill means that buying clothes from charity shops is very much still allowed under the rules of the Slow Fashion Challenge! In the spirit of the challenge I didn’t indulge in a lot of impulse buys, but I did treat myself to this straw hat to keep myself cool in the heatwave!

Rent a one-off outfit
For anyone who is expected to have an ever-rotating wardrobe of fabulous clothes for events, clothing hire service Wear the Walk has you covered! I wrote about my experience hiring clothes from them in this post.

Transform the clothes you are reluctant to wear
I had picked up a silk playsuit at a clothes swap years ago because I loved the style, but I never really felt that the peach colour suited me. An hour with a bucket, a pair of thick rubber gloves and a sachet of hand dye, I had a playsuit that was much more my style!

Use up your fabric stash
If you make your own clothes, it can be tempting to fall into the trap of impulse-buying new fabric for projects before you use up the fabric that’s already in your stash. And if, like me, you love buying vintage fabrics, special finds can end up cluttering up your cupboards for months while you wait for inspiration to strike!

I only had a 70cm long piece of this blue fabric, and 90cms of the contrasting cream, so I knew I wanted to use them in the most efficient way possible. I ended up making this two-piece ensemble, with only a handful of scraps left over. I was also able to use up a few mother of pearl buttons from my button stash to add an interesting fastening detail.

Break the rules
So, did I go three months without buying anything new? Almost. I’d like to think that my one new purchase was for a good reason, though. Sophie, the owner of Gung Ho Design, also runs monthly beach clean-ups on the Thames foreshore. Seeing an ethical brand owner really living her values made me want to support what she is doing, so I treated myself to a pair of Gung Ho earrings (as well as going to the beach clean-up, obviously)!

Knowing what we already have in our wardrobes, and thinking about how we can transform average clothes into clothes we love, or swap clothes we don’t love for clothes we do, means we don’t have to head to the shops nearly so often. Organising or going to a clothes swap is much more sociable than filling our online shopping carts with impulse purchases, and sewing some simple alterations can make our clothes fit better, and give us a new appreciation for the people who made them! I might have to make a few new (ethical) clothing purchases as we head into autumn, but I’m also working on plenty of alteration and embellishment projects, so check back soon for more sustainable fashion inspiration!

Designing the way to sustainable costume

My career as a costume maker was the catalyst that set me on the path to leading a more sustainable life, but as well as exposing concerns about the fashion industry it also led me to the uncomfortable realisation that the film and television industry is also far from sustainable. Unlike workers in garment factories I am paid a fair wage and considered a skilled craftsperson, but I still couldn’t help worrying about the environmental impact of the job I love. Fortunately other creatives in my industry have the same concerns, so on a sweltering Friday evening, in a blissfully air-conditioned room at BAFTA HQ, we heard from a panel of experts about the changes we need to make as Costume professionals. 

Aaron Matthews, the head of industry sustainability, opened the session and introduced the speakers. First up was Sinead O’Sullivan, Assistant Costume Designer and founder of the Costume Directory, an open resource for responsible suppliers. Alarmingly, a film or television production can produce more waste in a week than the average household will produce in a year, and the costume department of any show is inescapably linked to the fashion and textile industries. While many of us might be conscious of recycling and waste reduction on a personal level, we are likely to tolerate more wasteful behaviours at work because of lack of regulation or time to source better alternatives. 

The ever-changing nature of freelance work in costume departments makes it hard to stick with the same suppliers; fabrics that were perfect for an 18th Century costume drama won’t be right for a gritty modern film. Similarly, costume departments can generate a lot of waste if multiple copies of a costume are needed to be broken down or damaged on-screen. Sinead stressed the importance of individual as well as collective change: the change has to come from the people working in costume departments as it isn’t going to come from studios or producers. 

Sinead asked us to think about the small changes we could make that would add up to make a big impact. She gave a pretty comprehensive list that I think all of us in a creative field could get some useful ideas from. 

Could we: 

• Source more ethical fabrics?
• Ask for more comprehensive recycling facilities at work?
• Make ourselves aware of harmful chemicals in dyes etc?
• Find ways to filter microfibres from our laundry?
• Buy more costumes for contemporary shows from secondhand or charity shops?
• Re-use on-set items?
• Create less single-use costumes; make use of costume houses and reuse resources?

Next up to speak was Orsola de Castro, co-founder of Fashion Revolution. Set up following the Rana Plaza factory collapse in Bangladesh in 2013, in which over 1000 garment workers, mostly young women, lost their lives, Fashion Revolution set out to ask high street brands “who made my clothes?” A question which, Orsola says, it was almost impossible to find answers to. For her, the first step towards a more ethical fashion industry is transparency (“you cannot change what you cannot see”), and we should all be more vigilant and scrutinise what we buy. 

Orsola sees the wardrobe department of a production as being three-quarters of the way through a garment’s life-cycle, from textile to landfill, and reminded us that there was such place as “away” when we discard unwanted clothing! In Orsola’s eyes, we are not using design cleverly enough. We are using design to create a problem (pollution and waste) rather than solve a problem (we all need clothes to wear). This is a criticism I have thrown at the fashion industry in the past, and while I think that my workplace does well when it comes to creatively using available resources (more on that later) it is definitely something we could all pay closer attention to. 

