This piqued my curiosity (see post on top of this one). These are like Madonna ‘goomie’ bracelets in glorious African colors. Who were the women behind them -and how could I make them available from the artisan to your doorstep? I happened upon the story of Rose Bere, a woman from Burkina Faso, just south of Mali, who leads a group of women in making bracelets from cast-off plastic woven rugs. You can buy these amazing similar cuffs and give back to a company that is a member of such reputable organizations as Fair Trade Federation, Coop America, Social Venture Network, and the Aid to Artisan Trade Network through One World Artisans.
Price:
- $2.50 / narrow bracelet
- $3.50 / bangle
More Mali
More on Mali – Sokona Niakathe bring couture to Mali
Friday • June 19, 2009 • by Chauncey Zalkin
Category: Africa, Blog, Jewelry, Plastic, Rose Bere, Sustainable
Zara, H&M, Forever 21, TopShop. Rags ripped and dangling from swinging hangers. Stampedes of the fashion flock echoing at closing time as the underpaid are left to pick up the last ripped price tag. Last month at the opening for Topshop in New York, I hear it was like pigs at the trough and in Tokyo the Forever 21 flagship attracted a line of people the night before.
Is all this lust for novelty going to just go away? Especially for the youth trendbot demo? I have my doubts. We like to think that highly conscionable change agents make up the masses but it just ain’t the case.
But let’s just forget about sides at the moment, because this isn’t your run of the mill pendulum swing, our systems of consumption are truly broken right? And they needs fixing. But before calling for a full scale return of craft and demise of fast fashion, we have to be honest with ourselves and how we actually live our now-thrifty lives.
I became fully aware of the tons of crap I consume when I moved from New York to Miami back to New York to Paris and then Barcelona between 2004 and 2009. Now that I’ve got it down to the bare minimum of accumulation — very well made things, nostalgic keepsakes, and practical disposable goods, I am starting to see what matters most -or how to live better but since I’m not in a wealthy way these days, I do go to H&M for necessities and treat it like checking items off a grocery list. “Buy saturated orange top to work well with skirt I already own”, “need new tee shirts”, and then once a year, “jeans falling apart, trip to Barney’s co-op”.
My clothes are my new bottle of dishwashing liquid. My bag of lemons. My six pack of chicken breasts. I replace the stained, the pilled, the misshapen by repeated washes when I need to and that’s about it. Can you blame me for being Coscoesque in my approach? I think of clothes as disposable because it seems that the 300$ + goods is just as fallible as the Forever21 tee shirts I own.
At the same time, just as I don’t have the means or inclination right now to buy a Bang and Olufsen stereo or a lampshade by Moustache lets say, the biggest design buzz from Salone del Mobile last week, I still seek objects that bring tactile pleasure, incite memory, offer balance, and celebrate aesthetic excellence because our object world relies on design to communicate and please. It’s a very important part of the human experience and one which stands totally apart from ‘it’ bags and this season’s boots.
The trick is to ask, do I want to collect this? If you do, that’s when you spend the money. If you’re going for novelty or just a clean pair of underwear, we’re going to have to learn some way to ween ourselves off fast fashion fast because it’s too late; we are no longer willing to pay a high price for basics.
Consider the following quotes from a Core77 article entitled Selling the Future: Design and the Financial Crisis
- “Make less. Make it better. Focus on craft.”
- “Examine the thing you’re designing right now: Does it fulfill a fundamental human need?”
- “People no longer pay for durability. They will.”
Well said.
Monday • May 4, 2009 • by Chauncey Zalkin
Category: Blog, Chauncey Zalkin, Design Mix, Essays, Retail, Sustainable

This article started with the a trip to Tokyo and Kyoto working on a lifestyle brand inspired by Ancient Japan. My client wanted me to see with my own eyes this enigmatic culture revered the world over for its power and its mystery. The article is now up on BrandChannel with a bit more of a branding twist than it started out with (original article below).
FRESH BRAND THINKING FROM ANCIENT JAPAN
By Chauncey Zalkin
Japan, the land of paradoxes. From the start a collectivist society, Japan has always had a devout reverence for nature, a hardened understanding of what is now the biggest buzzword of our time, social responsibility, and yet a derring-do where only the brave, most visionary, and sometimes slightly wacky, need apply. These qualities, with all their distinctly Japanese nuances, couldn’t be more relevant to today’s branding challenges the world over.
Historically, In a simpler time before the jet age, Japan was physically isolated, surrounded by treacherous seas, formidable fault lines, and land three-quarters covered in mountains. The entire population clustered inside the land left – a constant reminder of nature’s strength and the need to adhere to a manageable social order. Their history of isolation led to a respect for nature and an emphasis on the group over the individual. The result was an enviable system of organization and ethos of constant improvement that gave rise to innovative brands and services.
