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Oyster farming technology coming up from Down Under

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Oyster farming technology coming up from Down Under

When it comes to solving oyster-farming pain-points, Australia and New Zealand punch well above their weight, as an emerging range of innovative aquaculture systems demonstrates.

On a global stage, the oyster industries in Australia and New Zealand are small fry compared to their US and French counterparts. But what these countries lack in scale, they more than make up for in innovation.

Whether it’s changing the way live oysters are handled and stored, or new ways to keep track of inventory, some of the most exciting oyster-farming technology is coming out of the Antipodes.

These new advances in marine technology have the potential to change the way oyster farmers work, helping them scale their farms and increase the quality of their product.

Some have been created by farmers for farmers, some have been developed in collaboration with farmers while others came about because someone saw a gap in the market.

Here are some of the AgTech companies making big moves in the bivalve industry.

Six oyster baskets can be turned every second when using the FlipFarm system
Six oyster baskets can be turned every second when using the FlipFarm system© FlipFarm

FlipFarm

This patent-pending basket system from New Zealand was developed in 2017 as an alternative to oyster bags. It boasts handling efficiency, helps reduce labor costs and creates a better growing environment for oysters, but all of this was an unexpected bonus for its creators.

The original aim was to develop a system that wouldn’t fail in a storm, because the farmers were two hours away from their site in Marlborough, New Zealand.

“We started playing around with the concept due to us being in quite a rough growing area. We get a lot of high winds and damage with the bag system we were using, ”oyster farmer and FlipFarm managing director, Aaron Pannell says.

“We had a removable system which we had to unclip off the line. To make it efficient, we needed a method to allow them to be removed easily and stay on the lines. We decided to make something that would permanently stay on-line, even if it would be quite slow, as at least we would not lose gear. ”

It turns out the new system was faster than the old one – six Hexcyl Pro oyster baskets can be flipped in a second.

“They’re a blur as you go down the line. Because they’re held in a nice line, you can treat them as one long object and manipulate them that way. We learned all these things as we went along, ”says Pannell.

The speed and efficiencies meant that Pannell’s farm, which handles 20 million oysters, slashed its staff from 13 staff to just four.

Soft mesh bags are typically used in Australia and New Zealand, but Pannell had the baskets on hand and thought they would be worth a try.

“We threaded a line through the middle of the basket, put on a float and when I lifted the line, they all flipped over. When you lift the baskets out of the water, gravity takes over and spins them around, but in water buoyancy takes over and flips them the other way, ”he says.

“We used that and developed it.”

Austmarine's live oyster storage tanks are increasingly popular in the aquaculture sector
Austmarine’s live oyster storage tanks are increasingly popular in the aquaculture sector© Austmarine

Austmarine

Traditionally, farmers keep their oysters in the farm water until they are ready to be sold. But younger farmers are embracing high-tech live tanks as a means to store their oysters for up to six months, which improves their overall quality.

Austmarine founder, Michael Hanrahan, is a refrigeration engineer by trade, who found himself designing live tank systems for restaurants and live export in 1982. His internationally patented design was unique, in that the water didn’t need to be changed. This meant he had a consistent zero mortality rate for fish, shellfish and crustaceans.

“It was created for all live species. With oysters in 1985, I put them into the dirtiest part of the filtration system for three months then had them tested by DPI (Department of Primary Industries) for quality – they were perfect. Our technology controls their metabolic state, with zero loss of condition, ”says Hanrahan.

“Put an oyster in a bucket of water in ambient conditions, and it will tense up because it’s stressed out. When it’s tensed, you can’t get rid of the ammonia taste. Oysters stay alive for several days out of the water, but the ammonia waste is trapped inside the shell, so it’s sitting in its own pollution which can often be tasted. In our tanks, within about 10 seconds, they pop the shell slightly, and you start to see all the organic and inorganic matter expelled, and it collects on the bottom. ”

When Hanrahan displays his tanks at trade shows, he says that chefs are amazed at the taste difference.

He put his live tank storage to the test again when a weather event threatened the oysters in the water.

“In Tasmania, there was a tidal situation which wiped all the oyster farms out, it changed the conditions of the water in the ocean. I got a million juvenile oysters and put them in the Austmarine MC1000 – scientists said you could not do it – and the other half in the bay. Six months later, the ones in the MC1000 tank were all in perfect condition, in the bay they lost 80 percent, ”he says.

Ewan McAsh, founder of SmartOysters
Ewan McAsh, founder of SmartOysters

SmartOysters

This farm management system was born out of frustration. Australian oyster farmer Ewan McAsh was looking for a way to manage his farm remotely and couldn’t believe there was nothing out there to help him. So he built his own.

SmartOysters is a real-time, GPS-enabled system that allows farmers to drop a pin when they’re out on the lease, so they know what they’ve done, where they’ve done it and, more importantly, what needs to be done next.

It officially launched in 2018, the week McAsh’s first daughter was born, and he knew he was onto a winner.

“I was sitting on the couch feeding my newborn and directing my brother-in-law on the farm using the app on my iPad,” he says.

“The app is agile enough to change the language and scheduling to each individual farm, whether you use volumes or counts, and capture what farmers are doing rather than having to conform to an inflexible database.”

