The first article in our “Made in America” series spoke about the major reasons why designers are becoming increasingly interested in sourcing American textiles. These include efficiency (American-made textiles have a faster turnaround), cost (American labor is increasingly cheaper due to the automation of factories), and transparency (the supply chain is more easily vetted and labor conditions are more reliable).Soraya Darabi, co-founder of Zady, the eco-conscious garment brand recently featured in The Wall Street Journal and In Style, lists transparency as one of the major reasons for the brand’s decision to make its garments in the United States: “It’s not easy to vet a supply chain, but it’s certainly easier when what you produce is made domestically… In the case of our knit, we looked far and wide for a ranch that treats its sheep very well, and for owners… who are incredibly connected to the Earth.” Since November, Zady has been releasing garments from its first collection one at a time (a phenomenon that’s become known as “slow fashion”), beginning with its first product, named “.01 The Sweater,” which is made entirely from wool raised, washed, dyed, spun, and knit in the United States. An accompanying launch video on the Zady website documents the sweater’s manufacturing process, showing scenes from the entire supply chain. Stops on the road to the sweater’s completion include: Imperial Stock Ranch in Shaniko, Oregon (where the sheep are reared); Chargeurs Wool in Jamestown, South Carolina (where the raw wool is turned into fiber); G. J. Littlewood & Sons in Philadelphia (where the fiber is dyed); Kraemer Yarns in Nazareth, Pennsylvania (where the fiber is turned into yarn); and Ball of Cotton in Commerce, Pennsylvania (where the sweater is knitted). One of the benefits of sourcing raw fabric, and having it spun and knitted in the United States, is that the designer or brand possesses a much greater feeling for the product being designed. This allows brands to tell customers an authentic story about the product they’re buying. As Zady’s Darabi points out: “Once our locations were selected for the sheering, washing, dyeing, spinning, and constructing, we made a point to visit each location… We’ve met the owners of each factory and spoken at length about our mission, which aligns with their own.” From the perspective of Zady and its customers, “Made in America” isn’t so much about patriotism as it is about actually knowing what you’re sourcing or buying and being proud that it’s ethically-made. If it’s a political statement, it’s one that emphasizes conscious consumption, not just isolationism or localism for the sake of it.Another exponent of the “Made in the America” trend is designer Roxi Suger, owner of the Angelrox clothing line sold in boutiques throughout the country. After moving her manufacturing process to the former Pepperell Manufacturing Co. textile mill in Biddeford, Maine, she spoke inspiringly about the sense of history that surrounded her: “You feel it in the air. It’s steeped in that New England manufacturing tradition. You can feel a little of the sorrow, but also the hope and energy of creating in this space.” Angelrox produces over 50,000 pieces per year and distributes dresses, wraps, and headbands throughout the country, with some boutiques located along the Maine shore. As well as bringing manufacturing back to Maine, which was once a textiles-producing hotbed before manufacturing headed south, Angelrox also devotes a proportion of its profits to local charities, the latest figure being in the region of $30,000, according to the owner. As evidenced by the success of both Zady and Angelrox, “Made in America” textiles and apparel are surely here to stay. But that doesn’t mean it’s a business model that’s come especially easy. Nor are all well-intentioned proponents of American sourcing necessarily “in touch” with the people working on the ground. Mrs. Carver, the 61 year-old owner of the Imperial Stock Ranch from which Zady sources its wool, told The Wall Street Journal that Zady’s owner was both “pushy” and “so removed from our world in agriculture” that she didn’t think “she [was] going to get it.” Part of the problem seems to be that Zady wanted to film every part of the manufacturing process for its website and wanted Mrs. Carver to reveal all her suppliers. Zady was drawn to the Imperial Stock Ranch because of its no-till farming methods (which have an environmentally friendly effect on soil), but evidently, they also have a modern approach that Mrs. Carver just wasn’t used to. Even so, she supports what Zady are trying to do, saying: “We’re growing because people want to reconnect to the source of food and fiber and apparel. Food led the way, now apparel is coming on strong.” In the world of fashion, there is always going to be a disconnection between metropolitan-based designers and entrepreneurs invested in eco-conscious practices and their often-rural suppliers. Their lives are worlds apart, after all. But in the final analysis, one thing moves both types of individual: a love of the Earth and of American textiles.