When first tasked with creating a seven-series project that effectively promotes sustainability, I admittedly felt overwhelmed. For whatever reason, the notion of sustainability in the context of art and design can feel daunting; I think it’s easy to fall into the misconception that by addressing or promoting sustainability, one must design something that engenders an immediate solution to one or more facets of the multifaceted and complex nature of our damaged ecosystem. After mulling over the project outline for quite some time, I realized that instead of trying to tackle such a pervasive issue through an overly-ambitious project, I should look within to find inspiration. I am not an architect, I am not a fashion designer, I am not an urban planner. I had to consider my own passions, interests, and career aspirations and how I can employ the notion of sustainability into my own practice instead of trying to assume a role I am not suited for. Although I am a first-year student in Parson’s BBA program, I have come to the realization that my interest lays in illustration. I’ve always enjoyed fashion illustration, and since moving to New York, I’ve begun to invest more time in that passion. I began to consider other fashion illustrators ———artists like Blair Breitenstein, whose colorful and stylized sartorial renderings frequently appear on my Instagram feed. I suddenly recognized a disconnect that exists between fashion designers and fashion illustrators; while designers are constantly pressured to consider the implementation of ethical and sustainable practices, this sense of urgency ceases to exist in the world of fashion illustration. Perhaps it’s because the construction and design of clothing affects a much larger demographic, but does that mean illustrators should not be concerned with the declining state of our ecosystem? Should illustrators not be held accountable, or should they not be required to consider the ways in which they can promote sustainability through their work?
In the digital age, fashion illustrators rely heavily on social media platforms like Instagram to develop a platform for their work and, in many cases, to transform a hobby into a profession. In that same vein, fashion illustrators assume a similar role to bloggers and influencers within the digital landscape. Illustrators (again, I’ll refer back to Breitenstein) may partner with brands and create artwork for these brands to sponsor or advertise a new collection, product, and the like. In this sense, shouldn’t illustrators consider the implications of who they choose to partner with? If illustrators themselves have amassed significant followings on social media, should they not consider what it means to partner with and promote inherently problematic designers and brands?
The aforementioned questions and concepts are what drove my creative process throughout the entirety of this project. I sought to implement sustainable notions and practices into a division of the art/fashion world that isn’t necessarily associated with promoting sustainability. Albeit creating “sustainable” illustrations won’t necessarily elicit immediate or significant change, it’s an exercise in applying these practices to a project that is relevant to my prospective career path.
During the creative process, I considered two ways in which I can promote sustainability through my work: through materiality, and through content. Essentially, I sought to “reconsider the process”. How could I reconsider the materials I was working with? In the past, I’d worked on an illustration made entirely with old makeup products. Admittedly, I had done so only because I misplaced my art supplies, but when I thought about it, I realized this was a creative and efficient way to repurpose old products. And so, for my seven illustrations, I relied primarily on old products I had laying around (black and white liquid eyeliner made for an excellent subsitute for acrylic paint; I could use dried mascara, old lipstick tubes, and eyeshadow as well). Initially, my intent was to rely solely on my makeup products for the creation of these pieces. However, I ultimately ended up using old art supplies (on a recent trip home, I dug through my boxes of old supplies and sourced old colored pencils that hadn’t been used in years) to employ color and to compensate for the lack of colorful products I did not have in my makeup collection.
In addition to considering materiality and repurposing old products, I considered the aforementioned role that illustrators play in promoting certain designers. It seemed only natural that for my illustrations, I would highlight the work of sustainable designers and brands.After some consideration, I chose to focus on four in particular: Stella McCartney, Mara Hoffman, Tome, and Brother Vellies. Each of these brands/designers have found a way to effectively implement sustainable practices into their work. And should they not be recognized for their efforts? Three out of my seven pieces function as an homage to Mara Hoffman, a Parsons grad who fairly recently switched to a sustainable business model. McCartney is known for being one of the most well-known designers in the industry who uses her platform and her work to promote sustainability. Her Spring/Summer 2017 collection even featured a cobalt blue tracksuit with blatant phrases like “NO FUR” and “NO LEATHER” written in a bold red font sprawled across the entirety of the garment. Tome is a womenswear label founded by Ryan Lobo and Ramon Martin. The design duo are total environmental advocates, and their designs are a testament to that. The designers consistently monitor their supply chains and produce locally in an effort to cut down on pollution. Brother Vellies, an accesory label founded by Aurora James, relies on a “slow-fashion” model to generate products. The Brother Vellies website features an entire page outlining and chronicling the sustainable nature of the brand. 
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