Psychological Hinderances to Circular Fashion

S FA B6010

H IO N E

N

S P Y

M

O

8 8 5

CO

BEL LINDSAY A N N A GICAL H O L IN O D H E C Y

R A L

A R

TO A C S IR CE C N

U

How do psychological connections to the seemingly broken narrative of micro-trends, hinder

the

circular

fashion

economy?

Annabel Read 31st May 2019

A case study submitted in partial fulfilment of the requirements for BA (Hons) Fashion Management & Communication

Sheffield Hallam University

Sheffield Institute of Arts

SHU Logo

ACKNOWLEDGEMENTS I would like to extend my deepest gratitude to an array of people whom have offered academic and emotional support throughout the duration of my University experience. First and foremost, I would like to thank Paul Luke, for going above and beyond what could be expected of a course leader, and his invaluable humility, wisdom and dedication. I would also like to thank Tom, Karen and Louise, for their patience in supporting my emotional journey on the course and their academic enrichment to my studies.

In addition, I would like to thank my family for more than everything. Without their support, the past three years would not have been possible. My gratitude for all they have done and continue to do for me is inexpressible.

Finally, I must extend my deepest thanks to all the incredible friends that I have met over the past three years. Emma, Claire, Cara, you have brought me unwavering laughter and treasured memories. To all my housemates for making Sheffield my home away from home and finally to my incredible boyfriend Leo for being my right-hand unconditionally.

You have all been a blessing to my experience at Hallam and my life in the Steel City.

I will be grateful for always.

1

ABSTRACT

The focus of this case study is upon the limited life span of the

to micro-trends. Additionally, it will investigate the impact of social

linear, ‘take, make, waste’ fashion model and, how UK consumers

media in pushing micro-trends and its role in driving consumption

emotional attachment to micro-trends could be hindering more

rates up. This will be backed up by scientific research into the

sustainable business models taking off and thriving.

actual biology of how micro-trend consumption and sustainable comprehension work together on the brain, in relation to the

The fashion industries current linear system is rinsing the planets

modern norm of retail therapy.

natural resources as Millennials and Generation Z are seemingly attempting to ‘out-dress’ each other, for status, via a curated

Recommendations from the essay intend to look at how individual

self-image, promoting an idealised concept of ‘individual

consumers can cast their consumer vote more responsibly,

aesthetic’. Out of this has emerged a notorious throw-away

ultimately and intentionally leading to a future where the

culture where there is an unconsidered, emotional detachment to

throw-away fashion culture will cease to exist.

the origins of garments and a lack of regard for where a product ends up, once its discarded of.

The primary research will be conducted in two stages. Firstly, using online surveys to obtain quantitative data, offering statistical

Such a study is important to analyse the effects that this system

analysis on issues regarding the connectedness of consumerism,

will have on the planet in both a social and environmental context,

social media and sustainability. Following on, I am going to

as a result of the continuation of trend-led clothing indulgence.

conduct an interview with Jonna Haeggblom (Head of Marketing

There has never been such an abundance of clothes and

at Circular.Fashion), obtaining professional, industry comment

simultaneously a desire to consume.

to back up discussion on the vital role of the emerging circular economy within fashion. Overall aiming to uncover qualitative

2

The findings from this study will explore the mindset of the

insight into Millennial and Gen Z consumers, and how emotions in

consumer with first hand research looking into Gen Z and

relation to micro-trend consumption is reflective of efforts towards

Millennial shopping behaviours and their emotional relationship

embracing fashion circularity.

3

4 OBJECT OF DESIRE. MISBHV SS17

5

TABLE OF CONTENT Acknowledgements

1

Abstract

2

CONTENTS

6

INTRODUCTION

8

CONSUMER CULTURE What Does it Mean to Shop?

Modernity Has Failed Us “Better Than Sex” What is a Trend?

Copy-Cat Culture

12

ROLE OF SOCIAL MEDIA I Want it All...I Want it Now Influencers: the New Royalty Copy-Cat Culture: Digitalised Meme Culture Social Media FOMO

6

24

CONSERVATION CONVERSATION Are we too selfish to be ethical?

