2017-03-31 08:34:00来源:20区编辑:转角遇见你


Kopenhagen Fur was invited to a debate about sustainability at one of the world’s leading design universities. It was not long before the debate began to revolve around the question of ethics – and when the debate was concluded, the registrations poured in to a fur class which gives the students insight into the use of fur.


- I definitely want to visit a mink farm, says Danish design student Laura Krarup Frandsen, who is studying at the Royal College of Art in London.

来自丹麦的Laura Krarup Frandsen目前是伦敦皇家艺术学院的一名学生,她表示非常希望能够参观水貂养殖场。

She adds that the only pictures she has seen from mink farms are from the Danish animal activist organisation, Anima, and that this has shaped her view of the fur trade. However, after the debate at the design university, she does not deny the possibility of visiting a mink farm.


A debate on sustainability held recently at the Royal College of Art, located in the heart of one of the world’s leading fashion centres gave students like Laura a chance to rethink their preconceptions about fur, something quite unusual, given the location of the debate.

作为一所坐落在世界时尚之都中心地带的学校,皇家艺术学院举办的这场关于可持续性的讨论会给了像 Laura这样的学生一个机会,使他们能够重新审视关于皮草的看法。考虑到这场讨论会的举办地点,这件事的意义非比寻常。

British style has been celebrated all over the world for almost two hundred years. However, it is also in London where the resistance to fur has been strongest. This changed a few years ago, when fur began to appear on catwalks during London fashion weeks. Slowly, fur fashion found its way from catwalks to the city streets. It was no longer unusual to see fashionable fur coats in Piccadilly Circus.


Despite this development, fur is still a sensitive topic in London. This is also the case at the Royal College of Art, where students from all over the world study design, fashion and craft.


Sophie Schmidt, a design student from Royal College of Art in London, designed this style for the Imagine Talents show in 2016.

Sophie Schmidt是伦敦皇家艺术学院设计专业的一名学生,图中为她参加2016年“创意新星”大赛所设计的作品。

This is something Rikke Stetter has felt while teaching fur designs at the famous design university. She is Kopenhagen Fur’s Education Programme Manager and via the Imagine Programme she has worked with the Royal College of Art. According to her, the students have many particular questions regarding fur. Questions about technique samples and design quickly become questions about animal welfare on the farm. Between the lines they all ask the same question: “Is it okay that I use fur? And how do I defend that perspective?”

Rikke Stetter是哥本哈根皮草的培训项目经理,她通过“创意新星”项目和皇家艺术学院建立了合作关系。在这所著名的设计院校里,她在培训皮草设计课程时也感受到了皮草话题的敏感性。她表示,学生们关于皮草有很多具体的问题。从一开始提出的关于皮草样品和设计工艺的问题,很快就转到了关于农场的动物福利问题上。他们都会问到同一个问题:“我用皮草面料合适吗?我如何来证明自己的观点?”

It has taken a long time to get fur fashion back on the catwalks and in the streets of London – and it is unusual that Kopenhagen Fur was invited to a debate about sustainability at the design university.


The night before the debate, Stetter and Foged Larsen discussed their expectations of the debate.

在讨论会开始的前一天晚上,Stetter和Foged Larsen探讨了彼此的看法。

- The students perceive fur as something special and you can feel it in the air when you address the subject, so, it will be interesting to see what the students say about the presentations and the panel debate. Kopenhagen Fur has never been invited to a debate on sustainability and ethics in London and, until a few years ago, it was completely unthinkable, says Stetter.




Foged Larsen has given countless presentations on mink farms and animal welfare.

对于Foged Larsen来说,他之前做过的关于水貂养殖场和动物福利的演示报告可谓数不胜数。

- It is easy for me to give these presentations because I can vouch 100 per cent for animal welfare and sustainability in the production, he says.


However, on the night before the debate, he is still aware of the fact that he has a different audience. Stetter and Foged Larsen do not know for certain what they are to expect from design students who live, work and study in a major city that, historically, has been a centre of fur resistance, and where the only fur that has been accepted in the streets has been Stella McCartney’s plastic furs.

然后,就在讨论会的前一晚,他清楚地意识到自己面对的是一个不同于以往的听众群体。作为一个传统的反皮草中心城市,在伦敦街头唯一能看到的皮草服饰就是Stella McCartney品牌的人造皮草产品。因此,对于这些在这个大城市里学习,工作和生活的学生来说,Stetter和Foged Larsen并不确定学生们能够有什么样的反应。

The other members of the panel and their professional background are discussed in brief. At the last minute an extra participant is added: Joanna Moresky, originally from USA, but now with a company in England, who has advised companies about ethics and sustainability in production.

