Fast Forward to Slow Fashion

Fast Forward to Slow Fashion

Balanced. Ethical. Sustainable Living.

Has there been a moment wherein you have found yourself wanting to reuse your old fabrics/prints without having to discard them?

If yes, we are certainly of your type of Earthlings!

Sustainability can be adopted in different forms. So at The Giant Broccoli Project, we make it possible to use urban facilities to the Earth’s advantage.

The sustainable or slow fashion movement is an effort towards reestablishing our connect with clothes and décor in an Earth-friendly dimension. Slow fashion can be applied to wearables, home décor and workspace beautification – a movement desiring balance and inclusivity for the planet, as well as its inhabitants.

Fabrics that are now mainstream may be easy to produce, customize and please us. But they are beyond unpleasant to the Earth. Moreover, don’t we all get bored of our outfits within the first ten wears?

Don’t guilt trip over it. After all, we are human and it is human nature.

“I don’t want to protect the environment.
I want to create a world where the environment needs no protection.”

John Muir – The Father of National Parks.

What can we do to go GREEN in the true sense?

DOs
Recycle and upcycle.
Buy resilient fabrics made from natural fibres.
Design your own interiors with refurbished fabric – DIY everything!

DONTs
Avoid discarding fabrics.
Animal products are not sustainable.
Avoid industrially synthesized raw material.

Let us all get together to reduce waste and save our planet.

Coming Up: What fabrics cause a minimal environmental impact?
Subscribe to us or follow us on social media for updates!

THE BALANCING ACT

THE BALANCING ACT

As children, we were treated with natural oils, gram flour, turmeric body scrubs and the fragrance of floral incense after. Our diet was mostly nature-based diets of protein, fibre and good carbohydrates. We adorned ourselves with dresses decorated with embroidery and other body accessories crafted with crochet stitches, played with handmade dolls by our grandmothers and mothers. Eventually, we grew up and so did the industrial revolution, somewhere in between we lost our touch with nature. Mass-manufactured chemicals, carved in different shapes and scents grabbed our attention and we never looked back, ignoring the many advises and taunts of dearest Nani.

Knowledge is a powerful tool and awareness a commodity. Our team of best friends, who love to travel, are always on the lookout for functional, innovative, traditional / tribal, cruelty-free products and the range is quite diverse. The exchange of ideas and never-ending banter on organic alternatives led to discovering this road to balance, a delicate marriage of tribal artisans and their exclusive industrial skillset.

To support this balancing act we have decided to perfect/embarked upon, between industry and tradition, let’s explore some dying traditions of India and Nepal that boosted our earthling spirit:

HANDLOOM

Textile – weaving by tribes of Halam, Mizo, Apartoni, Drukpa, Wancho and Noese, Nishi, using the locally available small, portable Loin, suspension, Coin Looms. Dyeing and geometrical motifs (Diamonds, Floral /Triangles), manually spun sturdy & coarse Blankets (Puanpuri), coarse yarn dyed black Jackets (Jikatari), Skirts, Blouses, traditional female shawl-type dresses (Tin file weaving), locally spun dyed cotton loincloth for baskets, customized by their artistic creativity, are some secular craft practices of economic significance.

PERFORMING ART JEWELLERY

Jewellery-making is a skilled art among women in tribes of Adi, Sunari, Digaru Mishmi, Apatani, Naga groups. Neck pendants (Tadak) adorned with semi-precious stones, gold and silver headbands, earplugs, broad bangles, chains with coin pendants – moulded traditionally, geometrical motif string & colourful bead work on body ornaments, Big car-rings are some full-time, exotic, secular craft practices of economic and royal significance while keeping the personal beautification ritual alive.

CRAFTS

These are some non-performing traditional architectural artefacts adorning our surroundings, sculpted, forged and carved by skilled craftsmen and artisans belonging to tribes of Naga groups, Drukpa, Assamese Hindu and Udupi. Free-standing carved human and animal figurines in low relief work, wood engraved monastic architecture, wooden images of deities and household utensils, Objects of religious paraphernalia in monasteries, Coiling technique for pots of cooking, bell metal work are some examples of secular craft practices of economic and religious significance. 

These need to be revived as they have been superseded by modern machinery and mill cloth availability.

Translate »