Do you remember the amazing greenhouse tour we featured a few months ago? Well, we’re so happy that Andi Teggart is back today to share her East Nashville home. It’s super cozy and inviting. We love it so much! “We moved from our tiny 650-square-foot apartment in San Francisco’s Lower Haight neighborhood to East Nashville about one year ago in October 2018. Our home is exactly 100 years old (built in 1919) and we immediately knew it was *the one.* We toured four homes with a realtor that morning and nothing felt right to us. We were feeling a bit discouraged and went to lunch, and my husband happened to see a house pop up on the app a few minutes after it went live. We immediately called our realtor and saw the house within the hour. We fell in love with the character of the house—the pocket doors between our living room and bedroom, the tall ceilings throughout the house, the charming kitchen nook. 


Immediately, we knew we wanted to paint the walls a brighter white. We went with Benjamin Moore’s Chantilly Lace. We also immediately painted the dark brown baseboards and eventually painted almost all of the wood/dark trim in the house. It felt SO much brighter immediately! Most of the changes we’ve made have been cosmetic and fairly straightforward—new lighting in every room (makes a huge difference), hardware swaps in the kitchen and bathroom, and window treatments in most rooms.

The floors in the front part of the home are original (1919) so aren’t in great shape, but we love their imperfect charm. We might eventually get them refinished, but right now, we are keeping them as is. The biggest project we’ve done is converting our falling apart garage into a functional, gorgeous greenhouse. This project was my husband’s vision and he brought it all to life. Next up is converting my daughter Lucy’s room to a shared bedroom space, as we’re having another baby in February. The next BIG project is renovating our upstairs den and guest bedroom areas to make it more open concept and to add a bathroom.

Coffee Table / Peacock Chair / Sputnik Light / Poufs

In our living room, we have one of Eric’s old surfboards (which he used to use often!) hanging above the couch. I love having it on display as a nod to our life in California.

Moroccan Rug / Shag Rug / Bed Frame (similar) / Wall Sconces / Pendant Lamp

Dining Table / Custom Cushions / Pendant LightI am obsessed with our new family room, which is the room with that dark green statement wall (color is Valspar’s Planet Earth). For the first 10 months we lived here, this room was a formal dining room and it was beautiful, but the space wasn’t being used as much as it could or should have. Eric had the idea to move our dining space to the front of the house in an existing sitting/play area and use our dining room as a family room. It turned out to be the best idea and we spent more time in this room than any other! We have a gorgeous leather sofa from Article in the room (which has held up really well with sticky toddler fingers and our dog!) and hung a custom piece of art from Nashville-based artist Laci Fowler above the couch.

Chandelier / Canvas Art / Rug / Coffee Table / Throw Pillows

Mirror / Basket / Console Table

We have her IKEA play kitchen in one corner and hung the Samsung Frame TV (it looks like a piece of art!) on the green wall—which we are obsessed with. I just love that this room has become our go-to gathering space right in the middle of the house. The room is modern and sleek while still being cozy, comfortable and functional for our family.Rug / Chandelier

I just scored a matching Stokke crib on Facebook Marketplace, so both of our girls will have matching cribs! 

I love looking at the dresser in Lucy’s room. My mom and I found it on the side of the road in San Francisco 8ish years ago—it was a gross yellow and we painted it blue and added funky knobs to match my room at the time. When I moved in with my husband, he stripped the dresser and we swapped out the knobs once again. Now, the dresser houses Lucy’s clothes and acts as her changing table. 

Wood Storage Bins / Canopy / Book LedgesOur home’s style is evolving because I always am inspired by new seasons and travels, and of course, the stage of life we’re in. Our house will likely look different in February when we have a newborn! Our home’s style is approachable because we have a kid and a dog, and while I like nice things, I don’t want anything in our house to be too precious for someone to sit on, play with, or feel comfortable with.”

Thanks for giving us a tour, Andi! Be sure to visit her blog, Lucky Andi and Instagram here.

Credits // Author: Andie Teggart. Photography: Amber Ulmer. Photos edited with A Color Story Desktop.

