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Billie Eilish is spearheading sustainability in music by winning case for repurposed merchandising for artists. Teaming up with her mother Maggie Baird and Bravado, UMG will now remake 400k t-shirts

Ocean eye-d Billie Eilish is standing up for sustainability, joining the movement of earth-conscious celebs as she demands music labels take accountability of fashion waste by beginning to upcycle unsold merchandise.

The 23-year-old singer has long been involved with sustainability initiatives, known to have forked out for public transportation costs to cover fans’ journeys to her global concerts.

Billie has also opted for recycled plastics when producing her vinyl’s in the past and even performed at solar-powered festivals, showing full support. Her new mission: to push label Universal Music Group to “upcycle” the concert merchandise that remains unsold.

READ MORE: Billie Eilish is set to headline The O2 – you can still get last-minute tickets here

Eilish and her mother, Maggie Baird, have been joined by Bravado in pushing this initiative, promising to transform the huge warehouse of T-shirts and other unsold items, gathering dust over the decades, into new products for fans worldwide.

Stating the warehouse’s location to be Nashville, USA, Billboard reported Maggie’s concerns, the mother of the singer-songwriter siblings saying: “We are drowning in clothes on this planet, much of which is in landfills, much of which is shipped to other countries to pollute their waters and their land”.

She added: “We have to be extremely thoughtful about what merch gets put out in the world,” asking “why does it exist, how is it made, and what happens to it in its second life?”

As a result of Billie and her mother’s help, Bravado, a global producer of merchandise, has sponsored the campaign by agreeing to send a massive sum of 400,000 T-shirts from Nashville to Morocco. There, the deadstock will be repurposed by Hallotex.

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The Spanish clothing designer and manufacturer has confirmed it will begin this process by completely deconstructing a large portion of the shirts by spinning them into cotton yarn, ready to be remade into new shirts. And for those that cannot be recycled in this way, the company have planned to shred the items into housing insulation fabric.

Bravado have stated that at the end of this process, the company will be left with an impressive 280,000 remade shirts, ready to become artist merch for Autumn in Europe. Already, the option for remade shirts are available on the artist’s online store.

On Billie’s official Facebook account, she posted: “To celebrate Earth Day, Billie has teamed up with 3 rising businesses that are leading the charge in the sustainable production space. These capsules showcase how style, innovation, and creativity can coexist in the things we make, while being mindful of the impact on our planet. Shop the capsules now on Billie’s store billieeilish.lnk.to/upcycled”.

Her mother Maggie commented on this waste-conscious development, saying: “We asked for [more sustainable options] even before she was big. It was a little bit like pushing a boulder up a hill for a long time”. She also stated that “Billie has teamed up with three rising businesses that are leading the charge in the sustainable production space,” on her website, affirming that “these capsules showcase how style, innovation, and creativity can coexist in the things we make, while being mindful of the impact on our planet”.

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It’s been 75 years since a much loved kids TV character made his television debut on 11 July 1950 – hailing the start of puppetry as a popular medium on kids’ TV. The Mirror track down the real life inspiration – and antiques expert

With his blue and white striped romper suit and odd little hat, Andy Pandy is familiar to generations of youngsters. Together with friends Looby Loo and Teddy, the baby clown puppet was arguably the first real ‘star’ of children’s television.

Now, 75 years since he first appeared on our screens – visible strings and all – the marionette holds a very special place in tv history. And the man who was the inspiration behind Andy Pandy couldn’t be more proud.

Paul Atterbury is an antiques expert and for the last 30 years has been a familiar face on the BBC’s Antiques Roadshow. At the age of five he became the model for Andy Pandy after his mum, Audrey Atterbury, began working as a puppeteer on the show.

“She came to puppetry by chance after meeting with Freda Lingstrom, first Head of BBC Children’s TV who lived near us in Kent,” Paul tells The Mirror.

“She was trained by other puppeteers then launched her career with Andy Pandy. She was a natural, very talented, and it became a major part of her life – and mine.”

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It was only years later that his mum revealed he had been the model for the show’s main character. “Andy Pandy was created by a local craftsman, Kim Allen, who must have seen the 5 year old me as a convenient model – there are certainly likenesses. I am very proud of the connection and it’s a chapter of my life full of great memories.”

Paul recalls going to watch the programmes – then all broadcast live – at Alexandra Palace in London. “It was very exciting for a small child. I think my mother thought it the highlight of her working life; it was fun and friendly, though I don’t think she ever realised how talented she was.”

Paul retains another very personal link to the programme, being the proud owner of Andy Pandy’s friend, Teddy – or at least one of them! “My Teddy is one of the reserves, he never performed, but he was played with by my children when they were small. Now he lives in a comfortable retirement in my treasure cabinet.”

As iconic as Andy Pandy is today, when he first wobbled onto our screens on July 11 1950, his arrival was an experiment to try to provide tailor-made programmes for the very young. After a break during the war, children’s TV had resumed, but was limited to just an hour a week – a slot taken by Muffin the Mule.

Freda and her close friend Maria Bird knew they could do more. Having both lost a fiance to war, the pair met in the 1940s at the BBC and formed their own production company, Westerham Arts, to make Andy Pandy.

Freda wrote the scripts, while Maria penned the music and performed the narration.Toys ‘coming to life’ and interacting with the viewer through the screen are nothing new to us today, but in 1950 their ideas were innovative.

“In terms of concept, Andy Pandy was revolutionary,” says Tim Worthington, a TV expert and author of The Golden Age of Children’s TV.

“Andy Pandy might look very simple, but the episodes were carefully designed and planned. A huge amount of thought went into a concerted effort to reach, entertain and educate children who, don’t forget, were living in the aftermath of six years of war.”