Broken is Beautiful: Kintsugi Predictability is a Creative Failure Caught Green-Handed

36

CIRCULAR ADVANTAGE The Circle of Life Collectivism Over Individualism Generation Rent The Power of the Consumer

46

CONCLUSION

58

REFERENCES

62

APPENDIX

64

7

INTRODUCTION

8

INTRODUCTION

Fashion

plays

individual

a

fundamental

communicates

part

themselves

in to

how

the

rest

an

fashion industry are materialising. From social media,

of

has emerged “highly demanding, digitally connected

the world. The notion of ‘retail therapy’ is woven into

consumers”

the fabric of Western societies today, underpinned by

pressures on the fashion system” (Bendoni, 2017:11).

imposing

“intense

and

unprecedented

emotive; strategic marketing from big industry brands.

Since the beginning of globalisation, it promised “to

There

be a win-win. That consumers in the rich world would

resource-intensive,

are

get cheaper goods and people in the poorer parts of

the

the world would get jobs” (YouTube Movies, 2015).

in

waste the

growing it

West.

concerns linear

produces In

light

and of

regarding

fashion’s

business increasing

mounting

model, demand

environmental

concerns, it is more important than ever that Western This

ideology

and

growth

Promising world For styles

a

to

seamlessly

social

more

and

cultures

ran

of

media

unite

were,

and

granted

followers, for

social

the

the

the

the

inter-connected

economy;

fashion

until in

introduction

early

and

globalised

media

enabled

consumers newest

first

time,

consumers are conscious of their shopping behaviours.

2000’s.

a

trends

voice. and

accessible

However,

consumers

face

overwhelming

choice

in a saturated fashion market, due to a new era of ‘influencers’ using social media, to share micro-trends, driving social

consumption media

levels

means

up. that

The

immediacy

consumers

of

shop

instantaneously. Two decades later, the environmental

aspirationally, trying to buy their identity into a perceived

ramifications of the merging of social media and the

desirable lifestyle, based on a Western success metric of

9

materialistic West

is

wealth.

driven

consumers ‘retail

Z

irony

led

at

a

believe

therapy’

Gen

Habitual

by

an

Fashion’s

they justified

meme

culture,

awareness

linear

summarised

as

achieve a

a

on

make,

and

shopping.

its

volumes

‘take,

through

paradoxical

unnecessary

relies

the which

millennial

poking

mass a

in

fulfilment,

by

of

model

shift

for

can

and

continuously

spending

desire

ability

of

to

product,

waste’

system.

Supposedly, “a lack of transparency in the fashion value chain prevents” consumers “seeing how much waste is produced” (Castro, 2017). Disputing where accountability brand

lies,

debate,

implications an

hints

defers of

the

avoidance

Notions

of

that

the

accepting

consumer

the

current

in

system

implementing

possessing

vs

enviromental and change.

something

new

is

commonly gratifying. “A casual glance at the pace of

progress

in

the

developed

at

which

people

is

a

powerful

collective But

as

thirst

for

overseas

consumers place As

in

production to

clothes

transactions

has

in

rate

of

our

2010:39).

granted

Western

clothing,

value has

replace

the

proucts,

(Graves,

cheaper

decline their

and

new

illustration

innovation”

access

simultaneous

world

assimilate

a

consumers

occurred

relationships,

also.

shopping

replaces feelings of emptiness and screens replace company,

is

the

mental

capacity

of

consumers

to

maintain the linear model reaching breaking point?

With many factors pointing to the unsustainability of the current business model, a psychological shift in consumer mentality,

could

damage. need

to

morals

be

of

irreversible

case

whether

ethical

balanced

study

chains

that

common

so

global

economy,

address

are

Whether

environmental

value

eco-system can

will

humans

sustainable.

new

implemented

an

societies and This

prevent

Arguably,

thriving

take

form.

considerations

too

selfish

sustainable

to

fashion

of be

enables

expressive identity, as Millennials and Generation Z continuously if

priorities

fashion the and

desire of

an

updated

self-image

models

taking-off

limitations psychological

appearance,

prevent

more

and

of

thriving.

linear

connection

to

and

sustainable With

practices micro-trends,

intensified by social media in fashion, could a closed loop,

circular

harmonising

10

business

innovative

model style

be

with

the

the

answer

to

environment?

