spade - The Environment Report

New York fashion designer Issac Mizrahi during a fitting session. Mizrahi used salmon leather to create an ensemble that includes a dress, jacket and shoes. (Photo by Mackenzie Stroh, courtesy of the Cooper-Hewitt National Design Museum)
New York fashion designer Issac Mizrahi used salmon leather to create a dress, jacket and shoes. (Photo by Mackenzie Stroh, courtesy of the Cooper-Hewitt National Design Museum)
Fishermen catch salmon in southwest Alaska. (Photo by Ami Vitale, courtesy of the Cooper-Hewitt National Design Museum)

You might not have heard of the design firm Pentagram, but more than likely you’ve seen
its work. Pentagram designed the shopping bags for Saks Fifth Avenue, the logo for
Citibank, the layout of the New York Times Magazine. In short, its designers make
things look pretty. Recently, Pentagram got a call from the nonprofit Nature
Conservancy. As Hammad Ahmed reports, it wasn’t the usual request for a nice new logo
or packaging:

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The Nature Conservancy wanted Pentagram to issue a challenge to big name designers.
And the challenge was this: design environmentally friendly stuff. In other words, you
have to use renewable, abundant, and natural materials… instead of plastic.

Pentagram stepped up the challenge, recruited some designers, and, now, I’m here to see
what they came up with.

Curator Abbott Miller and I are standing at the Smithsonian Design museum in
Manhattan.

“The exhibition actually goes, um, this way.”

The exhibition is called “Design for a Living World.” And honestly, it looks like a
Pottery Barn. Bowls, chairs, and rugs. When you look closely though, you see all this
stuff is made from really interesting materials. For example, salmon leather.

Miller: “Salmon leather is stripped away from salmon in the process of canning and
literally was considered waste, but is actually an incredible material.”

Ahmed: “So this is just like salmon scales?”

Miller: “It’s the skin of salmon that’s been preserved.”

Working with the preserved salmon skin fell upon big-name fashion designer Isaac
Mizrahi, who’s more used to designing with silk and satin.

“If you’re weighing like sort of you know ecology and glamour, I think they weigh the
same to me, sorry to say that.”

Ecology or glamour, huh? Well, Mizrahi took this salmon leather and he turned it into a
dazzling pair of high heels you’d expect to see on the red carpet.

“For some people, that kind of product, represents a negative.”

Gary Bamossy is a marketing professor at Georgetown’s Business School.

“These very expensive green items that are really just sort of ‘fashionista’ kinds of
acquisitions, they see that as frivolous and maybe even as a waste of money.”

So, not exactly a ‘green ethic.’

And this makes me wonder which way of being green is better. Buying more shoes made
from salmon leather? Or not buying more shoes at all?

Abbott Miller admits it’s a valid question.

“That whole question of should we buy less, I think the answer is probably yes. You
know everyone knows that we’re an over-consuming culture.”

So if the real problem is over-consumption, what’s the point of green design?

When I ask Gary Bambossy, the marketing professor, he comes back with another
question.

“Green design as it relates to museum and as fashion? Or green design as part of a
business model process?”

And that question makes me realize green design isn’t just a new look for the same
products. It’s a new way of making those products, and educating the consumer.

Abbott Miller says we really ought to know more about what we buy, what is used to
make it.

“We may come to a point of such hyperawareness of the materials that we use that that’s
part of the story of why you buy something.”

Miller and Bambossy agree that buyers increasingly want to know more. And that could
lead to products being more sustainable.

But, the thing is, all this awareness isn’t free. So, you’re left with one last question: are
you willing to pay more for knowing more about the things you buy?

For The Environment Report, I’m Hammad Ahmed.

Transcript

Every year, snow sculptors from the US and Canada travel to northern cities to carve huge works of art. They often depict things such as legends of sea monsters and native spirits. As the Great Lakes Radio Consortium’s Karen Kelly reports, these artists are driven by a shared passion for the outdoors:

(sound of chipping and scraping)

Gary Tessier is jabbing a spade into the side of a towering block of snow. He and his team are here to compete in a snow sculpture competition in Gatineau, Quebec. It’s just across the Ottawa River from Ottawa, Canada’s capital. The team has 50 hours to transform this 16 foot high block of snow into a work of art. They work from 8:30 in the morning until 10:30 at night – shoveling, scraping and sawing.

“Basically, fundamentally, you use a good sharp spade and these homemade sander kind of things. A whole variety of tools and uh, it doesn’t take much.”

The team is creating a sculpture based on a legend of a fiddler from their hometown of Winnipeg, Manitoba. The fiddler drowned in the Winnepeg River and the legend has it that people can still hear his music in the rapids. Gary uses the spade to follow the outline of a fiddle drawn in black magic marker on the snow.

“I’m working on one of the what do you call that? La manche… du violin… comment t’appelle ca? The fiddlehead! The fiddlehead. When we’re finished, hopefully it’ll be two fiddleheads and the fiddler surrounded by the water that well, he lost his life in, but went on to forever playing music.”

Gary and his sculpting partner Real Berard have been going to snow sculpting competitions for 25 years. They both work in the arts, Gary as an administrator and Real as an artist. Gary says they spend most of their time indoors, hunched over, working at a desk. Which is why he looks forward to a week outside, even if it’s 30 below.

“This is like a pilgrimage, literally, it clears my mind and clears the body, too, of all kinds of awful things. It’s just a reawakening, like a rebirth every time, it’s beautiful, it really is.”

And on the best days, Gary and Real say, the sculpture takes over.

Tessier: “You’re sort of going with the flow, going with the line and going where it’s going.”

Berard: “Yeah, and you see quite often, like we follow the lines. It seems like a snake. It wants to go someplace and there’s no way that you could… it’s stronger than your mind.”

Tessier: “Sometimes you try and fight it and don’t listen – this is really where this thing has got to go – and then ultimately it doesn’t work.”

Kelly: “That’s when you make a mistake?”

Tessier: “Yup, and it shows.”

Not that they’re that concerned about making mistakes. Of course they want the sculpture to look good, but they say they don’t care about winning, which was tough for Denis Vrignon-Tessier, Gary’s son, to accept. He’s 22 and has been with the team for 4 years.

Vrignon-Tessier: “Like at first, in a competition, I’d be like, ‘Oh, I’m going to be real disappointed if we lose,’ and stuff and then just being with them every year, they’ve just showed me that really, it’s not important.”

Kelly: “So what is it about?”

Vrignon-Tessier: “It’s about being here and spending time with them, just joking around, hearing what they have to say. Yeah.”

In the end, the sculpture has two giant violins. There’s a fiddler kneeling in front of them, playing in a swirl of water.

It doesn’t win.

The judges seem to like the sculptures with lots of details carved on them. But Gary and Real like bold, smooth shapes that will last for a while. And sure enough, after a couple days of freezing rain and warm temperatures, a lot of the detailed work on other sculptures is worn away. But the fiddler and the violins stay strong – ready to play into the spring.

For the GLRC, I’m Karen Kelly.

Tag: spade

Big Name Design With a Green Twist

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A Snow Sculpting Pilgrimage

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