{"id":492910,"date":"2023-08-22T00:00:00","date_gmt":"1970-01-01T00:00:00","guid":{"rendered":"https:\/\/numero.com\/non-classifiee-2\/how-are-kim-jones-and-dior-committed-to-help-protect-the-oceans-2\/"},"modified":"2024-06-20T17:37:18","modified_gmt":"2024-06-20T15:37:18","slug":"how-are-kim-jones-and-dior-committed-to-help-protect-the-oceans-2","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/fashion\/how-are-kim-jones-and-dior-committed-to-help-protect-the-oceans-2\/","title":{"rendered":"How are Kim Jones and Dior committed to help protect the oceans?"},"content":{"rendered":"

Eleven years ago, designer Cyrill Gutsch founded Parley for the Oceans, a charity dedicated to preserving the sea from plastic pollution by collecting and recycling it. Close to the worlds of art and fashion, the organization is putting its money on design as the spearhead for eco-responsible innovation. In this context, Dior Men is currently showing its second collaboration with Parley for the Oceans, a recyled-plastic beachwear collection designed by the label\u2019s British creative director, Kim Jones. For Num\u00e9ro<\/em>, the two men sat down to talk about the future of the oceans and the question of biodiversity, subjects that are of great importance to both of them.<\/p>

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Num\u00e9ro : This is your second collection of men\u2019s beachwear together. How did your collaboration come about?<\/strong><\/p>

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Kim Jones <\/strong>: Growing up in several African countries, I had the chance to discover the world when it was in rather better health than today. I love diving \u2013 I travel the world to go and see rare and wonderful fish and animals. I really love what Cyrill does and what Parley for the Oceans stands for, and we thought, well, in these big brands like Dior, it\u2019s important to have a conversation about sustainability. It just seemed logical, so we started the discussion. We\u2019ve now reached a critical moment where things need to move, but a big ship like Dior takes quite a long time to turn around. So we\u2019re doing it collection by collection. The Dior Essentials collection uses 80% sustainable and recycled materials, while in this capsule collaboration with Parley for the Oceans we\u2019ve reached 96% recycled plastic. <\/p>

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Cyrill Gutsch <\/strong>: First of all, it\u2019s important for me to work with someone who really loves animals. You can\u2019t show empathy for the cause we represent without feeling it, without knowing the beauty of the sea and being in love with it. So that\u2019s the number-one reason I love to work with Kim, besides his being a fantastic designer. We were talking about how wonderful octopuses are just now \u2013 there\u2019s something that connects us deeply. We approach it from very different angles, but we meet on a very pragmatic level of actually making things happen. In my world of environmentalism, there\u2019s a lot of talking, there are a lot of ideals. You can try to dream of a world that is non-toxic, non-harmful, but if you\u2019re not taking the steps to get there, you\u2019ll never change the way we do business \u2013 and the way we\u2019ve done business these last few decades has created a nightmarish scenario. I feel the approach of going item by item, collection by collection, is a very good one, because every collection is a lesson for the whole organization. Things take longer, things cost more, things need to be communicated \u2013 it\u2019s way more effort to make things differently. And without a strong creative champion on the organization\u2019s side, there\u2019s no way for us to achieve that. So that\u2019s why Kim and I are working together, in my eyes.<\/p>

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Sustainable development is generally presented as problem to be solved, but you show it can also be a source of renewed creativity. <\/strong><\/p>

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KJ<\/strong>: I think a customer will spend a bit more money on something they know is better for the environment. A store such as Dior is expensive anyway, so it\u2019s not like you\u2019re going to question a few more euros. The first collection was very well accepted by the consumer, so it\u2019s great to carry on the relationship with Parley For the Oceans because we can develop it further, we can look at different product categories, such as leather goods. Obviously, it takes a lot of time and research to achieve the quality needed for a Dior piece. But Parley worked as fast as possible to make it happen \u2013 it\u2019s a really impressive organization. One of the advantages of the luxury sector is that volume is relatively limited in comparison to mass producers. And at LVMH the question of sustainable development is treated very seriously. It\u2019s something my teams take particularly to heart, among them Natalia Culberas-Cruz [director of sustainable development<\/em>], R\u00e9mi Macario [product coordinator for sustainable development<\/em>] and Lucy Beeden [design director<\/em>]. These are people who also like to travel, ski, or dive, and who, like me, are horrified by the current state of the planet. It\u2019s important for us that future generations can see all the magnificent animals out there in the world.<\/p>

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CG<\/strong>: Protecting life is the new luxury really. And to that end, we always try to use the most appropriate materials. In the Dior Men\/Parley collection you can say that each product fights our battle on the front lines.<\/p>

\u201cWhen I stop doing fashion, I\u2019m going to do conservation full time.\u201d Kim Jones<\/p><\/blockquote>

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How difficult was it, using recycled Parley Plastic\u00ae, to obtain fabric that met the standards of Dior Men? I believe the research began back in 2019.<\/strong><\/p>

