Designer Stella McCartney talks sustainability, fashion and saving the planet at COP28 in Dubai

McCartney helms the world’s first luxury house to never use animal leather, feathers, fur or skins. (Supplied)
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Updated 08 December 2023
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Designer Stella McCartney talks sustainability, fashion and saving the planet at COP28 in Dubai

  • McCartney helms world’s first luxury house to never use animal leather, feathers, fur or skins
  • Briton calls for tighter government regulations, incentives for sustainable production

DUBAI: For more than two decades British designer Stella McCartney has been on a mission to produce her fashion line adhering to sustainable methods of production, to combat climate change and reduce the industry’s damaging effects on the planet.

McCartney helms the world’s first luxury house to never use animal leather, feathers, fur or skins. She also adopted extensive sustainability principles following the Livestock’s Long Shadow Report in 2006, which linked animal agriculture with climate harm.

Titled “Stella McCartney’s Sustainable Market: Innovating Tomorrow’s Solutions,” and running until the culmination of COP28 on Dec. 12, she is also hosting a space at the environmental conference in Dubai that presents highlights from her latest collection.




Titled “Stella McCartney’s Sustainable Market: Innovating Tomorrow’s Solutions,” she is also hosting a space at the environmental conference in Dubai that presents highlights from her latest collection. (Supplied)

In addition, McCartney’s showcasing new breakthrough discoveries in regenerative agriculture, bio- and plant-based alternatives to plastic, animal leather and fur, and traditional fibers. Among these is a grape-based alternative to animal leather discovered in partnership with Veuve Clicquot, and the debut of the world’s first garments crafted from Protein Evolution’s biologically recycled and infinitely recyclable polyester.

“I am the first to say coming to COP28 is not the easy route; you need to have purpose and passion not only to get a seat at the table, but just to get heard at all,” the designer told Arab News. “Especially when you’re a woman. However, if I do not represent the industry at COP28, who will?”

“Fashion is not an island; our industry impacts everyone, everywhere,” she continued. “There are no laws or legalization that control how people are working. Every second, a truckful of fast fashion is burnt or sent to landfill.”




McCartney’s showcasing new breakthrough discoveries in regenerative agriculture, bio- and plant-based alternatives to plastic, animal leather and fur, and traditional fibers. (Supplied)

The fashion industry, according to the UN Environment Programme, is responsible for around 8 percent of all global carbon emissions.

Adding to the challenge of reducing its global greenhouse gas footprint is also the concern that the industry will grow due to increased consumption patterns and population. 

“If we want to leave a better world for the next generation, we need to have a voice here calling for change — encouraging both private and public leaders to join us by investing in and incentivizing innovation, creating less and doing more with what we already have, and being kinder to our fellow creatures, humans and Mother Earth. We have to stay positive, and proactive,” she told Arab News.




McCartney at COP28. (Supplied)

McCartney attended COP26 in Glasgow, Scotland, where she declared that the fashion industry was “getting away with murder” due to a lack of accountability and poor self-regulation.

How does McCartney believe change can take place?

“Governments and policymakers can start by putting tax breaks and benefits in place for more sustainable, circular and cruelty-free practices. We are penalized, not incentivized, to work with vegan alternatives to leather,” she explained. “We need government leaders who are brave enough to step up and say no to the powerful leather, fur and agricultural industries that are so afraid of our cruelty-free future,” she said.

“We need policy change, because fashion is one of the most harmful industries on the planet,” she declared. “I have never used leather or fur, but that is because I had the privilege of being raised by two vegetarians and animal rights activists. So, I self-police myself. Nobody else would do that. Governments need to step in and make it worthwhile for brands to do the same, or regulate them, because I can tell you after 22 years, it is not easy.”




The designer’s latest collaboration with Veuve Clicquot serves as an example of what can happen when people from different industries, but with similar sustainable perspectives, come together to champion the same cause. (Supplied)

McCartney has been advocating for governments to change the way they approach vegan alternatives, which is what she incorporates in her designs.

“Our cruelty-free innovations are often taxed 30 percent more than skins that come from animals. How disgusting is that?” she told Arab News.

“Animal agriculture (which is where leather comes from) is responsible for 80 percent of the Amazon’s deforested areas, which has a huge impact on biodiversity as well as the release and sequestering of greenhouse gases,” she added. “One billion animals die annually for leather, so one place the fashion industry could start is by stopping the use of leather.”

The designer’s latest collaboration with Veuve Clicquot serves as an example of what can happen when people from different industries, but with similar sustainable perspectives, come together to champion the same cause.

