Victoria and Albert Museum
the real perfect boot
Not quite perfect but close. I went to an Eileen Fisher, “Not-Quite-Perfect” sale on Saturday at Fab Scrap. The skirt fit me perfectly, and I think you’ll agree, looks good despite the wrinkles, the only thing wrong with it .
Because I didn’t have a lot of time, and because I didn’t want to shop for shoppings sake, I more or less grabbed 4 things and headed for the ersatz dressing room.
That’s Leslie, my dressing room-mate. She put on pant after pant, and they all looked good on her.
Some sweaters, pants, skirts, and dresses, did have pulled threads, or small holes but nothing that couldn’t be easily mended. This skirt, although a really yummy, heavier knit,
had quite a few tiny holes in it. Believe me, I could have mended them so well that no one but me would have known it, but I wanted to restrict myself to one garment.
Here’s a typical label from another garment I rejected. Yes, there’s both nylon and spandex in this garment.
“Nylon is a generic designation for a family of synthetic polymers, based on aliphatic or semi aromatic polyamides. Nylon is a thermoplastic silky material that can be melt-processed into fibers, films, or shapes.”
“Spandex, Lycra or Elastane is a synthetic fiber known for its exceptional elasticity. It is a polyetherpolyurea copolymer that was invented in 1958 by chemist Joseph Shivers at DuPont’s Benger Laboratory in Waynesboro, Virginia.”
Nylon and Spandex are plastics and not biodegradable.
If you have followed me for a while, you know that I have perennial “issues” with the Eileen Fisher brand. From their clunky website, to their sometimes lackadaisical customer service, and the occasional downright frumpy styles, they’re not-quite-perfect.
However, there’s no one with the brand’s size, recognition, or popularity, that has consistently addressed problems of sustainability in fashion for as long as Eileen Fisher has.
So how come there’s Nylon and Spandex in this garment?
Because the people at Eileen Fisher keep learning, but things change slowly.
The trouble for all of us is, that “turnarounds” take time. No company, let alone industry, not one as complex as the fashion industry, can change its practices over night. And that is precisely why it’s important to start today.
You know how I’m always repeating, “things are changing.” But we’re talking years of concerted work for companies to learn what they need to make clothes, that are ethically made in sustainable ways, taking into consideration human beings throughout the supply chain. It’s a complicated endeavour that we, as consumers, need to help push along by voting with our choices.
Companies will not make plastic garments if we don’t buy them, that’s the “bottom line.”
*If you want to learn more, go to the Eileen Fisher website to read more about “responsible fibers.”
I once showed you a picture of what I said was the perfect boot, but I’ve changed my mind, this is the perfect boot. I quickly strolled into a shoe sale, after my Fab Scrap sojourn, and found these. Like most pictures of fashion: the ones taken by amateurs, the ones on brand’s websites, the ones in catalogs etc, this picture does not do the boot justice.
Both my first “perfect boot” and this one are Blundstone. Blundstone is an Australian brand that has become increasingly popular worldwide. They’ve become the boot of “hipsters” everywhere. And there’s a reason for that, because besides being attractive, like a kind of Australian Chelsea boot, Blundstone’s are durable, comfortable, look good with anything, and are semi waterproof.
Also, even though the boots are quite “light” I can stuff a really big, wool sock into them in the winter time, have my feet stay warm and not feel “heavy footed.”
“Pollock has explored this theme in the context of the Western tradition of art, taking as her focus Canova’s celebrated sculpture of the Three Graces. She argues that the female nude of Western art enshrines an ideal of ‘timeless beauty’, presenting a body that is timeless both in the sense that it is an ideal which traverses historical time and in the sense that it denies time. The eternally youthful female figures that people Western art are, for her, fetish objects held in ‘transtemporal permanence’ and denied histories or futures.”