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KJ<\/strong>: It took time, but, you know, it\u2019s worth taking time to do it because then you can use it longer. When I saw the first samples and swatches, I was like, \u201cWow, you wouldn\u2019t know that\u2019s recycled plastic.\u201d That\u2019s an exciting thing for us, because it means we can think of designs in a much more fluid and natural way. For me, recycling plastic is such a logical thing, because it\u2019s such a problem. I returned to Indonesia last summer for the first time since the pandemic. And it was so different. For example, you\u2019ve got the entrance to Komodo National Park with its beautiful pristine beach on one side, but on the other it\u2019s all plastic. I was with Kate Moss and everyone, and we just got bags and were filling them up with plastic, because that\u2019s what we could do. It\u2019s certainly not the fault of the people who live there since plastic washes up from everywhere. So for me it\u2019s a big concern, because I love nature \u2013 when I stop doing fashion, I\u2019m going to do conservation full time for sure. Life is divided into different chapters, and I\u2019ve got projects that I work on and sponsor, for example the preservation of a rare monkey in Vietnam. When I started, there were only 500 left, and today there are over 1,000. When I\u2019m not working, I want to be in nature, I want to walk through savannah or go underwater and see sharks, turtles, pygmy sea horses, all these beautiful creatures. It might sound very contradictory with what I do for a living, but I don\u2019t think so. I know I can also help \u2013I help a lot of different communities in Kenya, for example. These are the things I\u2019m passionate about, and that\u2019s the legacy I\u2019d like to leave behind me more than anything else.<\/p>

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CG:<\/strong> I don\u2019t see a contradiction here \u2013 actually I see the opposite. For me, it\u2019s a very logical alliance, and I find that the criticism about luxury taking new environmental initiatives is wrong. I think we are taking a step now where we\u2019re democratizing environmental protection. It starts from the top, because those at the top can actually make the biggest decisions, and they\u2019re the ones who can master materials and do all the R&D and pay the higher prices. Because, let\u2019s be realistic, our material is not affordable for most companies out there. Working with the luxury sector also means the products are not ending up in a landfill because they have a secondary market or because people keep them forever. So there are a lot of reasons why we work with luxury. Another one is that we create value, which you can later break down to the masses once there\u2019s a new understanding.<\/p>

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KJ<\/strong>: It also helps you develop your technology so that it eventually becomes affordable and accessible to different sectors of the market. Starting at the top of the pyramid allows you to establish an icon, an example, and afterwards to democratize your material.<\/p>

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CG<\/strong>: Absolutely. Fashion and art are really our space industry, or our Formula 1. And fashion is one of those rare industries where the designer has so much power. In most businesses, designers have to obey more or less. For me, fashion is the last kingdom of design.<\/p>

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Is that your feeling Kim?<\/strong><\/p>


KJ:<\/strong> Well, you can come up with an idea like this and people will go, \u201cOh, but that\u2019ll be expensive.\u201d So it\u2019s up to you to convince them. \u201cI know it\u2019s expensive, but clients are going to like it.\u201d You have to trust your instincts. People were locked down for almost two years during the pandemic, so what do they want to do now? They want to go and see the world. When they start seeing the problems in the world, they want to help. Because everyone\u2019s got compassion. People start petitions, for example. Everyone does this, everyone does that, and it filters through. But if I meet anyone powerful or influential, I always talk about the environment with them, and I talk about<\/p>

the projects I do in Africa and Vietnam and the things I want to do in the future. And when addressing people who don\u2019t quite understand, I always talk about it in terms of their grandchildren, because if you talk about their grandchildren not seeing what they\u2019ve seen, that\u2019s a sad situation. You know, in 20, 50 years, I might not be here, but I don\u2019t care about that, because it\u2019s important to fight for the world\u2019s future.<\/p>

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CG<\/strong>: And time is an issue now. In the last ten years we\u2019ve seen a rapid decline of life out there. And I see it with my own eyes \u2013 I don\u2019t even need to look at the scientific stats. And the next five to ten years will mark another drastic jump. And we are so many people and we kill and we po lute. So now it\u2019s about redesigning the source of that problem, which is materials. We\u2019re in a material revolution, really, the same way we all experienced the digital revolution. Recycling is one aspect of that, and it will always play a role because nature is the master of recycling. The materials will change though. We want to hack cells, and grow things that we need instead of coming with our not-so-intelligent materials. It\u2019s an evolution that we can steer and drive. Everything we do today has a very big impact on tomorrow; if we were to halt now and say we\u2019re waiting for the perfect material, tomorrow would never come. We\u2019d get stuck in the old. So we need to do everything we can today. And that\u2019s what I learned at Parley. You know, if you just talk, nothing happens. <\/p>