Hi, friends!! We’re so excited to say we have not one, but TWO new +packs in A Design Kit! We’re all about fall (no surprise there 😉), so we had a lot of fun working on these. Let’s take a look at ’em!

First up, we have the Harvest +pack. Harvest is a design +pack with 50 (!!!) fall-themed illustrations. One thing we really love about the designs in A Design Kit is that you can use the color picker to make them any color you’d like! A few of our favorites in Harvest are the spooky bats, the cute lil acorn and the stars—which we’re already adding to everything.

We love how this photo of Nova is extra festive with the new Harvest designs!

Now, let’s check out the Autumn +pack.

With Autumn, we’ve added over 40 scans to the app’s new Collage section. We introduced the Collage section recently as we launched ADK 2.0, and we’ve loved seeing your creative designs using it! You can see a lot of the scans above—aren’t they cute?! Here’s another example using Autumn:

The nature-based cutouts from Autumn will pair so well with the Botanical +pack, and we can’t wait to see all the ways you use them on fun designs and photos. Tag us using #adesignkit so we can see what you make!

As a reminder, ADK+ subscribers will receive these updates FREE with your membership!! We’re feeling all the warm fuzzies as we release these +packs. We hope you love them as much as we do!

xo, Team ACS.

Written by Emily Dixon, CNN

As a buzzword, “sustainability” dominated September’s fashion weeks. From using recycled fabrics to declaring their runways carbon neutral, designers and brands reflected a growing demand among consumers for more than fashion.

According to the latest Pulse of the Fashion Industry study, over a third of those surveyed reported “actively switching from their preferred brand to another” because the latter displayed superior environmental and social values.

But to some experts, the fashion industry’s current efforts amount to little more than lip service. The pursuit of sustainability is a vast, hazy, yet ever more urgent task — one that many say will require radical and transformative measures. Is fashion truly becoming more sustainable? Or is the concept just another trend?

According to Achim Berg, global leader of consulting firm McKinsey’s apparel, fashion and luxury group, sustainability is beginning to play a more fundamental role in many companies. “Brands have started integrating the philosophy of ‘doing business for good’ into their values, moving beyond a pure focus on shorter-term shareholder value generation,” he said.

“Sustainability is no longer considered just to be a mitigating risk or part of supplier compliance,” Berg added in a email interview, “but it is becoming increasingly seen by CEOs as a ‘must’ in doing business.”

Sustainability — or the idea of it, at least — was hard to miss during fashion month. Recycled materials were everywhere, from Zero + Maria Cornejo’s collaboration with Hyundai, which saw leftover car seat material turned into a capsule collection, to Stella McCartney’s use of recycled polyester and plastics alongside organic cotton.

Both Preen and Marni used fabrics made from plastic bottles, while the latter’s Milan Fashion Week show went a step further by repurposing old clothing, mechanical pulp and plastic bottles into towering palm trees. Dior, meanwhile, garnished its runway with more than 160 real trees, all of which were set to be replanted after the show.

Another emerging trend was “carbon neutral” runway shows, beginning with Gabriela Hearst’s at New York Fashion Week and followed by Burberry in London and Gucci in Milan. What’s more, Gucci’s parent group, Kering, which also owns Yves Saint Laurent, Balenciaga and Bottega Veneta, among others, used fashion month to announce that the entire company “will become carbon neutral within its own operations and across the entire supply chain.”
Gucci's parent group, Kering, announced during fashion month that the whole company would become carbon neutral.

Gucci’s parent group, Kering, announced during fashion month that the whole company would become carbon neutral. Credit: John Phillips/Getty Images Europe/Getty Images for Gucci

But according to McKinsey’s Saskia Hedrich, using recycled materials or pledging to become carbon neutral doesn’t necessarily make a brand sustainable.

“Communication at the point of sale, or about specific products or collections regarding sustainability, is often focused on certain very specific aspects, like … a raw material that is more sustainable compared to the (one that’s typically) used,” Hedrich said via email. “Objective criteria for rating sustainable fashion are missing.”