As well as changing our own practices, Orsola reminded us of our responsibility to inspire young designers and students to learn a more sustainable way of working from the start of their careers. There are plenty of free resources on the Fashion Revolution website, like their fanzine, as well as their Transparency Report on high street brands. She pointed out that sustainability is not a passing trend; it has been a way of life for thousands of years, and it is excess that is the passing trend. We only have to look at the history of the modern fashion industry that started with the Industrial Revolution to see how it is built on exploitation. We have an opportunity to change things and, in the words of Joan Crawford, “care for your clothes like the good friends they are”.

We also heard from Charlie Ross, founder and director of Offset Warehouse, the first textile company in the U.K. to exclusively sell ethical fabrics. Charlie’s journey from student designer to ethical entrepreneur began when she watched the film “China Blue” at fashion college. The film revealed widespread exploitation within the fashion industry, and Charlie realised that the impact of a product occurs right across the supply chain, including textile production. The garment industry is responsible for tragedies that aren’t as well-documented as the Rana Plaza disaster; for instance thousands of farmer suicides in India as a result of the exploitative cotton industry, or the draining of the Aral Sea for cotton production in Uzbekistan. The textile industry also uses harmful and toxic dyes, so fabrics can keep making a negative impact on the environment when they are being laundered. 

Her talk highlighted the importance of considering the impact of the fabrics we buy: giving our money to exploitative, wasteful manufacturers is giving our unspoken approval to their harmful practices. While (sadly!) there isn’t a magic fabric that can solve all our problems, if we keep making small changes, buying from textile manufacturers who pay fair wages and don’t damage the environment, opting for organic cotton and dyes, we can start to make a positive impact. 

Oscar- and BAFTA-winning costume designer Jacqueline Durran joined the other speakers for a panel discussion and Q&A. Jacqueline spoke about creating a completely sustainable costume for Emma Watson in Beauty and the Beast, talking through the different fabrics used on the costume, on display at the side of the stage. Inspired by the Green Carpet Challenge and Emma Watson’s personal interest in sustainable fashion, Jacqueline created a costume made from vintage wool and cotton, nettle fabric, sugar cotton and fabrics from Offset Warehouse, making use of the expertise of her costume team to custom-dye, print and paint fabrics using traditional techniques. 

Jacqueline discussed the benefits of working with actors who wanted to wear sustainable clothing (a focus on sustainability makes designers aware of each stage of costume manufacture, and all the boxes they have to tick) and the downside of working with experimental new materials (“we ordered some mushroom leather, and what arrived was just a mushroom”). 

Sinead, who has worked with Jacqueline on a number of productions, described the specific needs of the industry which the Costume Directory is trying to meet. She features suppliers who can provide low minimum orders, and fill and ship their orders quickly. She acknowledged that this was just the start of the big change that the industry as a whole needs to make, and that we all need to be responsible for contributing to this.

Jacqueline sees the goal as normalising sustainability in costume departments, and suggested that if we weren’t in a position to demand change we were in a position to ask questions and get a conversation going about sustainability. Some studios like to draw attention to environmentally friendly policies because it is good for publicity, whereas others weren’t keen to feature a particular sustainable initiative in case it drew attention to all the unsustainable practices.

One of the questions that came up was what happened to costumes post-production. A lot of costumes are hired from costume houses and are returned when a production wraps and can be used again. Some costumes made specifically for a production may end up in storage, as intellectual property rights for a particular production might prohibit their re-use. Sinead spoke about the problems with closing down a large department quickly when a film wraps; staff often don’t have time to carefully plan where items can be donated or repurposed.

The panel discussed the problems of textile waste; the current facilities in the U.K. are pretty poor so one option is to donate to schools or colleges, or to educational programs that teach sewing skills. The topic of how to teach sustainability was also considered, with panellists discussing the culture of immediacy that has robbed us of our ability to plan! With better organisation, we can make better decisions, but we need to create a new culture that pushes back against the need for instant results.

The evening left me with plenty of food for thought.  The costume house I work at is actually surprisingly sustainable when it comes to making and re-using costumes. We use a lot of vintage fabrics, and my colleagues and I often end up adopting a zero-waste approach to cutting and making up so we can use every scrap of a precious piece of antique fabric! As well as mending costumes from the hire stock, we often end up re-making clothing that is well past its best in order to save beautiful bits of embroidery or embellishment.

I’d be interested to see what changes we could make to become even more sustainable; all my colleagues have re-usable cups and water bottles, and our communal kitchen is full of recycling bins, but we often spend lunch breaks trying to solve our biggest sustainability bugbear: plastic garment bags. The research that several of us have done into textile and plastic recycling for our particular needs has revealed a lack of facilities that deal with this sort of waste. As well as focusing on the changes we can make personally, or as a company, we also need to ask for national change to tackle recycling on a larger scale as we plan for a more effective way of working sustainably in the long term.