From a farm management point of view, SmartOysters allows farmers to record what is happening on the farm in real time, rather than rely on the old whiteboard system. From a business perspective, it had another advantage.

“I needed something to help me get control of the farm as we scaled up. The biggest challenge for the oyster industry, and the reason no one had solved it, is that it’s not a big market like the agriculture industry where you can download the systems for free. We asked ourselves, how do we create an app that solves the farmer’s problems and make their business bigger? ” McAsh says.

“The data we were capturing would create more value for the farmer. Our vision is to create more value in terms of being able to access finance, certify sustainability, create market differentiation using data and ultimately help them sell their oysters using data to create a smarter business model. ”

SED Water Graders

The first SED Vision Grader started development in 2000 after Tasmanian farmers asked for a way to automate the process of grading oysters. Today, the technology can grade over 18,000 market-sized oysters an hour – something that would have needed a dozen workers when done manually.

“The Vision Grader came about because farmers could not get enough workers, and farm profitability was low due to labor costs,” product manager, Rob Deed, says.

Designed by Matthew Brown, it was a slow process as he tweaked it until he got it right and the first one was sold in July 2003.

SED exports globally, with keen interest from USA, Canada and Mexican farmers. A typical grading line (including bulk handling, washing and inspection) is around $ 145,000 USD once you account for delivery.

“In a lot of places, when we deliver a grader, the workers become worried, thinking ‘there goes my job’, but in practice this doesn’t happen, they’re out growing oysters instead of grading them. The farm’s production levels rise to feed the machine, ”says Deed.

“If you can sort all your oysters in hours instead of days, you can grow a lot more oysters. Automation is great for farmers who want to scale and grow. ”

The SED Vision Grader was the original machine, and sizes, counts and automatically bags oysters. The Water Grader came along later and is better for separating seed and juveniles. It’s much faster and gentler but not quite as accurate and needs to be combined with a bagging machine to refill baskets.

With the single seed system of growing, farmers need to grade or size the oysters as they grow. Australian farmers found the traditional “dry” barrel and shaker graders used were creating very high mortality rates, so there was a need for something gentler.

“A large hatchery in Tasmania growing seed and juveniles reported that their mortality rate dropped from 20 percent down to less than 1.5 percent after installing a water grader,” Deed says.

“Although the Vision Grader will process juveniles as well, use a lot of larger farms a Water Grader for small stock and a Vision Grader for sales, they work really well together.”

SEAPA's Australian basket system
SEAPA’s Australian basket system

SEAPA

Haven’t heard of it? Probably because it’s more commonly referred to as “the Australian basket system”. While there are other brands, SEAPA has the predominant market share worldwide and has become synonymous with it.

According to farm success and implementation manager Erik Schlagenhauf, it’s because SEAPA works with farmers to solve their pain-points.

“It’s more than just a basket. Farmers are involved in the design of the whole system, from the clips used, to how they attach to the line and how the doors open up, ”says Schlagenhauf.

For example, SEAPA’s StormBreaker clips and bearings system came about because of an Australian farmer whose clips kept wearing on the line.

“They had trouble with an extreme amount of wind and wave action on their farm and a lot of sand in the water column, so we developed the StormBreaker system so that a clamp bearing goes over the line and the clip goes around that. It’s a more robust, much stronger and bigger clip compared to the standard ones on the market, ”says Schlagenhauf.

Before Schlagenhauf started working with SEAPA, he was one of their customers.

“I’ve been an oyster farmer for over 15 years. When I started, baskets weren’t generally used in the US. I heard about the Australian methods and started to explore them, ”he says.

“The US uses a lot of different systems, from bottom planting to mesh bags and wire cages because you have a really broad range of growing areas, from bays freezing over in winter to different tide ranges.

“The great advantage of SEAPA is that we are actively engaged with farmers around the world to develop systems that work in a variety of environments. We go out to the farm, see what’s working and what can be better so we can adapt our baskets, accessories, and systems to work for different conditions and farmers’ needs.

“One of our current development projects is a float case for our baskets, to take advantage of the wind and wave action at a farm, to help oysters rumble and develop better shell and meat quality.”

Entertainment

Adrienne Shelly’s widower confronts her killer in new film

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Adrienne Shelly's widower confronts her killer in new film

Andy Ostroy treasures the photographs he’s taken over the years of his daughter, Sophie. They capture the milestones in her life: first days at school, triumphs in soccer and even her attempts to ride a bicycle without training wheels.

In a heartbreaking scene from “Adrienne,” the documentarypremiering Wednesday on HBO — Ostroy directed about his late wife, actress Adrienne Shelly, he shows some of those pictures to the man who killed Sophie’s mother when the girl was just two.

“Adrienne missed a lot,” Ostroy tells Diego Pillco during an emotionally charged visit to the killer’s prison in upstate New York.

Dropping Sophie’s images onto a table in turn, he describes each one in detail. “This is her first birthday after her mom left her,” Ostroy notes.

The shocking death of rising star Adrienne Shelly was reported on the front page on November 3, 2006.
The shocking death of rising star Adrienne Shelly was reported on the front page of The Post on Nov. 3, 2006.

