Connecting artisans with the international market for mutual benefit. It’s the mission of the ETHICAL FASHION INITIATIVE.
“Not charity, just work.” This is the core philosophy of Ethical Fashion Initiative, the project founded and directed by Simone Cipriani of the International Trade Centre, a joint agency of the United Nations and the World Trade Organization. As an approach, it’s as simple as it is revolutionary. That’s because Cipriani sees a keystone for growth and development in the work and interior strength of African – and not just African – countries. In 2019, Ethical Fashion Initiative (EFI) is celebrating its tenth anniversary. It’s been a decade spent in the trenches – with Cipriani in the front line – cultivating the dream of introducing marginal Third World communities step by step into fashion’s manufacturing chain. “Right from the start, our intervention has centred on humane promotion, along with cooperation towards development. But our aim has always been to look at the fashion market, and support this work by paying a decent wage to the people involved,” says the head of EFI. “We wanted to replace the United Nations’ initial investment with support from the market.” The starting point is the idea that fashion must be ethical and sustainable, and that this is the only possible way forward. “The good fortune of being in Africa was the chance to see how important it was to shift towards sustainability before the others, because we could all plainly see the problems linked to the classical model that defines the production and use of goods.” This was the spark that triggered his work in Kenya. “Our efforts are a consequence of the commitment of Gino Filippini, a lay missionary who founded many cooperatives in the slums of Nairobi, organising the work of micro manufacturers. He died in 2008 from asbestos poisoning, and the following year we started the bulk of our work and brought about an incredible change in marginal communities, especially by strengthening the role of women. Our workforce is actually 95% female.” Meanwhile, the role of EFI has focused on transitioning from ethical and sustaina- ble production for big brands to the promotion of emerging designers, with the ensuing change of paradigm. “We’ve been pioneers of impact investment to gauge our effect on communities. And in recent months we’ve launched a 100-million-euro investment fund tied to our work: the Impact Fund for Africa in collaboration with the African Fashion Fund. The fund-raising theme is important for emerging designers. We realised that, for the artisans, working with new talents meant not having any guarantees. This problem could be solved by gathering the craftspeople into structured enterprises and small companies.” The lack of quality fabrics is another issue for young brands. “That’s why we’ve set up manufacturing companies like the one in Ghana that produces for Studio 189 by Rosario Dawson and Abrima Erwiah. They represent one of our success stories together with Sophie Zinga and Laduma Ngxokolo’s MaXhosa by Laduma.” Defining the characteristics of a successful contemporary designer, Simone Cipriani explains: “A new talent today is someone who manages to create a network of skills around them, but also someone who can be part of a team of different skills. There won’t be a single star designer any more. Instead, it’ll be about teamwork.” An ethical conscience towards social sustainability is also an essential aspect: “Honesty and authenticity are the criteria that will guide consumers’ choices. Fashion producers are increasingly going to be asked ‘what’s behind your fashion product?’” •