As a result, customers can struggle to make legitimately sustainable choices while the term remains so vague. “Yes, some of the more informed consumers are aware of the complex social and environmental issues associated with the fashion market and how their shopping habits contribute,” Hedrich said. “But since sustainability spans a broad array of issues in the very fragmented fashion supply chain, other consumers often don’t fully get what ‘sustainability’ really means. Consumers say they have difficulty when it comes to rating which offerings and which brands are truly sustainable.”

In short, to be considered genuinely sustainable, brands may need to entirely transform every aspect of their businesses. To that end, the leadership forum Global Fashion Agenda sets out eight “crucial sustainability priorities,” including complete transparency throughout the supply chain, safeguarding workers’ rights, becoming more energy efficient and reusing textiles. Cherry-picking one or two issues, the forum stresses, will not suffice.
Cutting down on single-use plastic, for instance, does little for the 90% of garment workers worldwide who have no negotiating power over their working conditions or wages, as the global trade union IndustriALL found. And an emphasis on organic cotton over synthetic fabrics does not address the water stress placed on cotton-producing regions in countries like India and China, as flagged by a 2019 report by the British parliament’s Environmental Audit Committee.
Burberry staged a carbon neutral show at London Fashion Week, following Gabriela Hearst's first in New York.

Burberry staged a carbon neutral show at London Fashion Week, following Gabriela Hearst’s first in New York. Credit: TOLGA AKMEN/AFP/AFP/Getty Images

The term “sustainability,” therefore, is considered by some industry experts to be so broad as to be problematic. Designer Rejina Pyo, who works with materials including recycled polyester and organic cotton, as well as regularly visiting her factories and suppliers to ensure they uphold ethical standards, said, “We don’t describe ourselves as a sustainable brand because there is always more to do, and I’m not sure there is any such thing as a truly sustainable fashion company.”

“I think there is a lot of greenwashing out there, which does dilute the meaning of the term, but it is still really important that we are talking about it. The more awareness there is the more we can challenge and interrogate its use,” Pyo added.

Similarly, designer Phoebe English said the term was important, but too vague to be of real value. “I wouldn’t describe our label as a ‘sustainable label,’ as there isn’t actually a defined way to determine what is sustainable fashion and what isn’t sustainable fashion.”

English described her brand as one that “aspires to sustainability with our best abilities,” explaining, “We have changed all our packaging to be plastic-free, and have been working on our raw materials aiming to only be using either certified fabrics or reclaimed materials.”

Batsheva Hay, whose brand Batsheva recycles existing fabrics and produces clothes blocks away from its New York City headquarters, suggested that sustainable practices can only do so much in the face of continued mass consumption.

“My main issue is with companies like H&M pushing such huge quantities of cheap clothing by calling it sustainable, yet in the end, they are still producing a massive collective waste,” Hay said (H&M has a stated “sustainability strategy,” and brands some items with green “Conscious” tags to signal that they contain “more sustainable materials.”) She continued, “The focus should really be on buying less and wearing what you own over and over again, rather than buying too much cheap, disposable clothing.”
Extinction Rebellion called for the cancellation of London Fashion Week, with activists gluing themselves to the entrance of the event's central venue.

Extinction Rebellion called for the cancellation of London Fashion Week, with activists gluing themselves to the entrance of the event’s central venue. Credit: Gareth Morris

Like Hay, some experts argue that even if major brands implemented sustainable practices at every stage of their businesses, they would eventually encounter a roadblock: Increased profit demands increased consumption, when the climate crisis requires we consume less. “Given the stark scientific warnings we face on climate change and biodiversity loss, we must reinvent fashion,” the UK’s Environmental Audit Committee concluded.

To environmental activist group Extinction Rebellion, sustainability is too limited a goal. The group called for the total cancellation of London Fashion Week, staging a series of protests when that demand wasn’t met. To mark the opening day, protestors glued themselves to the entrance of London Fashion Week’s official venue, 180 The Strand, while on the final day, they held a mock funeral procession in the center of London.

