THE FUTURE IS CIRCULAR
Since the early 1950s, Moncler has been committed to providing protection from the cold. Now, with the need to face new environmental challenges, the fashion
house is focusing its efforts on safeguarding the natural world as well, with responsible choices and a determined change of pace. Accordingly, the brand’s down jackets have been reconceived with innovative recycled materials and a more linear aesthetic, resulting in new classics that show respect for the planet.
THE COMPANY’S MISSION IS SET OUT IN THE “MONCLER BORN TO PROTECT” SUSTAINABILITY PLAN, WHICH ALSO ADHERES TO THE UN 2030 AGENDA FOR SUSTAINABLE DEVELOPMENT. WITH REGARD TO THE CIRCULAR ECONOMY, THE MAISON LED BY REMO RUFFINI AIMS TO RECYCLE AT LEAST 80 PER CENT OF ITS NYLON FABRIC SCRAPS BY 2023, AND TO USE 50 PER CENT OF SUSTAINABLE NYLON BY 2025. IN ORDER TO EXTEND THE DURABILITY OF ITS OUTERWEAR, MONCLER WILL BE ROLLING OUT ITS “EXTRA LIFE” REPAIR SERVICE
ON A GLOBAL LEVEL BY 2022, AND ITS “TAKE ME BACK” INITIATIVE BY 2024.
In 1952, René Ramillon and Andrè Vincent founded Moncler in a small town near Grenoble. Initially producing quilted sleeping bags, lined hooded capes, and tents with a telescopic structure and external flysheet, they went on to create down jackets for Alpine workers and then for mountaineers and explorers. The raison d’être of the brand has always been to protect people from the cold, and this concept has evolved over time, also thanks to the dedication of Remo Ruffini, to inspire the launch of “Born to Protect”, a capsule collection of jackets made entirely from sustainable materials. The series bears the same name as the sustainability plan announced by Moncler in October 2020, which aspires to scale up the brand’s “purpose of protection” to people and to the planet. Comprising jackets for men, women and children, this outerwear line is manufactured with recycled fabrics and accessories, including the buttons and zips, which are all made from Econyl®, a regenerated nylon derived from ocean and landbased waste. The down used for the padding also adopts a responsible approach as it is sourced as a by-product of the food chain and certified by the DIST (Down Integrity System & Traceability) Protocol. All the highly versatile designs in the “Born to Protect” collection – from Nicaise to Teremba and Dabos with its detachable hood and sleeves – are available in a single shade of black simply finished with contrasting Moncler logo. This special collection wouldn’t be complete without an appearance by the famous feathered mascot Monduck, the cartoon character that has decorated the lining of every Moncler garment since the start. This time the plumed protagonist tells a story about sustainability. The packaging is sustainable, too, thanks to the use of paper obtained from responsibly managed forests, while the shopping bags and gift wrapping are also made from recycled paper.
“I’VE ALWAYS PREFERRED TO USE DEAD-STOCK MATERIALS AND ECO-FRIENDLY YARNS, AS WELL AS DEVELOPING PRINT TREATMENTS TO REVISIT VINTAGE OR ANTIQUE GARMENTS. I STRONGLY BELIEVE IN SUSTAINABILITY, WHICH I SEE AS A CIRCULAR ECONOMY THAT ALSO SUPPORTS ITALIAN CRAFTWORK AND SMALL, FAMILY-RUN BUSINESSES. I’M VERY PROUD OF THE RELATIONSHIP WE HAVE WITH OUR SUPPLIERS. IN THEIR HONOUR, I DECIDED TO CREATE OUR ADHESIVE POSTCARDSTYLE LABELS INDICATING THE TOWN WHERE THE CLOTHES WERE PRODUCED, SUCH AS ‘GREETINGS FROM GOSSOLENGO’, OR FROM PLACES LIKE LUISAGO OR MASON VICENTINO.”
“I used to think that Tyrolese style was overrated until I realised that it’s not valued for its aesthetics as much as for what it represents in Italian society. It’s a kind of folklore that shields people with an extra layer of status, communicating your social standing without being too flamboyant. My aim at the moment is to reinterpret Tyrolese style with a psychedelic twist that I saw in the traditional Tracht of the ’60s and ’70s.”
“WE ONLY USE SUSTAINABLE LEATHER AND MATERIALS THAT ARE BY-PRODUCTS, WHICH ALSO MEANS NO EXOTIC SKINS, AND OUR PACKAGING IS PLASTIC-FREE.
ALL OUR MANUFACTURERS ARE CAREFULLY AUDITED AND WE VISIT
THEM OFTEN SO WE KNOW THE CRAFTSPEOPLE WHO MAKE EVERY SINGLE BAG WITH HARDLY ANY WASTAGE. AS THE COLLECTIONS ARE SEASONLESS, EVERY DESIGN IS MADE TO LAST HOPEFULLY YEARS, IN TERMS OF BOTH AESTHETICS AND QUALITY. SUSTAINABILITY IS A WORK IN PROGRESS, AND BRANDS NEED TO BE ACTIVELY ENGAGED TO MAKE IMPROVEMENTS. IT’S LIKE A JOURNEY WHERE YOU CAN NEVER STOP AND SAY YOU’VE ARRIVED.”