As China and Korea look to transcend their reputation as efficient manufacturers and get into the branding game, they look to Japanese standards as a beacon. Brands like Toyota, Mitsubishi, Sony and smaller progressive brands like Muji and Uniqlo hold cues to the future for these emerging markets. “For us, ’Made in Japan’ means quality”, says a Korean marketing MBA interviewed for this article and an employee of Japanese designer Yohji Yamamoto in Paris. While other east Asian countries are still finding their capitalistic identity mostly by westernizing, she explains “the Japanese dare to be themselves.” After the Beijing Olympics, Reuters reported that a new game was under way, ‘telling China’s economic future by reading the tea leaves of Japan’s past’. By all accounts, China yearns for Japanese standards of style and hospitality.
Superb craftsmanship, strict standards and attention to detail are what makes Japanese corporations the envy of all the rest. But it’s the deeper cultural differences long embedded in Japanese society that are hyper-relevant to living and branding in a new, more accountable world.
The consumer perception of Toyota is that the perfect car is possible which is as much a part of their brand as it is their internal workings. On the other end of the spectrum, Comme des Garcon’s creator Rei Kawakubo and her stable of designers are known in the industry for pursuing the ultimate form of creation. Its this combination of pushing the limits with a particularly Japanese brand of restraint, that is most ingenious.
LESSON 1: CONSIDERATION OF THE GROUP
In ancient Japan, once someone did even a small favor for a stranger, for example, picked something up off the street that you dropped, you had to reciprocate. The ancient word for a social obligation that must be repayed was an ‘on’. One could wear an ‘on’ their whole life if they did not or were not able to reciprocate. In ancient Japan, it was considered by many to be a burden. Even now, every individual is strongly linked to every other individual in Japanese society.
There is no literal translation for the phrase “kuuki wo yomu” in English but it means to ‘read the air’, essentially to get a sense of the feeling of the room or the group. In a recent social experiment, Japanese and Western participants were shown an individual standing in front of a crowd and asked to describe what the individual was thinking. The Japanese test takers ‘read the air’ when assessing the situation. They considering the facial expressions of the group behind the individual, whereas westerners focused solely on the expression of the individual in the foreground.
The fundamental principle at Toyota is kaisen or ‘continuous improvement’. Another is genchi genbutsu or ‘mutual ownership of problems’. When Toyota CEO Yuki Funo was asked if he might star in a Toyota ad (as the American president of General Motors had), he said something along the lines of, ‘there’s not one single hero, we all are.’ The ability of a brand to be socially conscious and consciously expansive are crucial. Social responsibility is now inexorable to a company’s reputation.
LESSON 2: RITUAL AND RESTRAINT
One set of slippers is for the house. Another, for the bathroom. Sake comes before, not during, the meal. After a Japanese meeting, it’s time for karaoke and raucous good times. The working day is done. Each experience has its place, and for that time, every other experience is put aside.
Japanese patterns and rituals have the ability to clear the senses, to reorder what the mind takes in. Interiors are marked by clean, minimal lines and stripped to their bare essence. Nature is controlled in Zen gardens or the pruning of a bonsai tree. Each object in the landscape is distinct and pure.
‘Shibui’ means inobtrusive beauty. ‘Wabi Sabi’ is the reflection of inner perfection, simplicity, the rustic and the unembellished. Muji, for example, employs top designers whose names are absent from all packaging and merchandising.
In the hospitality and service industry, the flashy boutique hotel with its disco lobbies has had its day. Luxury now is about time and space, superior construction, and escape from the ordinary.
LESSON 3: REVERENCE FOR NATURE & THE HUMAN TOUCH
Number five of Toyota’s fourteen guiding principles is “Be reverent, and show gratitude for things great and small in thought and deed.”
There’s been a shift in the U.S. collective consciousness — green is no longer an issue marginalized to fanatical environmentalists; nearly all Americans display green attitudes and behaviors versus a year ago.
-WPP, 2007
Japan is by many measures the world’s most energy-frugal developed nation.
-New York Times referring to Japan’s “single-minded dedication to reducing energy use”, 2008
“Custom-made and one-of-kind are rising above the mass-produced.”
-Head of Trend Research, JWT, 2007
(Luxury consumers) are looking for unique handcrafted things that can’t immediately be reinterpreted at every level of the marketplace.”
Brand Media Week, 2008
Japan is known for sci-fi style innovation but also for employing nature’s materials. Japan’s ancient Shinto religion is based on reverence for nature and the power of the spirit of animals. Zen Buddhism pays homage to nature in the form of pristinely preserved rock gardens and an abundant use of natural materials.
From Maison Objets in Paris to Salone del Mobile furniture fair in Milan to PCBC show in California, design and building news is dominated by natural and renewable materials.
In all communities, even in our post-industrial individualistic society, we’re tribal in some aspects and isolated in others. The values of social responsibility, respect for nature, and a distinctly more modest and subtle luxury are extremely relevant in a saturated environment of strident individualism, materialism, waste, and social alienation.
Friday • April 17, 2009 • by Chauncey Zalkin
Category: Blog, Chauncey Zalkin, Essays, Japan, Retail, Sugar, Sustainable, Topical Thursday
I just got back from the back alleys of Kyoto where I met wonderful people and got a chance to take an inside look on some of the best and most ancient craftsmanship the world has to offer.