“Many sustainable labels are genuine pioneers in seeking to transform the industry from inside out,” Bel Jacobs, of Extinction Rebellion’s “Boycott Fashion” campaign, said. “However, we are in an ecological emergency and the time for incremental change and belief in the power of the consumer to change things — which sustainable labels represent — is past.”

“There is enough clothing currently in existence for us to clothe the world umpteen times over,” Jacobs added. “In this scenario, even the production of a single organic T-shirt looks out of sync.”


Loren Gray is a 17-year-old singer and beauty influencer. Her YouTube channel has 3.6 million subscribers. (On TikTok and Instagram, she has even more fans.) They follow her every move — the video uploads, the ephemeral Instagram Stories — and obsess over the details. What is she wearing? How much does it cost?

To find the answers, her followers don’t wait around for next week’s gossip magazines or turn on E! network. They turn to the closet accounts.

There are thousands of accounts on Instagram devoted to the branding and pricing of celebrity wares. Many of them are run by teenagers. Now a cottage industry has emerged, spurring fierce competition between friends and fellow admirers who want to get the word out first.

Giselle Pacheco, 17, runs a closet account dedicated to the 19-year-old influencer Emma Chamberlain; her 231,000 followers treat @closetofemmachambie as a breaking news source. “If Emma posts an Instagram photo, that’s an outfit I’d try to find right away,” Giselle said. “I usually get requests for those.”

She spends about an hour every day trawling clothing sites, looking for the make of Ms. Chamberlain’s jacket or skirt. Her first post identified a highly sought-after yellow jacket that the YouTuber had worn (Forever 21). During particularly busy periods, like fashion week, the amount of time Giselle devotes to research can swell to five hours a day, she said.

Nina, a 13-year-old who runs a Kardashian/Jenner closet account called @kandjoutfitss, also spends several hours a day hunting down items worn by the first family of reality TV. To ensure she doesn’t miss a single outfit, she follows a slew of Kardashian stan update accounts (fan-run accounts that post paparazzi photos and news about a particular celebrity). Nina estimates that she has identified thousands of items since starting her latest closet account in June.

Because new accounts appear daily, and new outfits even more frequently, the closet-account world can be cutthroat. Sometimes the competition can take a personal toll.

Nina had a falling out with a close friend who started her own Kardashian-related closet account. “She’d accuse me of stealing her stuff,” Nina said. “If she found something and I posted it after, she’d say I stole it.”

Ella, 14, who runs a closet account for the YouTuber Hannah Meloche, said that beating out a competitor, especially one with a bigger following, gives her a powerful adrenaline rush.

“It’s an art, and it does take a lot of time,” said Brianna Randle, 18, whose closet account revolves around the cast of “Riverdale.” She said some items have taken her months to locate. “When you do find something, the feeling is indescribable,” she said. “It’s a sense of completion.”

After a while, closet account administrators become familiar with the brands their chosen celebrities wear and can identify brands by sight. For out-of-the-norm outfit choices, they rely on Google, Pinterest and sites like ShopStyle, a fashion search engine.

Andrew Gelwicks, a celebrity fashion stylist whose clients have included the actors Catherine O’Hara, Lisa Rinna, Dascha Polanco and KJ Apa, said he is in awe of the speed with which closet accounts identify clothing labels. Once, he dressed a client in a rare vintage Dior dress. Less than 30 minutes after photos hit the internet, a closet account had identified it. “It’s unreal,” Mr. Gelwicks said.

Together, the closet account administrators and their chosen celebrities have made for very effective marketing teams.

“In the past, it would be, ‘Oh, Kylie’s wearing black leggings, let me go to Express and get a pair of black leggings,’” Mr. Gelwicks said. “Now, if Kylie wears leggings from Katie Gallagher, and she’s tagged on a closet account, people will be like, ‘I want those exact Katie Gallagher leggings, let me buy them.’” He said he has seen items tagged on closet accounts sell out within a day of being posted.

Though Instagram has made a big push into shopping over the past year, closet accounts don’t offer native shopping functionality within the app, as some brands do. Also, most closet accounts aren’t monetized, save for a few that use affiliate codes for specific retailers.