11

CONSUMER CULTURE

12

“ WITHIN CONTEMPORARY WESTERN SOCIETIES, IDENTITY HAS BEEN LINKED TO MOVEMENTS OF SELF-AFFIRMATION…INTEGRATED INTO LIFESTYLE DECISIONS MADE ABOUT THE SELF” (GIDDENS 1991: 32; GIDDENS 1992)

13

14

Buying new clothes is often associated with positive emotions, related to refreshed ownership, identity and gratification.

The

term

‘retail

therapy’

suggests

that

shopping is an effective form of self-love. Marketing promises fulfilment to consumers if they trade cash for clothes, for an enhanced image and lifestyle. New clothes enable consumers to communicate individual style to peers, either in person or through a constructed ‘self-image’ on social media. Ability to keep up with fashion trends is regarded as aspirational, suggesting that, “if happiness was dependent on our consumption level, we should be 100% content”. Consumption is “26 times more than in (Karl) Marx’s time”, but “studies show

‘ HOW MUCH CAN I GET FOR HOW LITTLE I GIVE?’- THE QUANTIFICATION OF ECONOMIC VALUE IN A SHRINKING WORLD OF LIMITS AND FEAR

that people are not 20 times happier” (Vrany, 2017).

(MCDONOUGH (2015:xiii)

In

Current

the

sense

comprises

of

of

Western

“significations

attributes, which

shopping

compose

the

consumption

McDonough’s

is

seemingly

(2015:xiii)

based

question,

“how

on much

iconography and scopic regimes of modernity” (Nava

can I get for how little I give?”– the quantification of

et al, 1997:2). People return to high street retailers each

economic

time an urge to shop arises as “reliance on brands

fear”. Arguing this should be switched to “How much

isn’t an indication of some form of shallowness or

can we give for all that we get?”, and with “fashion

lack of intelligence; it’s a pragmatic system of…product

buys…worn

associations”, enabling the avoidance of “long-wind-

and

ed

ending in landfills” (GFA, 2019), it is apparent why.

conscious

2010:106).

evaluations

Comfort

in

the

of

alternatives”

familiarity

of

(Graves,

value

in

just

“73%

a

shrinking

seven

times”

the

world’s

of

world

of

(Mail

limits

Online,

clothing

and

2015)

eventually

established

brands means that emerging sustainable brands have

Hines

to overcome psychological consumer barriers, to draw

“marketing

and

tool

customers in. Graves supports this, theorising that “the

retailers

make

more established and routine the behaviour, the more

consumer base frequently”. Clarifying it should, “capture

likely it is to be dominated by unconscious drivers”

the look of the moment…not to linger in the wardrobe”.

(Graves, 2010:30). Shopping is a modern norm and

Planned obsolescence comes hand in hand with fast

accepting the brokenness of linear fashion would mean

fashion, with consumers accepting the presumption that

sacrificing ‘retail therapy’; discarding the notion that the

garments

self-image must always be updated with new trends.

purpose, before the desire to upgrade an item arises;

to

Bruce

(2007) to

define

drive

up-to-date

bought

today

fast

retail

fashion

footfall.

product

will

It

offers

serve

a

as

a

allows to

their

short-lived

regardless of its condition. Fast fashion garments are not expected

to

last;

therefore,

less

value

is

invested into them by the consumer. Lacy and Rutqvist (2015:68) summarise how fast fashion retailers’ profit, claiming that “one of the most efficient ways to grow is by

increasing

requires replace “planned

throughput”.

encouraging their

products”.

obsolescence

of

the

little

newer…

consumer a

little

Shifting

consumers Stevens is

the

to sooner

mass “to

(2017), desire

own than

volume

continually argues on

the

something is

that part a

necessary.”

15

@gabbois

“MODERNITY HAS FAILED US”

16

Prospering brands in a high-speed, digitalised retail sector “provide convenience” and “social purpose” (The Guardian Lab, 2019), which takes form in enabling identity- using clothes to express the language of seemingly unique individuals. Brands provide this by introducing new stock on a weekly basis. Subsequently, something a consumer tries on one week may not be in store the next, therefore, purchasing prevents a fear of missing out. “Distinct neural mechanisms anticipate gain versus loss” (Kuhnen & Knutson, 2005), which influences consumers decisions of whether to purchase a garment, although, biological factors alone might not cause impulsive purchases. Shopping is pleasurable because the process is curated through external intentions, from friendly staff to store layouts.

