AugustMan (Malaysia)

MUNI OSMAN

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Can you tell us a li le bit about yourself and what you would want our readers to know about you?

My name is Muni Osman. I’m the founder of MUNI, a natural dye clothing brand. Spending my childhood in both Malaysia and the US, I grew up surrounded by people of different races and ethnicitie­s with an upbringing that respects and appreciate­s the diversity in art, design and culture that would later become the foundation for what MUNI stands for. I graduated with an Architectu­ral degree from University Malaya and soon after started my own design firm which I practiced for a few years. I currently reside in Sepang where I run my natural dye business.

How did your journey with sustainabi­lity begin?

My journey with sustainabi­lity began from a young age even before I knew what it meant. As a kid, I was always mindful to not be wasteful and felt deeply connected to nature. So to be where I am today where sustainabi­lity is at the core of my business is great as it’s always been aligned with my values.

What motivated you to sta MUNI? Tell us more about the journey

During an architectu­ral project trip in Bali, I became intrigued by how the locals and residents from around the world would embrace the use of natural tropical resources and live harmonious­ly with it. So when I discovered the artisanal practice of natural dyeing that combined art & sustainabi­lity, it was an easy decision for me to start MUNI and do something good for the world.

“WE ARE OF THE VIEW THAT

EVERYONE IN THE SUPPLY CHAIN FROM MANUFACTUR­ERS, BRANDS AND CONSUMERS HAVE A ROLE TO PLAY IN INITIATING A CHANGE, BUT HAVING TOUGHER REGULATION­S AND INCREASING CONSUMER AWARENESS IS A

GOOD PLACE TO START

As a leading sustainabl­e fashion brand, what are some of the most pressing sustainabi­lity challenges in the fashion industry today, and how could they be addressed?

From our brand’s perspectiv­e, there are three major challenges facing the fashion industry that need to be tackled. They are the effects of toxic chemical dyes, poor ethical practices and garment wastes. And it’s the sheer scale, speed and growth of the industry that is making it a bigger threat especially its effects to the environmen­t. We are of the view that everyone in the supply chain from manufactur­ers, brands and consumers have a role to play in initiating a change, but having tougher regulation­s and increasing consumer awareness is a good place to start.

With the rise of fast fashion, we’ve seen high-profile criticism surroundin­g the exploitati­on of workers for cheap or even forced labour. Consumers are a racted to low-cost products, which may induce fast-fashion retailers to try to keep their production, specifical­ly their labour costs, as low as possible. As consumers, what can we do to tackle this problem?

I agree that it is hard not to be lured into buying cheap clothes from fast fashion brands. Consumers can easily get distracted and forget all about sustainabi­lity when shopping. One great way to tackle this is by supporting small local businesses such as artisanal fashion brands with proven ethical labour practices. Most often, these brands are quite transparen­t with how and where they make their clothes. It might cost you more but knowing that you’re not contributi­ng to the exploitati­on of workers can be reassuring. Also, adopting a ‘less is more’ approach and choosing quality over quantity will not only save you in the long run but it can also become a lifestyle choice for a more meaningful and less stressful life.

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 ??  ?? FROM LEFT First step, mordanting which prepares the fabrics using mineral salt that makes the dye extract adhere to the fabric while improving colour fastness; The second process is called extraction—a boiling process of dye plant materials such as leaves, fruit skins, bark
or seeds; The final step process is the dyeing and fixing. A er achieving the desired depth of colour using multiple dips, there’s a final dip into a fixing solution of
mineral salt
FROM LEFT First step, mordanting which prepares the fabrics using mineral salt that makes the dye extract adhere to the fabric while improving colour fastness; The second process is called extraction—a boiling process of dye plant materials such as leaves, fruit skins, bark or seeds; The final step process is the dyeing and fixing. A er achieving the desired depth of colour using multiple dips, there’s a final dip into a fixing solution of mineral salt
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Sling bag in rust colour, using Madder & Mangrove natural plant dyes; Wide tote bag using Catappa leaves natural plant dyes; Corduroy Knot Pouch in Seaweed, Copper and Walnut natural plant dyes
FROM LEFT Sling bag in rust colour, using Madder & Mangrove natural plant dyes; Wide tote bag using Catappa leaves natural plant dyes; Corduroy Knot Pouch in Seaweed, Copper and Walnut natural plant dyes
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