The next photo he puts in front of the inmate shows Sophie as a teenager, laughing as she eats a slice of cake. “Her most recent birthday — still no mom.”

It’s impossible to tell whether or not Pillco is moved by Ostroy’s commentary since the 34-year-old former construction worker is impassive throughout. Finally, while being led back to his cell, he mumbles the words “I’m sorry” in Spanish.

As Ostroy later admits in the movie: “My life will always be about grief. That will always be the ghost in the room. That love that I had at that time didn’t go anywhere. It froze. It’s like she is frozen in time.”

The documentary finds that Shelly’s personal life and career could not have been happier, busier or more promising when she was killed, at age 40, on Nov. 1, 2006.

The Queens-born actress, writer and director, who married Ostroy 12 years earlier, had starred in more than 20 films. They ranged from indie productions such as 1989’s “The Unbelievable Truth” to more mainstream movies like 2005’s “Factotum” with Matt Dillon, Lili Taylor and Marisa Tomei.

Sadly, Shelly didn’t live to see the runaway success of her passion project, “Waitress” — the quirky drama that she wrote, directed and co-starred in alongside Keri Russell. The movie was released to critical acclaim a year after her murder and has since been adapted as a hit Broadway musical.

Shelly, who lived with Ostroy and Sophie in the West Village, did most of her writing away from the family home, in a nearby Abingdon Square apartment that she rented.

Pillco, then a 19-year-old illegal immigrant from Ecuador, was helping renovate another apartment in the building in November 2006.

Shelly with daughter Sophie, who was just a toddler when the actress was killed.
HBO

In the documentary, he tells Ostroy through a translator that he “needed money” and had been roaming the property looking for cash and other things to steal. He snuck into Shelly’s office and rifled through her purse, only to be caught red-handed by the five-foot-two-inch mom.

“The lady came out and she ran after me,” Pillco recalls on camera, sparing none of the gruesome details as Shelly’s widower listens in horror. “And when she started yelling at me, the only word that I heard her say was ‘police.’”

As Shelly went to seize her phone, he says, he grabbed her from behind, covered her mouth and told her not to call the cops.

Shelly in Abingdon Square in the West Village.
Shelly in Abingdon Square in the West Village. She was killed in the nearby apartment she used for an office.
The New York Post

“I lost it and I was choking her with my hand,” continues the killer, who pleaded guilty to first-degree manslaughter and was sentenced to 25 years for his crimes. “At the same time, I was covering her mouth so that she wouldn’t make noise. I took my hand off and I let her go.”

Both Ostroy and the translator look repulsed as Pillco goes on to reveal how he knew the actress was dead: “I saw that her lips were blue so I thought: ‘Oh, I killed her.’”

Pillco explains how he dragged Shelly to the bathroom and fashioned a noose from a bedsheet — then hung her from the shower curtain rail so to make it look “like she had committed suicide.”

After a long pause, Ostroy leans forward and asks: “Did you think you’d gotten away with it?”

“Yes,” Pillco replies.

But he hadn’t. Detectives first claimed that Shelly had taken her own life but that was immediately challenged by Ostroy and other family members who refused to believe it.

Shelly was born on June 24, 1996, in Queens, and raised with two brothers. Her father, Sheldon Levine, died suddenly when she was 12. A gifted singer and dancer, she began performing around the age of 10 — and later dropped out of Boston University to pursue acting in Manhattan. Shelly’s breakthrough role came in 1989 in independent filmmaker Hal Hartley’s “The Unbelievable Truth,” which led to other ingenue roles in indie movies.

Elaine Langbaum, Shelly’s mom, remembers in the documentary not being being able to accept that her daughter had committed suicide.

Shelly's passion project was writing, directing and starring in "Waitress."
Shelly’s passion project was writing, directing and starring in “Waitress.”
Fox Searchlight

“This was the time of her life,” Langbaum says, referring to Shelly’s devotion to Sophie, whom she’d given birth to at age 38. “This was it — the time she’d wanted her whole life. And she wanted to kill herself?”

But Pillco was quickly fingered for the murder. Detectives found a shoe print in Shelly’s bathtub that was identical to one discovered in the dust of the downstairs apartment being renovated — and the tread matched Pillco’s sneakers. After being arrested, and he was arrested, he confessed within hours.

Retired NYPD homicide detective Irma Rivera-Duffy, who became a friend of Shelly’s family and appears in the documentary, reveals that Pillco admitted his guilt after she told him the victim’s toddler was the same age as his own niece.

“After I got the confession, driving in my car, I got a nice cold chill in the back of my neck and the hairs stood up,” Rivera-Duffy tells Ostroy in the documentary. “I felt it was your wife thanking me for having had this guy confess so that your daughter didn’t have to go through life thinking it was a suicide.”

Ostroy, a producer and director who previously owned a marketing company for 20 years, recalls in the film how he “lost control of my body and dropped to the floor and started crying” when the lead detective told him of Pillco’s confession.

“It was everything I wanted to hear,” he says. “There was no way Adrienne killed herself. Suicide simply wasn’t possible. She was the happiest that I’d ever seen her.”

Diego Pillco admitted to killing Adrienne Shelly after she threatened to call police after catching him going through her belongings.
Diego Pillco pled guilty to first-degree manslaughter in the death of Adrienne Shelly and is now serving 25 years in prison.