他们还对讨论会的其他成员及其专业背景进行了简短交流,在最后一刻还加入了一位新成员。这位名叫Joanna Moresky的成员来自于美国,目前在英国的一家公司工作。在此之前,她对企业在生产加工过程中的道德操守和可持续性提供咨询服务。

Stetter and Foged Larsen expect that her presentation will match perfectly with the WelFur presentation.

在Stetter和Foged Larsen看来,她的演讲报告将会和WelFur报告相得益彰。

Kopenhagen Fur’s Head of Research Peter Foged Larsen participated in a panel debate at the Royal College of Art in London, which challenged the design students’ attitude towards fur.

哥本哈根皮草研发部负责人Peter Foged Larsen参加了在伦敦皇家艺术学院举办的小组讨论,颠覆了学生们对于皮草的看法。

The Royal College of Art is located in Kensington, a fine, classic London district near the world-renowned Museum of Natural History. The design school is an older building and the many students of design and craft work daily in a very small room. There are large sewing tables and mannequins everywhere, and both students and teachers must edge their way through narrow isles between the tables. In a corner, approx. 35 students have made themselves comfortable. They are seated closely together and are waiting for the presentations and the debate to begin.


The first presentation gives the students historical insight into how fur has been viewed throughout history and the presentation gives rise to laughter and applause. Then Foged Larsen gives his presentation explaining about sustainability in the production and the students take pictures underway with their phones. The presentations are short and to the point, as there is not a lot of time before the next take the stage. 

第一个演讲内容讲述了关于皮草的历史由来和发展,现场充满了欢声笑语和阵阵掌声。接着Foged Larsen介绍了关于养殖过程中的可持续性话题,学生们则在台下用手机拍照。这些演讲报告都言简意赅,以便给接下来的报告留下时间。

After the presentations, the debate finally begins and the students put their questions eagerly. They immediately ask about the animals on the farm: “How do they live with their mother? How long do they live? And how do they die?”


Foged Larsen answers calmly and with great enthusiasm. Both Joanna Moresky and Rosemary Wallin have made it clear that they oppose the use of fur and the latter adds that she knows that it seems ironic, given the fact that she is wearing leather shoes. 

Foged Larsen对这些问题给予了耐心的解答,并且表现出了极大的热忱。Joanna Moresky和Rosemary Wallin都明确表示反对使用皮草,后者则补充说其实听上去有点讽刺,因为她自己穿的鞋子就是皮革面料制作的。



The debate draws to a close and Foged Larsen is given the final word: a chance to give every student an open invitation to visit a mink farm, if they come to Denmark. He finishes his presentation by reasserting that anyone can call a farmer in Denmark and arrange a visit to his farm.

在讨论会即将结束之时,Foged Larsen表示欢迎在座的学生到丹麦参观水貂养殖场。他的演讲结束后,再次重申在座的任何人在丹麦都可以致电养殖场主安排参观事宜。

- I would like to repeat the invitation. It is important for me that you know that the Danish mink farmers welcome visits, he says and continues:

- They are proud of their work and they care for their animals. I encourage each of you to experience the animals, so that you can make your own assessments and determine if you wish to work with fur.


Following this, all the members of the panel socialize with the students and answer their questions. Foged Larsen has several positive discussions with students who have additional questions about mink on the farms. It is clear to Rikke Stetter, Peter Foged Larsen and Else Skjold that the design students of this generation have come a long way in a few years. Their curiosity when it comes to mink is overwhelming; they are eager to learn about life on the farm and also about the fur technique samples that Stetter brought along.

会议结束后,讨论小组的所有成员都与学生进行攀谈并回答他们提出的问题。有些学生对于水貂养殖还有一些其他方面的问题,Foged Larsen和他们都进行了积极交流。对于Rikke Stetter,Peter Foged Larsen和Else Skjold来说,这些设计专业的学生在过去几年中进步很大。在涉及到水貂相关的话题时,他们表现出了极大的好奇心,包括希望了解农场里的生活和学习Stetter带来的工艺样品制作过程。

One hour after the debate has finished, approx. 20 students are gathered around a small table where Stetter shows fur technique samples. They provide the students with a little insight into how one can work with fur designs. The students’ interest is great – she is used to this in other international design universities but she has not experienced this in London before. The debate has obviously aroused the students’ curiosity. 


After presenting the design samples, Stetter invites the students to a more intensive fur design course. She has done this on previous occasions at the Royal College of Art, but for the first time the enrolment list is full. The world of fur attracted the design students.





Kopenhagen Fur collaborates with the Royal College of Art in London via the Imagine Programme, a collaboration with several design universities around the world, giving designers of the future inspiration about how to use fur.


In connection with this collaboration, Kopenhagen Fur was invited to a panel debate about sustainable fur.