Danielle McKinney (American, 1981) - Shelter (2023)
one of my “special interests” in the past couple of years has been exploring fast fashion vs. slow fashion. it has been a long journey trying to find clothes that actually 1) fit me 2) look good 3) are made from material that is not actively shoving plastic in the ecosystem 4) involve ethical labor, fair trade, fairly compensated, etc
before i did this research, i really had no clue about fabrics or fashion brands. i used to think i had zero interest in fashion, in fact.
i grew up wearing walmart and thrift store clothes, and when i went to college i bought clothes from target and asos. something started to shift a little bit when i found vintage resellers on etsy and ebay… those clothes were so unique. but a lot of the vintage clothes were polyester blends, stiff, and would fall apart as easily as my asos clothes. i would leave them hanging in my closet and never wear them. i would wear the same old t shirts and jeggings every day. i felt like it was impossible to ever wear comfortable clothes, or ever feel good in clothes, so why bother?
it started with linen. linen is very comfortable and pretty sustainable. i was amazed that i didn’t feel the urge to rip my clothes off when i wore linen. lightbulb number one.
a friend let me borrow a nooworks dress, and i went to the store and got some overalls. wow. overalls. lightbulb number two. holy shit, you can wear overalls. you know how people say “not binary or non-binary but a secret third thing.” that’s overalls.
i realized i loved the bonkers prints that nooworks had, and all of it was soft, and made ethically. it was a higher price point than i was used to, which gave me pause. but then you realize: we’re not supposed to be buying dumb clothes every other weekend. and isn’t a slightly higher price point for soft clothes that you won’t want to tear off your body worth it?
so i started my research. i made a spreadsheet. the prices can be all over the place across brands, so i made a column for prices. sizes can be all over the place too – people always ask me “where is the plus size slow fashion?” it’s there. just look at the size column. people say “isn’t it better to buy secondhand?” yeah, it is. i have many links to secondhand sources.
if you have any suggestions or additions please let me know, it is a living document.
Quilters. Photographs by Henry Groskinsky (1971)
I don’t have a guidebook for love. One day it’s a flower I wear on my jacket, on another, it’s a dagger hidden in our bed, on another, it’s a flame that sears. Still, on another, it’s a sugar cube dissolving sweetly on my tongue.
Nizar Qabbani, tr. by Nayef al-Kalali, from Republic of Love: Selected Poems; “Give Me Love, Turn Me Green”
Ya Allah surround us with those who have our best interest at heart
“If you give children a vocabulary that’s large enough and complex enough to express their emotions and their ideas, you give them access to complex feelings and emotions in themselves. So that if you talk to a teenager and all they can say about how they feel is BAD, and they haven’t got, you know, a larger vocabulary for lonely, abused, insecure, frightened…I mean there’s this huge panoply which…I remember when my daughter was just telling me that she just felt bad, I bought her a thesaurus. I said, “Look up, is it sort of over lonely, or is it insecure…and look up under lonely, you’ll find two hundred words for lonely. Which one?” But what that does is that it makes you feel that there’s this huge complexity of emotions and there are words for all of them. If you want children to feel less frustrated and less disenfranchised and less unable to even feel comfortable with their own emotions, you’ll have to give them a vocabulary that’s as complicated as their inner lives. And one of the things we see in children is this incredibly reduced capacity for reporting their inner lives to the exterior world. One of the things is just teaching them poems, just teaching them to memorize poems in school, they don’t have to interpret them, if they just internalize the language of the poem, the complexity of the emotion in the poems…” -Jorie Graham, in a conversation
Bessel van der Kolk, The Body Keeps the Score