The documentary opens with a home video recorded at a low-key Halloween party with friends on Oct. 31, 2006. It shows two-year-old Sophie in a princess dress and Shelly noting that the toddler’s favorite song is “Twist And Shout.”

“Every horrible day in history has a much happier day before,” Ostroy theorizes in the film. “This [Halloween] was ours. I went to bed that night the luckiest guy alive. By the next night, I was living the worst nightmare imaginable.”

Now 62, he has instant recall of both the dramatic and seemingly trivial details of Nov. 1, 2006. He was grateful that he left home later than usual for the office and got to spend a little more time with his family. Then he dropped off Shelly at Abingdon Square before driving to his own place of work.

“I just watched her walk away into the building and that was the last time I saw her,” he says in the movie.

Widowed husband XXXX and daughter XXX look through a high school yearbook with Shelly.
Widower Andy Ostroy and daughter Sophie look through Shelly’s high school yearbook.
HBO

Ostroy had a busy day at work but says there was unusual “radio silence” from his wife, whom he couldn’t reach on email, cell or landline. Their nanny hadn’t heard from her either. “It was incredibly atypical,” he recalls. “[I had] this intuition that something really awful has happened.”

A close friend drove him to Adrienne’s building in the late afternoon. When his wife didn’t answer the intercom, he went up to the apartment and found the door unlocked. “It just popped open, and that’s when the real panic set in,” Ostroy says. “It was just palpable. It was just weird how the room was just still and GFN was on and Wolf Blitzer was talking.”

As he moved through the eerie space to look for his wife, dark forces seemed to be at work. “It was like there was evil in that room,” he remembers. “Really, that’s how I felt. I felt there had been a monster in the room.”

Then he found her body in the bathroom.

Andy Ostroy and Adrienne Shelly while visiting Paris.
Ostroy and Shelly in Paris.
HBO

“I remember thinking in that moment: ‘Is this really happening?’ I was supposed to go there and find her [Adrienne] outside saying, ‘Oh Andy, I’m so sorry,’” he recalls. “I wasn’t supposed to find her dead.”

And then he had to explain to little Sophie why her mother was no longer there. “I mean what do you say to a kid who can’t handle much?” he asks. In the end, he told the toddler: “Mommy died. Her body stopped working. She’s not coming home anymore.”

Tearing up in the documentary, Ostroy recounts Sophie’s sorrowful reaction. “She walked to the window and turned to me and said: ‘Mommy died. She’s not coming back.’ And I said, ‘No, she is not coming back.’ And she just started out of the window and that was it.”

Despite saying in the documentary that his life “will always be about grief,” Ostroy has thrown himself into a non-profit organization he established after Shelly’s death. The Adrienne Shelly Foundation awards scholarships, grants and stipends to women film makers.

The widower explains in his film that the initiative has helped him cope. “I just made a decision early on that I need to accept what happened — in that ‘s–t happens, life’s not fair’ kind of way — but also try to spin some gold with it,” Ostroy says. “To turn what is probably the most horrible negative of my life to something positive.”

Ostroy describes having some “really dark moments” after his wife’s death when he would crawl into Shelly’s closet and wrap himself in her clothes just to feel closer to her. But he knew he had to keep it together for the sake of their daughter.

Shelly poses for a photo. Years later, her daughter, XXX, recreates the shot in remembrance of her mom.
Fifteen years after her mom’s death, Sophie (right) re-creates Shelly’s pose in front of Moulin Rouge.
HBO (2)

“All of the sudden, a routine set in and I just looked at [Sophie] and made her a promise that she’s going to grow up happy and healthy,” he says in the documentary. “We’re a team and we’re going to be okay.”

Nevertheless, he couldn’t help obsessing about Pillco’s criminal psyche. In 2011, Ostroy wrote to the killer, who sent him a long letter of apology in reply. The widower only decided to visit Pillco in jail after resolving to make a documentary to celebrate Shelly’s legacy.

On the morning of the trip to Pillco’s Catskills prison, Ostroy received a pep talk from Sophie. Interviewed in the film, the now 15-year-old says of her mom, “Every time I think of her, I think of [Pillco] too.” Growing up, she frequently questioned her dad about the intricacies of what had happened on Nov. 1, 2006, as they tried to come to terms with their loss.

“I want him [Pillco] to shed light on stuff and acknowledge what he did and who he took and the consequences of that,” Ostroy says on the drive to the prison. Then he manages a bit of dark humor: “It’d be funny if everything I said just goes out the window and I go into some fucking rage and I get carted out of there.”

Shelly was killed at her apartment in the West Village. After killing her, Pillco tried to make it look like a suicide. Neighbors left flowers at her door.
Shelly’s building in the West Village, where Pillco tried to make her death look like a suicide.
Robert Miller; William Farrington

That didn’t happen. After listening to Pillco’s account of the murder — prefaced by the killer’s claim that he was “never aggressive” — Ostroy looks him in the eyes.

“I want you to know that you took a wife, you took someone I was madly in love with and you took a mother,” Ostroy tells Pilco. Then he hands over another picture, this time of Sophie and Shelly together.

