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FASHION

Eco-friendly jewellery for a higher cause

An empty soda can may seem like nothing but garbage, but to designer Kumvana Gomani, it’s a piece of art waiting to happen. Nearly two years ago, the eco-friendly entrepreneur started a jewellery company, using recyclable materials to make sustainable, hand-crafted pieces.

Eco-friendly jewellery for a higher cause
Photo: Marie Eberfors

“I work with whatever I can work with to turn into something beautiful,” say Gomani.

“I want people to see my jewellery as fun, glamorous. But it also happens to be sustainable, and that’s the best part of it.”

Gomani moved to Sweden from Canada in 2007. One year later, she says she felt the need to channel her creativity into a project.

“I was sitting in my kitchen, thinking I had to do something or else I’d pack my bags and go back to Canada,” Gomani recalls. “I thought there had to be a way I could be creative, make money, use my industrial design training and make this work. So, I literally took a plastic Coke bottle and started cutting it and making shapes.”

She attached these shapes to earrings, and thus her jewellery business was born. Now one and a half years later, her creations are sold around the world and business is continuously growing, she says. But what differentiates her from other designers, she adds, is her desire to run a company that’s sustainable and has no harmful effects on the environment.

“I don’t see anybody else making jewellery from recycled plastics,” Gomani says. “The whole idea of creating this jewellery is that it’s sustainable. I want to change people’s settings. I don’t want them to think it’s something you can buy at any other store; I want someone to see this as not just plastic, but something that’s chic.”

Because she works by hand, there’s no energy use by machines. She also doesn’t re-melt materials or create toxins in her work.

It was June 2008 when she started the business, and in the fall that year, she went to Tokyo for an exhibition to showcase her creations. There, she was discovered by a buyer from the Parisian shop Colette’s (www.colette.fr) where her work is now sold; it’s also been picked up by the New York company Inhabitat (www.inhabitat.com).

“It’s happened really fast,” she says. “I get an excited jolt to think about it. What makes me happy is that I’m doing what I love to do and it feels good. It’s a fair concept and idea, and I’m not taking advantage of anybody.”

For her next project, she is partnering with the organization Ubuntu At Work, which seeks to teach women entrepreneurship skills to combat poverty. In July, Gomani will be travelling to India with the organization to teach women the skills of jewellery making.

“Ubuntu At Work matches designers with women in the slums to create jewellery to help them, because they don’t have the resources or the edge there to do it themselves,” explains Gomani.

“The women won’t get robbed for plastic, because you can pick it up from motels and stores. It’s easy to cut and they don’t need a lot of expensive supplies. I am going to volunteer to work with the women to make the jewellery, then we’ll bring it back to North America to sell it.

“If I’m successful, the women will be successful, and I have a real soft spot for that,” Gomani says. “It’s amazing how much of a difference $5 a day can make for these women.”

Gomani was born in Toronto, Canada, but at six months old her family moved to her father’s homeland of Malawi. She was raised there until the age of eight, when they moved back to Canada. She says in the future, her dream would be to head back to her roots and work on a project to help women in Malawi.

In her 20s, Gomani enrolled in the Emily Carr Institute of Art and Design in Vancouver, where she obtained a degree in industrial design. Afterwards, she worked in the film industry for nearly a decade before moving to Sweden in 2007. She says it’s Swedish nature and landscapes that inspire her designs.

“I don’t want it to be just green people buying it,” she says. “I want people to see it as jewellery they want, regardless of the fact that it’s sustainable. It’s fulfilling when somebody buys a piece of jewellery and they love it – for me, that’s inspiration.”

PHOTO GALLERY

Gomani’s jewellery is available online at www.kumvanagomani.com. She also keeps a blog on the site to update supports on her endeavours and upcoming projects.

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FASHION

Paris exhibition celebrates 100 years of French Vogue

A new exhibition in Paris will tell the story of 100 years of French Vogue - from the post-war 'New Look' of Christian Dior through the sexual liberation of the 1960s to the dangling-cigarette waifs of the 2000s.

French Vogue celebrates 100 years
French Vogue celebrates 100 years. Photo: Thomas Olva/AFP

But as well as celebrating the magazine’s storied history, the exhibit comes at a time of turbulence for the publication.

Just last month, it was confirmed that its editor of 10 years, Emmanuelle Alt, was out and wouldn’t be replaced.

She was not alone.

Looking to cut costs, owner Conde Nast International has axed editors across Europe over the past year, and put international Vogue editions under the direct control of global editorial director, Anna Wintour, in New York.

New York-based Anna Wintour now has overall control of French Vogue. Photo by Christophe ARCHAMBAULT / AFP

Like much of the media industry, Vogue is struggling with tumbling sales and ad revenue in the digital era.

But the latest twist is also part of the endless push and pull between New York and Paris going back to its early days.

“The whole history of French Vogue is one of back-and-forth with Conde Nast in New York – growing more independent for a while, then being reined back in,” said Sylvie Lecallier, curator of the new exhibition, “Vogue Paris 1920-2020″, which opened this weekend after a year’s delay due to the pandemic.

The Paris edition was often the loftier, more bohemian sibling to its more hard-nosed New York version.

But it was also the hotbed in which much of 20th century style and womenhood came to be defined.

“Paris was the place to hunt out talent and content and bring it to New York,” said Lecallier.

The exhibition charts the evolution from art deco drawings of the 1920s through the erotic image-making of photographers like Helmut Newton in the 1960s and 1970s.

Its last peak was under editor Carine Roitfeld in the 2000s, who brought back a provocative Gallic identity by ridding the newsroom of foreign staff and becoming a fashion icon in her own right.

Her successor, Alt, was a quieter presence, though she still oversaw key moments including its first transgender cover star, Brazilian Valentina Sampaio, in 2017.

But internet culture has created “a perfect storm” for Vogue, says media expert Douglas McCabe of Enders Analysis.

“The first 80 years of Vogue’s life, it had the market to itself, it was the bible for fashion,” McCabe told AFP.

“But online today, there are so many other ways to get your information. Influencers, Instagram, YouTube — everyone’s a threat.”

In a world where new fashion trends can blow up around the world in seconds, it has become much harder for a monthly magazine to set the pace.

“It’s not that they can’t survive for another 100 years — but they will be differently sized,” McCabe said.

Vogue has tried to branch out into different areas, including events.

“I used to work for a magazine, and today I work for a brand,” Alt said on the eve of French Vogue’s 1,000th issue in 2019.

But the big money was always in print, and Vogue Paris sales are dropping steadily from 98,345 in 2017 to 81,962 to 2020, according to data site ACPM.

It is perhaps unsurprising that the new top job in Paris, redefined as “head of editorial content”, went to Eugenie Trochu, who was key to building the magazine’s online presence.

She declared herself “thrilled to be part of Vogue’s international transformation”.

For the curator of the exhibition, it is ironic timing.

“We had no idea it would end like this when we started work on the exhibition,” said Lecallier.

“Who knows where it will go from here.”

The exhibition Vogue Paris 1920-2020 is at the Palais Galliera in Paris’ 16th arrondissement. The gallery is open 10am to 6pm Tuesday to Sunday and is closed on Mondays. Tickets for the exhibition are €14 (€12 for concessions and under 18s go free) and must be reserved online in advance. 

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