- A family-run dye workshop that does all the hand dying for Issey Miyake. They use natural root vegetables, charcoal, coffee, and various indigenous plants, layering color on pre-worn and original fabrics to varied effect. He also employs ancient fabric cutting techniques mixing new technology with the ancient craft used for centuries. We sweat and fanned ourselves in a Kyoto workshop tucked away in one of the many back roads of Kyoto among rows of wood and clay houses. His daughter presided over boiling blue dye and his son’s voice could be heard from the back room. He told us his wife was also an artist. The reed thin, passionate, and kindly man took treated us as though we were the most important people in the world. We sipped iced coffee and poured over his portfolio books of sketches, fabric samples, ink drawings as the fan whirred offering us moments of cool air before oscillating around the room again. (In America, this would never happen. The person would be so protective of his work fearing imitation.)
- A young cobbler trained in ancient techniques with a store and workshop in a leafy residential neighborhood. He hand stitches an updated version of the Geta shoe (the thong slippers Geisha wear with socks, usually made of wood with blocks at the heel and toe to raise the height). His are a layering of visible structural materials on leather. I bought a pair he had in the workshop already. He makes only 30 pair a month because of the time it takes to cut the leather, to dye it with vegetable dyes, and to hand stitch the shoe.
- Tale of the Genji scrolls by Yamaguchi (a story originally written by a woman, Murasaki Shikibu 1000 A.D.)
I love Japan. I can’t stop thinking about it. It’s like a love affair you can’t forget and you are sure you will be right back. Well, maybe I won’t be right back – instead I’m headed to the Normandy coast and then probably London waiting for my next project to start. But I’ll be back. More on Japan later.
Wednesday • July 30, 2008 • by Chauncey Zalkin
Category: Blog, Chauncey Zalkin, Fabric, Fashion, Japan, Leather, Murasaki Shikibu, Sustainable, Textiles
Before What Women Make, I had a Webby nominated site called girlonthestreet.com. There was no blog software back in 1999 when I started it and I hand coded the entire site in HTML myself every time I wanted to update it. I thought I’d resurrect that site after going to work in advertising from 2004-2006 but I realized I’d changed a lot since then and Girl on the street gave way to What Women Make. In the interim before I discovered that, I rebuilt Girl on the street in 2007 for $3,000, an all flash site which was a complete waste (but very pretty). When it launched, I was asked to do a trend report for a jewelry site where I could give away a pair of earrings. I decided to look for the most creative entrepreneurial, high-quality ideas in design. It was hard to find people at first, I must admit but Makeda’s bags were a blend of two cultures – Ethiopian textiles (supporting craftsmanship in her native country) and fine Italian leather. Not only were they beautiful, but it was a business close to her heart. Unfortunately, she had to stop the project and go back to work but I’m confident she’ll find a way to have a creative business again one day. Here she is in her own words:
I was born in Addis Ababa, Ethiopia in the 70s to a mother who was a flight attendant for Ethiopian Airlines and a father who was a record producer and entrepreneur. I emigrated to the United States in the 80′s and lived in Washington, DC, where there’s a thriving Ethiopian community, before moving to NYC in late 1998.
I worked in corporate media for a number of years, where I enjoyed my role and responsibility as web producer, writer, and television field producer. But I was eager and itching to find a new creative outlet, away from my Midtown office. So I started sketching and a lot of ideas emerged for a handbag line. Coincidentally, my mother has a wonderful sense of style and her closet happened to be full of vintage bags from the 70′s and 80′s.
I went to Ethiopia a year ago to visit my father and I was blown away by the textiles that I saw in the market and knew that I wanted to someday incorporate these textiles into a handbag.
In the fall of 2007, I finalized the four samples that I wanted to debut and began the process of launching Makeda Collection NYC in Brooklyn – a unique line combining colorful, patterned textiles from Ethiopia with leather. My inspiration was iconic, beautiful Africa. The creative process was unlike anything I had experienced in the corporate world and knew that I wanted to pursue it as a business venture. Interestingly, during my research into the leather industry, I discovered the environmental impacts of the leather tanning process, so I decided that my line would only use vegetable tanned leather and organic cotton. As a treehugger and a longtime pescetarian, it’s important for me to be environmentally-responsible. So I have made a commitment to use a green supply chain and services to reduce the company’s carbon footprint.
Additionally, I want consumers to be aware of the social and environmental challenges facing Africa. One of these challenges is access to clean water. In Ethiopia, 76 percent of the population doesn’t have access to clean water. In order to support the numerous charities that operate in Africa, I am planning to launch an e-commerce store where a percentage of the bag’s proceeds will go to various charities like Charity: Water and The Ethiopian Children’s Fund. I believe that consumers can have a direct role in helping to improve the lives of many with their purchasing power.
I debuted my Fall 2008 collection in February at Platform 2 New York, a ready-to-wear and accessories trade show. At this time, the bags are not sold in stores yet. My goal is to start manufacturing a limited quantity in Ethiopia. I’m fortunate to make it this far, especially with the support of family and friends. And I welcome the challenges in the future.
Tuesday • February 19, 2008 • by Chauncey Zalkin
Category: Africa, Blog, Competitions, Fashion, New York, Sustainable