“We used the harvest by-product from Veuve Clicquot’s regeneratively grown, traceable grape harvest and innovated a new vegan alternative to leather that is on display here at my sustainable market,” she added. “Could you imagine 10 years ago saying that a champagne maison and a fashion house had come together to innovate a luxury material? Time is ticking towards 2030; this kind of outside-the-box thinking and collaboration is what we need more of not only at COP28, but everywhere,” she said.


Local luminaries light up Diriyah Contemporary Art Biennale  

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Local luminaries light up Diriyah Contemporary Art Biennale  

  • Selected works from some of the Saudi artists participating in this year’s exhibition, which begins today 

DIRIYAH: The third edition of the Diriyah Contemporary Art Biennale, titled “In Interludes and Transitions,” begins today. More than 70 artists are participating in the event at JAX — Diriyah’s creative district. In a statement released at the announcement of the event in October, the artistic directors Nora Razian and Sabih Ahmed said: “Thinking of the world (as) a braiding of movements … allows an understanding of cultural forms through exchange and transmissions; itineraries of travel, intersections, and mutations; and the retelling of fragments of exiled stories that have persisted through bodies, materials, rhythms, and cadences.” 

Here, we present a few works from some of the Saudi artists participating in this year’s biennale.  

Abdelkarim Qassem  

'The Final Scene' 

The Saudi artist and psychologist’s short film is inspired, according to the biennale catalogue, by his time in the armed forces. Like the majority of his practice since being enlisted in 2009, it “addresses how war and trauma make marks at personal and collective levels.” The video, created in 2017, was shot on the artist’s phone and later rendered in gray and white. It documents a journey down an empty road in a heavy vehicle “with large wheels that can be heard scraping against the arid path,” the catalogue states. “On the seemingly endless road, a sense of uncertainty is omnipresent, as if the vehicle’s movement is guided less by the anticipation of its destination and rather by an ambivalence around how long the journey may take. Over the video’s course the vehicular sound dissolves into a tinnitus-like one — perceiving a ringing sound is a common condition among soldiers — while the visuals eventually fade into pure white. The short length of the video reinforces the fragmented nature of the work — a moment stolen from the endless conflicts that pervade today.” 

Lulua Alyahya  

'Untitled' 

The Washington-born, Manama-based Saudi artist, the catalogue says, “creates open-ended narratives that feel at once familiar and slightly strange.” Her work is “observational, bearing witness to the behavior of men in society and their ways of inhabiting space … The results can be playful, melancholic, or unresolved — holding contradictions that mirror lived experience.” This untitled 2024 painting depicts a man, seated, wearing a white thobe, who appears to be dissolving. “He hovers between presence and disappearance, his face and hands softly fading as if time itself was brushing them away … The figure seems caught between meditating and vanishing, stillness and drift.” 

Faisal Samra  

'Immortal Moment III' 

The Bahrain-born Saudi artist is, according to the biennale organizers, “considered a pioneer of conceptual art in the Middle East,” who “has tested the unconventional functions of media through works guided by experimentation and research.” In a new piece commissioned for the exhibition, Samra “captures an accretion of moments from his life and art practice, contemplating the place of his own life within cosmic time.” The work is a video of improvised choreography in which the artist “performs gestures that galvanize shocks onto a surface, using air, gravity, and various measures of impact.” 

Mohammed Alhamdan 

'Folding the Tents' 

The Riyadh-born artist — known as 7amdan — will contribute to a series of live performances during the biennale’s opening weekend with this caravan of Chasse vehicles which pays homage to the ancient caravan processions of desert travelers, and the Arabic poetic meter known as rajaz, which mimics the footfall of camels and, the catalogue notes, “provided a structure for memory and improvisation, turning … travelers into spontaneous chanters, who composed verses on their … journeys.” Alhamdan’s modern-day caravan, “which explores the notion of the procession, its transformation, and the inventiveness of an ancient practice in the age of … electronic and digital culture,” will cross Wadi Hanifah before giving way to a series of live music and poetry recitals.  

Shadia Alem  

'Transformation: Jinniyat Lar' 

This print by the Saudi multidisciplinary artist is one of a series of new works featured in the exhibition that revisit drawings she first made in 1996, inspired by Arabian folklore, specifically the female spirits (Jinniyat) of the Lar River, mentioned in Ptolemy’s second-century atlas, but believed to have disappeared. “These strong-willed beings would one day revive the legendary river, bringing prosperity and abundance to the ‘empty quarter,’ which is less a reference to the physical desert and more a metaphor for the silent, timeless expanse within us awaiting revival through imagination and art,” the catalogue says.