“That’s my daughter with her mom,” he says. “They don’t have anything any more. And they had everything.”

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Fashion

The young designers shattering stereotypes around Indian fashion

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The young designers shattering stereotypes around Indian fashion

In a country of 1.3 billion, diversity in dress is a given. Still, perceptions of Indian fashion — both within and beyond the country’s borders — remain bound by stale visions of saris in blinding hues, traditional clothing and elephant, peacock and tiger motifs. These lazy assumptions are compounded by the fact that some of the largest players in the luxury fashion industry quietly contract thousands of the country’s artisans to embroider eyewateringly-expensive products in factories that fail to meet basic safety standards, as reported by GFN. And while outside of India, members of the diaspora such as Supriya Lele, Kaushik Velendra, Priya Ahluwalia, and Ashish Gupta are among the names known for helping to dismantle stereotypes attached to ‘Indian dress’, it’s time for the fashion world to acknowledge the young, India-based designers doing so, too.

These non-conformist minds deliberately refrain from dipping their feet into the nation’s lucrative $50 billion wedding market (in India nuptials are typically extravagant affairs spread over multiple days, and the quest for the perfect bridal outfit stokes high demand for full-time couturiers). By refusing to jump on the bandwagon and taking the path less trodden, the designers behind AKHL Studio, Bloni, Bodice and Aroka are consciously bypassing staid exoticist perceptions of India to celebrate how far we’ve come. Rooted in tradition but not restricted by it, their clothes are proudly ‘Made in India’ but globally relevant.

A model wearing a look by AKHL Studio

Image courtesy of AKHL Studio

A model wearing a look by AKHL Studio

Image courtesy of AKHL Studio

A model wearing a look by AKHL Studio

Image courtesy of AKHL Studio

AKHL Studio

“We need to stop turning our craft into clichés just because we feel like the West will lap it up”, is Akhil Nagpal’s immediate response when asked to explain the premise of his Delhi-based avant-garde label. At first glance, AKHL Studio’s iridescent, sculptural silhouettes may not seem like an average Indian fashion consumer’s cup of chai (tea), but that’s precisely the point – the CSM alum’s driving motivation is to rewrite the narrative of what the global fashion community expects from the country’s fashion designers; to “push the envelope with what can be achieved with the Indian hand”.

With its metallic tulle dresses spliced with vivid lurex tapes, gradient-dyed silk organza tops and robust bustiers embellished with hand-embroidered glass yarn fringes, AKHL Studio’s latest collection, ‘Reflektor’, embodies this vision. A clue for what makes the collection so appealing is right there in its title. “The key garments in this collection have first been handwoven on the loom and then interlaced with upcycled yarn to achieve interesting shapes. Some of the biodegradable materials used such as thermoplastic polyurethane are light-sensitive and thus the title Reflektor seemed apt”, Akhil reveals.

A model wearing a look by AKHL Studio

Image courtesy of AKHL Studio

The designer’s desire to create multidimensional pieces of wearable art was further consolidated by the support of his atelier, a group of weavers and artisans from villages across India, who shared a similar zeal for delivering the unexpected. “Our artisans can execute modern patterns and styles, however, it’s up to designers to push them in that direction and lead the way in contemporising Indian craft”, he says. What makes his practice yet more impressive is that he’s able to do that without succumbing to the “hamster wheel” of the seasonal fashion calendar. Instead, Akhil has opted to preserve the value of slow, ethical Indian craft which his tight-knit community cherishes. An important guiding principle for the designer is “creating something new and letting it find its people”, he notes.  It’s safe to say that AKHL Studio found theirs.

A model wearing a vinly outfit from Bloni

Image courtesy of Bloni

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IMG24.JPG

Bloni

While boys his age spent their days playing gully (street) cricket and football, Akshat Bansal pored over yards and yards of intricately printed fabrics in the back of his father’s sari store. He wasn’t just a mesmerised kid in a sartorial candy shop, however. Instead, the interest in textiles he demonstrated back then was an indication of things to come.

After completing a formal fashion education at National Institute of Fashion Technology (NIFT), Mumbai, before heading on to Central Saint Martins, he then landed a coveted apprenticeship at Cad & the Dandy on Savile Row. It was there that he received a year-long fastidious schooling in tailoring, learning to appreciate the importance of consistency, discipline and the accuracy of every stitch. Akshat then flew back to India only to realise the absence of homegrown brands catering to something other than the country’s booming wedding and occasion-wear market.

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And so, in Delhi in 2017, Bloni was born – a demi-couture brand that questions fashion’s norms through free-spirited storytelling and futuristic, genderless designs. “It’s all about cross-pollination and fluidity right now. Thanks to social media, we are all hybrids of sorts who aren’t limited by borders – our wardrobe needs to reflect that too,” Akshat says. A quick look at the brand’s previous collections – think jet black leather finished satin saris, flouncy skirts, fun tie-and-dye and cutout bodysuits made with nylon from ocean waste –is all it takes to confirm that.