“I grew up in Iran in a period of great turmoil. However, people – especially women – continued to take pride in how they presented themselves to their family and society. My mother passed away when I was very young, but the memories and photos I have of her are an endless source of inspiration. She would make clothes for me and I was fascinated watching her in that creative process. It was a really joyful experience and probably where I got the bug to design.”
“The suburbs are bursting with talent, many of them in sewing. Our brand aims to support diverse groups of people from disadvantaged neighbourhoods and promote their social and professional integration into the fashion industry. To achieve this, we carry out training initiatives in the banlieues of Paris before introducing these skilled individuals into our design and production workshops. This kind of creation allows us to share.”
“We experiment a lot with fabrics, washing, distressing and layering them. I like having the control in-house to take things and give them a new texture or hand. Recently we’ve been doing more stuff with prints, and I think that will become a big part of our work. We’re committed to recycling and using as much dead-stock as possible. Production is local and carried out by workers with fair living wages. Being a really small brand means all these responsible actions are quite easy to maintain for now – our footprint is minimal, but so is the profit.”
“The designs of Commas are effortless, unrestrained and sophisticated. We use a lot of natural fabrics like untreated linen, certified organic cotton, Australian merino wool and silk. All our artwork is created in-house, hand-painted and sketched, and then printed onto the material. In terms of design, each garment is conceived to last and is completely trans-seasonal so it doesn’t become obsolete at different times of the year. Everything is made to order because we want to minimise waste, and we only use carbon-neutral shipping methods.”
“IN SO-LE STUDIO WE REUSE A DISCARDED RESOURCE TO CREATE OUR DESIGNS, GIVING LEATHER NEW LIFE IN A PIECE OF JEWELLERY WHERE IT BECOMES THE PROTAGONIST. I’VE ALWAYS BEEN FASCINATED BY THINGS WHOSE APPEARANCE DOESN’T
IMMEDIATELY REVEAL WHAT THEY REALLY ARE. MY JEWELLERY LOOKS LIKE METAL, BUT IT’S ACTUALLY LIGHT AND SOFT. TO OBTAIN THIS EFFECT, I OFTEN FIND AND SELECT HIDES THAT ARE ALREADY LAMINATED, AND
SOMETIMES WE APPLY NEW CUSTOMISED TREATMENTS. AMONG
THE MANY TECHNIQUES, WE’VE EXPERIMENTED WITH ALUMINIUM POWDER, GOLD LEAF AND MICROCRYSTALS. THE ELASTICITY, MEANWHILE, IS ACHIEVED THANKS TO MY CUTS, WHICH I PREFER TO CALL SIGNS. I CONCEIVE THESE GEOMETRIES AND PATTERNS WITH SOFTWARE AND THEN TRANSFER
THEM TO THE LEATHER.”
“My inspiration comes from my dreamlike imagination. Religious and medieval art is a big influence too, with its esoteric and mystical aesthetics. As a kid I always spent my summers on the island of Ischia, and I remember these wonderful Virgin Mary statues being carried in procession, with their embroidered dresses and covered with gold. But I was born in Trieste, a totally different place where I mixed with the post-punk scene for several years, dressed as an enfant terrible. Nowadays I create to satisfy my inner need to do so. I don’t worry too much about who could wear my designs, especially if we’re talking about gender fluidity, which is something I feel strongly about.”
“I founded Boutet in Paris in 2019, and I work with two artisans to develop the brand’s collections. As well as upcycled leather and fabrics, I use recycled nylon yarn derived from carpets left in landfill sites and fishing nets
abandoned in the ocean. It’s a fantastic way to clean our planet as these fibres can be regenerated again and again. The components are also chosen for their sustainable properties,
from the buttons – which are made of ecogala obtained from milk casein – to the trims. I think the future really lies in making the most
of these ecologically responsible techniques.”
“Our brand of bags is based on a sustainable lifestyle, in terms of procurement, production, social commitment and ethical responsibility. We use innovative materials such as waste in the apple processing industry or from cactus fibres. This means they’re also biodegradable, starting with the product through to the packaging. The thread and inner tags are made with regenerated nylon from plastic bottles and fishing nets, and the dust cases are in organic cotton. Our linings are created with repurposed post-consumer polyester – obtained from cast-off clothes – as well as pre-consumer recycled cotton, taken from fibres discarded in industrial manufacturing.”
“MY CONCEPT IS TO MIX DIFFERENT MATERIALS WITH DIFFERENT STORIES TO CREATE SOMETHING ORIGINAL. I MOSTLY START FROM OLD GARMENTS OR FABRICS BOUGHT IN STOCK HERE IN LOMBARDY, AND THEN DO INLAY WORKS BASED ON A LONG STUDY OF PAPER MODELS, AS WITH MY TROUSER DESIGNS. I ALSO RECYCLE BELT LOOPS, FLIES, BUTTONS, POCKETS, EVERYTHING THAT SERVES THE PURPOSE OF MY IDEAS. IN THIS WAY I HOPE WE CAN SURPASS THE CONCEPT OF INNOVATION SOLELY LINKED TO SOMETHING NEW, BECAUSE FOR CUSTOMERS THE IMPORTANCE HAS SHIFTED: IT’S NOT JUST ABOUT BEAUTY ANYMORE, BUT HOW THAT BEAUTY IS ACHIEVED.”