But while they aren’t marketplaces, the accounts have still shaped the way some people shop.

“Following my account is kind of like having a personalized list of clothes that you can shop from in a style that you like,” said Juliette Laurent-Michel, a 14-year-old who runs a Loren Gray closet account. “Closet accounts make it easy to dress like your favorite influencers. It’s quicker than having to go through the decision-making process of choosing where to buy clothes. It makes it way easier to shop online.”

There are several closet accounts that track Meghan Markle’s outfits, but for the most part, the accounts are focused on celebrities no more than a generation older than their administrators. Sydney Ray, 22, who runs a closet account dedicated to the pop singer Normani with an 18-year-old friend, named one major exception: Beyoncé.

Still, Mr. Gelwicks said there are plenty of adults paying attention: stylists, designers, celebrities themselves. “They really have a lot of power,” he said.

Of all the trends that emerged from fashion month, the four-week-long circuit of ready-to-wear shows in New York, London, Milan and Paris that ended last week, the one that trumped all others was neither a skirt length nor a color nor a borrowed reference. It dominated runways in every single city; it became so ubiquitous that it was almost a cliché.

Forget street wear. Sustainability was the hottest look of the day.

It started in New York on Sept. 10, when Gabriela Hearst unveiled what she said was the first carbon-neutral fashion show, which also featured upcycled prints from old collections. That was the same day the British Fashion Council introduced its Institute of Positive Fashion, which aims to create a coalition that will set standards for green businesses.

Two days later Gucci announced that its show, too, would be carbon neutral, and it would also offset all carbon emissions from its operations and supply chain.

In Milan, Missoni handed out little solar powered sun lights by Olafur Eliasson during its show, and the Green Carpet Awards capped off the city’s shows on Sept. 22, touting “the best in sustainable fashion.”

The next day Kering, Gucci’s parent group, committed to full carbon neutrality across all of its brands and to reduce its greenhouse gas emissions by 50 percent by 2025. The day after that, LVMH, Kering’s greatest rival, which had recently bought a stake in Stella McCartney (a company formerly a joint venture with Kering, which is famous for its green cred), held a news conference to discuss the progress of its LIFE program (LVMH initiatives for the environment, established in 2012) and achievements in the climate sphere. It was the first such public-facing event the group had held, though it had established its sustainability department in 1992.

By Paris, seemingly almost every brand was trumpeting its commitment to addressing the climate crisis.

Courrèges used its show notes to talk up its use of a new algae-based vinyl, “which uses 10 times less plastic” than the classic material, and the fact that it had swapped exotic skins for the skin of the pirarucu fish, a staple of the Amazonian diet whose skin would be otherwise discarded.

Stella McCartney left a sheet (green, of course) detailing the brand’s very admirable history and achievements in recycled nylon, sustainable viscose and biodegradable shoe soles on every seat.

Alexander McQueen upcycled old laces and tulle from previous looks into its new collection. So did Alaïa. At Dior, the set was composed of more than 100 trees, all of which were bound for community gardens afterward. At Saint Laurent, the generators required to run the 414 spotlights that speckled the show were powered by biofuels. At Louis Vuitton, a note averred that the plywood set was bound for recycling.

“It’s turning into a competition,” said Burak Cakmak, the dean of fashion at Parsons, during a party at the end of the whole shebang hosted by Business of Fashion.

To wit: During the LVMH conference, Antoine Arnault, the head of communications for LVMH, had noted, “we prefer acts to pacts,” in what seemed a thinly disguised dig at the Fashion Pact, an initiative spearheaded by François-Henri Pinault, the chief executive of Kering, at the behest of the French president Emmanuel Macron.

Introduced in late August, the pact brought together 32 groups from high fashion and fast fashion — though not LVMH — to commit to implementing changes (of their own choosing) in order to address their environmental impact.

To understand what a dramatic shift this is, consider the fact that the Copenhagen Fashion Summit was the first major conference devoted to fashion and sustainability, and when it was established, in 2009, people were still confusing the terms “vegan” and “eco” and “organic.”