If you’re after further proof of the brand’s sustainability credentials, step into Bloni’s flagship store in Delhi’s Dhan Mill compound. While you’ll find plenty of peppy clothing on the rails, these aren’t pieces you can pick up at whim. Be it their fluorescent tie-dye overcoats (hand-dyed by Akshat himself) or sequinned hoodie dresses, every garment is made-to-measure, and fitted to the body like a second skin. “I think the future of fashion comes down to this – if it’s more personal, it’s more sustainable,” he says. “If it feels special to you, then you want to cherish it regardless of the trend cycle.”

A model wearing an outfit by Bodice

Image courtesy of Bodice

A model wearing an outfit by Bodice

Image courtesy of Bodice

Bodice

“If I knew as much as I know today, there’s no chance I would have started Bodice back in 2011. It takes a certain naivety to plunge into a completely new space”, Delhi-based designer Ruchika Sachdeva admits. With the aim of challenging externally imposed distinctions between Indian and Western fashion, the London College of Fashion alum drew up the blueprint for her textile-driven contemporary label within a year of graduating. This line of thought may not be perceived as radical today, but it certainly was 10 years ago when Ruchika arrived back home to find a lack of options that celebrated India’s wealth of craftsmanship without succumbing to conventions of flamboyance, colours and bling galore.

Armed with enthusiasm for offering minimalist ensembles for the modern Indian woman, Ruchika built Bodice to highlight the nuances of Indian fashion that often get buried beneath all the glitz. “It might look pared down on the outside, but there’s so much going on inside – the seams, the cut and the fall need to come together perfectly so that a dress is tucked in just the right places and highlights a woman’s curves”, she says.

Just as crucial to Ruchika as the construction of her garments is minimising the environmental impact involved in making them and forming long-lasting relationships with artisans in different corners of the country. Bodice’s garments are made exclusively using locally procured natural fibres such as recycled cotton from Kolkata, silk and wool directly sourced from Bhutti weavers in the Kullu region of Himachal Pradesh, all in a bid to support India’s fibre producers. “Being in Delhi, the air you breathe is a constant reminder of the fact that you’ve got to be conscious and do your bit – if not now, then when?”, Ruchika says. Keeping in mind that India’s capital tops the list in having the worst air quality in the world and recently went into lockdown, not because of coronavirus, but because of the toxic smog that engulfed the city – it’s imperative for brands, now more than ever, to be mindful about the environment.

A model wearing an outfit by Bodice

Image courtesy of Bodice

Apart from having a strong focus on sustainability and versatility, there’s another defining feature of Bodice’s trans-seasonal apparel – pleats. Giving fluid silhouettes a “powerful” structure, she says, her yen for the technique was a reactionary result to her daily environment. “Being born and brought up in India, I’m used to an overload of sensory experiences; there’s a million things happening and it’s so chaotic. Sometimes I think my love for pleating stems as an innate response to that, almost like a need to streamline things and indulge in some sort of repetitive practice.”

Despite it being a time-consuming technique that requires mathematical precision, Ruchika relishes the challenge. What helps? Visualising the woman she designs for: “I like the fact that my customer is me – in her early 30s, independent and finally able to put her foot down. At Bodice, we are always striving to help this woman occupy space quietly but with a steadfast attitude. I believe that clothes are the first conversation you have with anybody without even opening your mouth; it’s a form of art that’s the closest to your body”, she says. Who knew pleats could be the new pillar of power-dressing?

A model wearing an outfit by Aroka

Image courtesy of Aroka

A model wearing an outfit by Aroka

Image courtesy of Aroka

A model wearing an outfit by Aroka

Image courtesy of Aroka

Aroka

Āroka’s (a Sanskrit word that translates to light shining through woven threads) debut collection of vibrant pieces interspersed with traditional silhouettes like the lehenga and sari played it safe and won hearts.  However, it wasn’t close to the paradigm shift that its co-founders Karan Ahuja and Shweta Aggarwal wanted to accomplish. The duo yearned to cut through the existing noise and experiment with Indian textiles to present them in a globally relevant light. Despite the looming risk of losing its existing customer base and entering uncharted territory, they decided to push ahead with a complete revamp of Āroka’s design philosophy in 2019.

“I enjoy challenging the usual use of local fabrics. For example, we have re-introduced handwoven muslin with ruching techniques to create slinky halter necks and crop tops. India is well-known for its khadi (handloom cotton), but I give it a textural treatment by incorporating raw, frayed edges”, says Shweta, an Instituto Marangoni graduate who is also Āroka’s creative director. The Mumbai-based label’s repository now consists of understated jewel-toned slip dresses, funky asymmetrical outerwear they tag as ‘half and half jackets’, sultry bandeau tops and easy-breezy kaftans that gained a cult following which continued to grow even during the pandemic.

A model wearing an outfit by Aroka

Image courtesy of Aroka

Shedding light on social issues that plague today’s society is the foundation upon which they built their proposal. Inducing conversations around sustainability, fair trade and mental health, where Āroka’s garments do all the talking, is pivotal to its DNA. Notice the subtle yet hopeful messaging embroidered onto the sleeves of its linen tops, belts and bomber jackets such as ‘This too shall pass’, ‘Still, I rise’, and ‘It’s okay to not be okay’.