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KJ<\/strong>: You\u2019ve gone out and done it. It\u2019s something I would think about, but I don\u2019t have the technical insight for that. Though I have found the niche that allows me to work on and develop my passions outside of fashion. And one of my favourite things is taking people to places in the world they\u2019ve never been to before \u2013 and then they get into it too. We\u2019ve lost six percent of mammals and vertebrates since 1960. That\u2019s a huge amount. But there\u2019s still lots of wilderness left. In North America, particularly in Canada, or in Congo. It\u2019s also about helping the communities to support it. It\u2019s not ours to own, because we\u2019ve done that before. My father taught me a lot about Africa. He lived there for 40 years and taught me racism was wrong, that everyone is born the same. He worked for the UN and found water for people where there was no water. But he wouldn\u2019t do things that were about making people money; he did stuff that was really about supporting communities. Before he died, his last job was working on how to restructure and protect the forests that border the Sahara, so that the desert sand won\u2019t encroach any further. He studied different types of oxides to cool the air, things like that.<\/p>\n

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Cyrill, you spoke about the materials revolution \u2013 what part do natural materials coming out of ecological agriculture play in that future?<\/strong><\/p>

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CG<\/strong>: Nature offers so many resources that are more sustainable and renewable. How can we create the most amazing fabric out of cells retrieved from coral? How can we use 100-percent-natural fibre from Manila hemp?<\/p>

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KJ<\/strong>: And these resources can also help in medicine. There\u2019s probably a plant or something out there that can help cure cancer.<\/p>

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CG<\/strong>: That\u2019s a very important point. For too long, we\u2019ve felt we know it all and that we\u2019re better than nature. Sometimes we even thought we\u2019d improved on nature. But the truth, as Kim just said, is that we\u2019ve barely unlocked her secrets. There are so many natural wonders that could cure disease: enzymes, creatures, organisms out there that can solve problems we have or don\u2019t even know we have. It\u2019s a wonderful world. And for too long we\u2019ve been too arrogant, and have just poisoned and killed. Now at last, let\u2019s hope, we\u2019re moving towards an eye-level relationship with nature and truly collaborating with these creatures.<\/p>

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KJ<\/strong>: Yeah. I mean, I\u2019ve gone tracking in the Amazon. I\u2019ve gone all over the world, and you talk to local people and they just show you a handful of plants and what they can do for their community. And that\u2019s just the surface. So you have to go back to nature, it\u2019s really important. Obviously you need to carry out proper medical studies, but the planet is here, and it has pretty much everything on it. What is it, like only five percent of the deep sea has been explored?<\/p>

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CG<\/strong>: That\u2019s right, five percent. We know more about space than we know about the oceans We still don\u2019t<\/p>

know what all these creatures do down there. We thought there was no life in the deep sea, and now we\u2019ve discovered there is. We know so little. We believe in science, but there is other knowledge. There\u2019s indigenous community knowledge that we haven\u2019t bothered to look at because they\u2019re not writing scientific papers. But the truth is they probably know more, because they learn to trust in the knowledge of nature, which we still don\u2019t understand from a scientific standpoint. So there\u2019s something between instinct and human science \u2013 there\u2019s a gap that needs to be bridged.<\/p>\n

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When you founded Parley for the Oceans, no one was yet talking about the danger of drought and the lack of water. Now everyone is conscious of the problem.<\/strong><\/p>

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CG<\/strong>: Ten years ago when we started, people thought we were crazy. They were like, \u201cThis guy lost it.\u201d Now is a very different moment \u2013 people have understood that there\u2019s no hiding ground. You can\u2019t imagine that you\u2019ll live protected in a gated community: everyone will be impacted. And that\u2019s why the pandemic we just experienced is a little taste of how powerful nature can be, you know?<\/p>

Kim, fashion has to sell dreams. How do you reconcile that with environmental concerns?<\/p>


KJ<\/strong>: Fashion is about the dream, but the dream has to be a reality, because it can quickly go from a dream to a nightmare. If you can incorporate some of this sensibility into fashion, you\u2019re still creating the dream, but you\u2019re also thinking about the future. If I\u2019m doing a couture show, that\u2019s my real dream, because that\u2019s where we really play around with the codes of the house and can embroider and embellish. But there are also more practical things we can do in helping Parley and other such organizations to spread their message. If you go to Indonesia, the Philippines, or the Maldives, and you\u2019re wearing your Dior, and you know that it\u2019s made of plastic that came from the sea, that you bought something that is helping, then you appreciate it while being there. That\u2019s a good feeling. And that\u2019s one thing that clothes do \u2013 they make people feel good about themselves. That\u2019s something I realized when I started at Dior. And if you know that the clothes you\u2019re wearing also help the planet, it\u2019s part of the dream as well.<\/p>

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Dior x <\/em>Parley for the Oceans<\/em><\/a>, <\/em>available<\/em><\/a>.<\/em><\/p>","protected":false},"excerpt":{"rendered":"

Eleven years ago, designer Cyrill Gutsch founded Parley for the Oceans, a charity dedicated to […]<\/p>\n

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