The decision to make the central character a child and, therefore, relatable to a young audience, was also fresh.

With Audrey Atterbury operating Andy and songs sung by Janet Ferber – every programme ended with the tune Time to go Home – viewers loved it.

“These women were pioneers of their day,” explains Tim, who is also a broadcaster and presents a podcast, Looks Unfamiliar.

“Don’t forget, there wasn’t a lot of tv around then, so everyone consumed the same thing and what you saw was unifying. There’s a reason, for instance, that episodes of Steptoe and Son attracted twenty million viewers.

“Andy Pandy was a weekly ritual for children and their parents.”

The Flower Pot Men, Rag Tag and Bobtail and The Woodentops followed as a result of the success of Andy Pandy – all under the Watch With Mother banner – with Freda creating the first daily scheduling of programming for the very young.

But change was in the air.

Joy Whitby, now almost 95, started at the BBC as a studio manager and went on to become one of the biggest names in children’s television, creating and producing Play School and Jackanory, as well as a slew of other programmes for LWT and Yorkshire TV – including Catweazle and The Book Tower.

But in 1955 she was asked to produce a document examining all the Watch With Mother output.

“I remember Freda was a fairly fierce woman, so I’m not sure how she took to me writing this report,” says Joy, who lives in London and is grandmother of eight and great-gran of two.

“What she had done with Andy Pandy was groundbreaking, but nothing had moved on; there was no new thinking. I thought there should be a different approach to children’s television, with presenters talking to viewers as if they were in a one on one situation.

“I wanted it to be less formal.”

Joy also advocated bringing in a team of presenters to programmes such as Blue Peter, as well as introducing diverse faces including Paul Danquah, thought to have been the first black presenter of a children’s programme in the UK, when he worked on Play School.

What both she and Andy Pandy’s makers had in common, though, was a skill for storytelling. It was a skill Joy honed when, before she arrived at the BBC and as a young secretary at a London clinic which treated ‘delinquency’, she entertained the children whose parents were being seen.

Little wonder she looks back on her time as the creator of Jackanory with fondness, her favourite ‘celebrity reader’ being Margaret Rutherford.

“She was an eccentric lady,” says Joy.

“She came to the recording in her wrinkled stockings and buttoned shoes. As she read she inadvertently turned over two pages of the Beatrix Potter book, so she stopped and said: ‘oh dear’.

“We didn’t cut that out, though. I thought it important that children see adults make mistakes too.”

Despite the new telly kids on the block, Andy Pandy episodes were repeated until 1969 and the following year more were made in colour.

In 2002 Andy got a reboot as a stop motion animation and was given a voice, courtesy of actor Tom Conti. Today, episodes and excerpts can be found across social media, with lively fan site discussions about the programme – testament to the long nostalgic shadow Andy and his pals still cast.

“These shows were made seventy five years ago and they’re still in a showable form – I think that’s incredible,” says Tim, who lives in Merseyside.

“They’re a window into our past and we shouldn’t discard that.”

Although she doesn’t watch children’s TV now, Joy says she would love to see a channel dedicated to the classics.

“All children love stories, especially when they are being told to them. Imagination is the key to everything.

Pop sensation Olivia Rodrigo is paving the way for mental health awareness after her guitarist revealed that the singer paid for therapy for the entire crew on tour.

The 22-year-old’s ‘Guts World Tour’ ran from February 2024 up until the final show in Manchester at the start of July 2025. In total, she performed 102 shows across several continents: a tall order for both her and her crew. But Rodrigo’s guitarist Daisy Spencer has revealed that their mental health was a huge priority to the singer.

Speaking to The Stage Left podcast, she revealed that professional therapy was on offer throughout the tour for all band and crew members. She said: “Olivia and our tour manager, Marty Hom, made accessible and free therapy for all of the touring personnel.”

She added: “I have never had anything like that. And that reignited the importance of therapy to me because I had just kind of fallen off for so long.”

The ‘Vampire’ singer is not the only star advocating for mental health, either. Lewis Capaldi recently teamed up with the online therapy platform BetterHelp to give his fans 734,000 hours of free online therapy – a reference to the 734 days the artist took to focus on his mental health after he experienced difficulties during a 2023 Glastonbury Festival set.

Positivity and success coach Casey Paul believes celebrities being vocal about mental health can have a “massive” impact. She says: “When leaders speak openly about mental health, it gives everyone else permission to do the same and breaks the stigma that can often be attached to it. Instead of mental health being seen as a private issue, or a weakness it becomes part of normal culture – something human, and worth supporting.”

Of course, while touring can be a particularly stressful environment, therapy can be beneficial in a wide range of workplaces. Lauren Baird is a psychotherapist at Inner Glow Therapy who has witnessed many people coming in with burnout. She reveals: “So many people come to therapy struggling with their mental health, but terrified to say anything at work, scared they’ll be seen as weak, unprofessional, or just not good enough.

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“That kind of stigma has been around for years, especially when it comes to things like anxiety, depression or burnout. You’d never question someone taking time off for a physical illness, but when it comes to emotional health, there’s still this fear it’ll be judged as a character flaw.”

However, she says that she has been seeing a definite shift in attitudes. She says: “More workplaces are starting to include therapy as part of their wellbeing offering — and culturally, we’re beginning to understand that emotional regulation and resilience are just as important as physical health.”

Plus, she points out that it’s also beneficial for the employer too. She says: “We also know from research that emotionally supportive workplaces have more productive teams and fewer cases of long-term sickness.”

According to the Mental Health Foundation, poor mental wellbeing costs British employers an estimated £42 billion to £45 billion per year, through working while sick, sickness absence and staff turnover. Meanwhile, in 2022 and 2023 were an estimated 875,000 workers suffering from work-related stress, depression or anxiety.