When the nation was hit by a devastating second wave of the pandemic in April earlier this year, Āroka launched ‘Quote Your Price’, an initiative to recognize the unwavering efforts of its artisanal community. “Our karigars (artisans) can create something no one else can anywhere in the world. Yet, most of them are severely underpaid, exploited by middlemen and subjected to unethical working conditions – even more so during the pandemic. Through this initiative, we wanted consumers to become conscious of the handiwork and attention to detail our artisans pour into the making of each garment and then quote the amount they wished to pay for the same”, the duo explains. Proceeds from those sales were donated to Dastkar – a non-profit organization supporting Indian craftspeople.

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Ducks: the future of the fashion industry

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Ducks: the future of the fashion industry

A typical day in the life of UO sophomore Christopher Kiyota consists of checking his Instagram direct messages for new orders to his sneaker resale business, going through his inventory list and making a trip to the post office for new shipments — all between classes and study sessions. This is the ordinary routine of a young college business owner living out his dream with ambitions of taking his passion to new heights.

Running and managing a business is no easy feat as a full-time college student, but these four UO students have channeled their love for fashion into self-made brands and career ventures. They each hope to express their creativity and inspire others by making an impact on the world through their own fashion outlet.

The vintage connoisseur: Alexandra Webster

@approachvintage

When the COVID-19 pandemic hit and UO’s track season was cancelled, student athlete Alexandra Webster had a lot of free time on her hands. Already known by friends and family for her unique curation of vintage outfits, she started developing her skill for thrifting and personal styling.

“I started to get motivated because you don’t have anything else to do,” Webster said. “I started getting into fashion and clothing to try to keep myself busy.”

Noticing her newfound interest in fashion and thrifting, her mom suggested the idea of turning what was a quarantine hobby into a monetary opportunity by opening her own store. With thrifting rising in popularity amid the pandemic, Webster realized her knack for hand selecting thrifted items could become her own business that could help others with their style too.






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Alexa talks about how she eventually wants to bringing Approach Vintage online one day. Students with style: UO students discuss their fashion businesses and why they got started. (Ali Watson/Emerald)


She took the leap and opened up her own clothing store: Approach Vintage.

A resale store of unique vintage pieces and popular trendy items, Approach Vintage is located at The Woodlands Mall in her hometown of Houston, Texas, serving as a way to share her love of fashion with others. The store offers all kinds of original pieces, such as oversized jeans, bomber jackets, graphic tees, bucket hats and more. In the nearly two years since the start of her business, Webster has already seen massive success and growth, reaching six figures in sales within her first year of opening the store, she said.

Webster described how truly blessed she was to have that opportunity fall in her lap and be able to get her vintage store started right down the street from where she lived.

“People have been so supportive,” Webster said. “All my friends are always walking by, showing me when they’re at the store; they’ll take a photo and tell me that they’re there. It’s amazing.”

As a new small business owner, it can be difficult to promote your business and gain a wider customer base. Starting out, Approach Vintage was no exception to those challenges.

“The hardest thing was getting my name out there, because I’ve never really known what to do with marketing and promoting myself and a small business that just started out,” Webster said. “But once people started hearing about it, I saw that people love it, and they’re posting about it.”

In the future, Webster wants to expand her brand and branch out into other lines and chains under the same name, broadening her product line as well as her customer base. She plans to start Approach Athletics, a new business with a focus on athletic wear, in the near future.

“I like the idea of not being afraid to do something,” Webster said. “Life’s pretty short, so just do it.”

The ultimate sneaker plug: Christopher Kiyota

@whasiankicks

Christopher Kiyota started out with $180 in his pocket and one pair of used shoes to scrub, clean and resell. Then, one pair turned into two. With consistency, dedication and curiosity about the sneaker resale business, the UO sophomore built his business, WhasianKicks, from the ground up, figuring out how to run and manage a reselling business all on his own.

“I feel like for once I was able to get out of my comfort zone and challenge myself,” Kiyota said. “Growing up in San Diego, you don’t really see a lot of opportunities to grow as something different than just a student or an athlete.”






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Christopher built his successful business all on his own from the ground up. Students with style: UO students discuss their fashion businesses and why they got started. (Photo courtesy of Christopher Kiyota)


In the fashion world, nothing can quite compare to the competitive demand and almost religious reverence some people have for sneakers. Entrepreneurs like Kiyota have taken advantage of the thriving culture of sneaker reselling, which allows sneakerheads to make a profit from buying and reselling high-demand or rare sneakers.

With over 18,000 followers on Instagram, Kiyota has taken his love for sneakers to new heights by becoming an in-demand sneaker reseller and supplier in Eugene. Drawing in hundreds of customers per day through his social media, Kiyota said he has sold sneakers to countless customers, including fellow UO students and some major names and athletes as well, such as Deebo Samuel and Noah Beck.

His sneakers are kept in a storage unit where customers can set up a reservation to shop in person, but high customer demand can make it overwhelming to manage, he said.

“As it got bigger and bigger, it started to get harder to maintain these people,” Kiyota said. “When you’re getting 120 DM requests per day about shopping, you get so flooded.”

Kiyota plans to open a storefront for WhasianKicks in the downtown Eugene area by January so he can reach more people and provide better customer service.

“I want to have an optimistic influence on people and make sure I create an atmosphere surrounding my business of happiness and memories,” Kiyota said. “Just something along the lines of you’re going to remember it for years to come. It’s not going to be like you remember my name just because of the shoes I sold you, but you remember it because of how it made you feel.”

