As the fashion industry turns its attention towards sustainability – even Chanel's couture offering was, as Karl Lagerfeld said, "tres ecologique" – there is a new influx of conscientious brand messaging infiltrating the industry. However, there are some labels that have been playing their cards right all along; such as Edun, which was set up in 2005 to, as co-founder Ali Hewson explained, "show that you can make a for-profit business where everybody in the chain is treated well." Predominantly sourcing their production from an assortment of countries across Africa (figures have now reached 85%), their mission to encourage equitable trade throughout the continent works to stimulate local economies, alongside dispelling the myth that direct aid is the only solution to end any problem.
Additionally, specific initiatives are run to focus attention on areas of conflict – for example, their work with CCIU in Northwest Uganda, which supports cotton farmers displaced by political turmoil to establish their own, sustainable businesses. While western narratives surrounding Africa are often disappointingly regressive – dismissing the continent as one homogenous arena of despair, or viewing it through the insidious colonial lens of the white saviour complex – Edun provides a modern and nuanced understanding of sustainability on a global scale: respecting and supporting skilled production throughout the world. The newest chapter of the brand is their collaborative project undertaken with five South African artists to, as Creative Director Daniella Sherman explained, "showcase the people, their incredible energy, and the country’s landscapes through the eyes of a group of talented artists and young photographers." Each a unique exploration both of the S/S16 collection and the artist's own aesthetic, here we present the imagery and reflections of Nico Krijno, a photographer and sculptor whose background in performance art theatrics now manifests through static mediums...
On moving away from theatrics...
"I view my background in theatre and film as a good foundation for the work I do now, but I didn't see a future in theatre or film so I just focused on what made me happy – although I do see my sculptural interventions as little performances. The main thing that got me with theatre was the teams of people that you needed to work with; the cast and crew, schedules and meetings and rehearsals. Now it's just me in my studio; suits me far better!"
On the artistic process of discovery...
"I'm generally interested in 'objectness' and ideas of correctness or 'truth' that specifically pertain to pre-formulated boundaries within the photographic frame. I think that all my work, whether commercial or personal, is part of the same process of discovery. I have a lot of fun playing with other people's objects, and ideas – especially when I'm left to explore on my own – whereas with my personal work it's a whole different process of sourcing and creating and deconstructing."
On his collaboration with Edun...
"I would say the pieces themselves completely informed my direction; I had complete creative freedom, so I stripped the garments down to their basic pattern and form, trying to create new structures out of them, both in front of the camera and then in post production. In this case, it wasn't so much about the structure of the garment – you can just look at runway shots if you want to see that – but it's more about the ideas and the images the pieces evoked.
On choosing the garments...
"I chose most of the garments for their structure and pattern, like the hand-loomed polka dot fringed jumpsuit. I was looking for those big, otherworldly and almost theatrical pieces with lots of material; they seemed very pagan and ceremonial. The African-inspired fabric and ceremonial garments are very similar to a lot of the drapery I do in my personal work, so I guess it was a good match!"