Even a few years ago, brands were reluctant to even utter the word “sustainability” for fear of being accused of greenwashing, and thought nothing of sacrificing fields of flowers for Instagram impact. Now, all of a sudden, they can’t stop talking about it.

As to why, well: “It’s evident that sustainability has become a very important issue not just internally, but externally, so we decided to become more vocal about it,” Mr. Arnault said in a phone call earlier this week.

And really, what’s wrong with that? Even if the motivations are mixed — sustainability as a blood sport! — even as brands are all careful to admit they are (to quote the hashtag on Victoria Beckham’s clean beauty line) #notperfect, the end result is positive.


To a certain extent. But while harnessing the self-interest of fashion at the service of the climate crisis is unquestionably beneficial, the fact it is happening in such a piecemeal manner is potentially confusing for shoppers. Aren’t carbon offsets just another way to keep overproducing? It’s great the materials are made from recycled fibers, but how do we recycle them now?

Does it not create a continued miasma of questions about the industry’s ability to put planet ahead of production?

Especially given the fact that fashion has a record of embracing issues, committing to guidelines ranging from the generic to the poetic that each company creates for itself, and then seeming to check the box and move on.

A year ago, for example, fashion was still wrestling with the repercussions of #MeToo and the need to ensure the well-being of models; brands were broadcasting their model protection moves. They may still be in place, but there was almost no discussion of that issue, and certainly, backstage at many shows in Europe, the concept of separate changing rooms for models seemed largely to have been forgotten.

In New York, the casting agent James Scully posted an Instagram story detailing reports he had gotten from models about fittings lasting up to 11 hours and castings that went on all night.

“I’m becoming distressed how much I’m hearing from girls that things are starting to slide backward,” he wrote.

Sara Ziff, of the Model Alliance, said in a recent email that she felt much the same. “For all the talk about sexual harassment and assault of models, and praise of the Model Alliance’s work and RESPECT program, a year later, the news cycle has shifted, and they still haven’t signed on,” she noted.

Then, last season, after multiple racial and cultural appropriation offenses by a variety of brands, diversity and inclusion were the focus of the day, leading to the most genuinely mixed catwalks fashion has ever seen. Yet this time around, save an announcement from Kering about its new chief diversity, inclusion and talent officer, there was little noise about the subject.

Indeed, after the BoF party, which was partly in celebration of a new issue that focused on diversity, Kerby Jean-Raymond of Pyer Moss wrote in an Instagram Story that for him it all smacked of accessorizing: “Homage without empathy and representation is appropriation. Instead, explore your own culture, religion and origins. By replicating ours and excluding us — you prove to us that you see us as a trend.”

The problem is, when it is up to each brand to establish its own guidelines and police its own behavior, accountability becomes a behind-closed-doors issue. Or at least it appears that way. Why should climate change be any different?

If real, systemic change is going to occur when it comes to fashion and sustainability (or fashion and inclusivity, or fashion and harassment) — and if it is to be trusted by people buying the products as more than marketing — then the industry as a whole needs to participate. Not with a variety of examples that ultimately obfuscate the goal more than illuminate it, but by agreeing on the best way forward.

By handing over the measurement of that to a consistent and disinterested third party, or group of third parties.

And with every fashion city at the table addressing the elephant in the room when comes to fashion weeks — the simple fact of their existence, in four countries, encouraging thousands of people to fly from country to country and then get into fleets of black cars and drive for many hours a day — rather than vying with one another to see who can snag the green crown.

It’s a complicated charge, unquestionably. Mr. Arnault pointed out that it is difficult to apply the same measures to a sportswear brand like Nike and a couture brand like Dior, and that is true.

It is also true that brands are built on the premise of distinguishing themselves and their points of view from one another. And that cities have a vested economic interest in maintaining the fashion week status quo.

But, as William McDonough, the co-author of “Cradle to Cradle: Remaking the Way We Make Things,” said, “If you wish to do ecosystem design, first you have to do ego-system management.” Then, maybe, everyone wins.