The bling buff: Emily Roberts

BlackCatsSparkle on etsy

Emily Roberts grew up in the tiny town of Big Bear, California, and spent most of her life there. She moved up to Oregon during the peak of the pandemic, which was a somewhat difficult experience, she said. She had a hard time finding a job in the midst of the coronavirus pandemic as well as making friends during a completely remote first year at the university. Soon enough, Roberts began making jewelry.

She decided to make some earrings with her friend one day for her birthday, and that friend was quick to suggest Roberts start her own Etsy shop with original jewelry pieces. Despite the immediate support for this potential small business venture, she was originally skeptical of the idea.






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Emily has been making artistic pieces since a young age. Students with style: UO students discuss their fashion businesses and why they got started.(Photo courtesy of Emily Roberts.)


“Slowly over time, my family and my friends here and everyone I knew were basically pressuring me to open an Etsy, and I was just like ‘It’s not going to do well guys,’” Roberts said. “But I opened it anyway, and it’s been doing better than I thought.”

Pursuing creative projects and making artsy pieces since she was young, the UO sophomore has used her artistic roots to create her own small business of handcrafted crystal jewelry. She primarily sells her pieces from her online shop on Etsy, BlackCatsSparkle, but also recently began setting up her own stand to sell her creations in person in Salem.

Crafting everything from earrings and bracelets to necklaces and even wreaths, she has seen success with her business in the UO community. She caters to students with fun crystal, skull and mushroom designs, keeps prices inexpensive and delivers to local customers. She has even reached beyond her Etsy shop and sold some of her pieces in the Halicuna Bay Mall in Salem, selling over $60 worth of products on her first day.

“I just really love seeing people wearing my product,” Roberts said. “I adore seeing people around campus and my friends wearing my stuff in their photos. It’s just really rewarding and makes me really happy.”

Her goal is to inspire students and all people to shop locally and from small businesses, a more sustainable, cheaper option that supports good people with good causes.

“If I can make jewelry forever as like a secondary job, that would be fantastic,” Roberts said. “It’s really nice to have that creative outlet; it’s something I can see myself doing for a long time.”

The game day aficionado: Noah Gould

@boxenautzen

A typical Oregon Duck football game is electrified with the energy of thousands of die-hard Duck fans. If you’ve been to a home game recently, especially in the student section, you might have noticed the word Autzen in a green, Supreme-like box logo plastered on the shirts, hoodies and beanies of many students and other fans. If so, you have witnessed the work of UO 2019 graduate Noah Gould and his revitalized game day clothing brand BoxenAutzen.

With a focus on providing gear for football games, Gould was inspired to create his brand when he noticed the large price margin of common game day gear while studying abroad in Italy in the fall of 2017. Being the first time he had interacted with game day outside of Eugene, he had an epiphany.

“Something I noticed quickly was that everyone was wearing the same things,” Gould said. “It was pretty much Nike jerseys and a couple beat tees sprinkled here and there. You’re looking at a beat tee, which they’re giving out for free, and you look at a Nike jersey and they retail for $150.”

Gould realized the majority of game day attire fell on either end of this cost spectrum with no real middle ground. That was the moment he was inspired to fill this gap.

After his time in Italy, his newfound inspiration led him to design some shirts intended to only be worn by his friends. Through the fall of 2018, the orders simply kept coming in, eventually passing 500, Gould said. It was not long before he received backlash from the university’s brand management, claiming he was making a profit by infringing on their word: Autzen. By early 2019, Gould said he received a cease and desist letter from the university to stop his business, and he did.






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Noah Gould, a UO graduate, sports gameday apparel from his Autzen-inspired clothing brand, BoxenAutzen. Students with style: UO students discuss their fashion businesses and why they got started. (Photo courtesy of Henry Ammann)


With a dwindling sense of spirit for the university amid this legal turmoil, he eventually connected with a local manufacturer that had an existing pipeline to get products licensed and to work directly with the university.

“I figured out a way to get my products through this licensing funnel where I can sell products and the university can make royalties off of them,” Gould said.

By the middle of 2020, he finally had UO’s support to sell his product and was receiving sales orders from the Duck Store. Designing from his home in Los Angeles with his production and shipping teams based in Eugene, his business came back in full swing, and Gould has been amazed by the success he’s seen for this season.

“Going into Autzen the night of Nov. 13, I was blown away at how much BoxenAutzen I saw around the stadium,” Gould said. “It’s really rewarding to see it where it’s supposed to be seen — in its natural habitat on a Saturday.”

With plans to grow the business and reach beyond a football focus and branch out into gear for all sports all year round, Gould said he wants his brand to be something that will stick around in five to 10 years. Being immersed in such a large market of Duck fans pouring in year after year motivates him to want to make a bigger impact on UO culture and future generations to come.

“I want to share my love for the Ducks with the world,” Gould said. “I want to make you feel or at least remember what it was to be a student and to be in Autzen with all your best friends on a Saturday.”

A creative spirit, a consistent dedication and a passion for their craft is what set these students apart as individuals who have been making waves in their community and establishing their mark on the world one sale at a time.

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