The aftermath of impulsive purchases is that “53 million tons of clothing are produced each year”. “87% of this ends up in landfill or is incinerated” (Williams, 2018).

Furthermore, “half of fast fashion items are disposed of in under 12 months” (Stitched Up, n,d.). Garment overproduction is rinsing Earth’s finite resources.

Overconsumption is leading to mass waste. The only thing seemingly benefiting from the current, linear model is profit-driven brands.

Sociologist, Giddens addresses the ‘characteristics of late modernity’. Arguing that, “within contemporary Western societies identity has been linked to movements of self-affirmation…”, becoming “integrated into lifestyle decisions made about the self” (Giddens cited in Nava et al, 1997:29). Fast fashion’s prosperity, whilst enabling indulgences of materialistic self-affirmation, has negative externalities on the planet. The industry is so unsustainable that “it takes 2,700 litres to make one cotton shirt, enough to meet the average person’s drinking needs for two-and-a-half years” (Drew & Reichart, 2019). Suggesting that “Modernity Has failed us”. (The 1975, 2018).

Perceived garment value has decreased with the cost of manufacture and cost to end consumer, thus creating a system where consumers merely ‘like the clothes they buy’ (Woodyard, 2017), as the accepted narrative is to replace garments with shifting trends.

“Psychologists Iyengar and Lepper carried out an experiment that illustrated…having unlimited options… can lead people to be more dissatisfied with the choices they make” (Graves, 2010:18). Meanwhile, a lack of transparency in garment manufacturing, keeps consumers accepting planned obsolescence. Getting, in return, cheaper fashion and more freedom of choice to update ‘self-image’.

For convenience, consumers may settle for a garment, failing to regard greater choice as overwhelming, under the illusion of offering style freedom. “The price a customer pays for a product…does not reflect the impact that producing and delivering it has on the environment” (Lacy & Rutqvist, 2015:176). Increasing product prices could reduce consumption levels, but would also prevent fair access to shopping, by excluding consumers of lesser affluence to participate in an integral societal activity.

Sustainable fashion could, therefore, be a problem of privilege and accessibility.

17

In 2017 “Britons binned clothes worth £12.5 billion” (Ellson, 2018). Ellen MacArthur Foundation (2017) summarised globally, this is “the equivalent of one garbage truck of textiles” being “landfilled or burned” every second. “As well as being wasteful, the industry is polluting: clothes release half a million tonnes of microfibres into the ocean every year…

Microfibres are likely impossible to clean up and can enter food chains.” The complexity of this interwoven problem extends far beyond the fashion industry itself. Linear omittance of environmental considerations is consequently seeing the natural world diminished.

If

human

resisting

impact the

individual

is

pull

inevitable,

of

basis,

minimising

trend-led

despite

clothing

growing

it

should

seems

be

hard

knowledge

of

a to

shared

goal.

implement

these

on

But an

environmental

concerns. With a possibility of policymakers failing “‘to arrive at a consensus in time, leading the human footprint to slide out of control” (Lacy & Rutqvist, 2015:21), consumers

may

have

to

step

up

and

take

responsibility.

Suggesting

that

every

purchase casts a subconscious consumer vote, for continuing linear production practises. “’Just hence,

using

less

reducing

ineffectiveness

is

not

a

solution;

consumption

at

meeting

alone

modern

it

just

will

buys

not

consumer

you

solve

time,”

core

demands

(Fernandez,

industry in

issues.

harmony

2018), Linear

with

the

environment is said to result in “Wasted resources, wasted lifecycles, wasted capability, wasted embedded value” (Lacy & Rutqvist, 2015:xvii). “A company’s environmental footprint…could erode brand value” as “people hold companies as accountable… for improving the quality of their lives” (Lacy & Rutqvist, 2015:12). However, this perspective shuns all responsibility onto the brands, creating blurred lines between who should be held accountable and who holds the greatest capacity to initiate necessary industry change.

“ USING LESS A SOLUTION...

18

LOOKBOOK IMAGE SHOT FOR EDITORIAL AT JOHN LEWIS

IS NOT

...IT JUST BUYS YOU TIME”

19

Business of Fashion identify that younger generations have deep-rooted psychological attachments to shopping. Although “millennials and members of Generation Z say they prefer… ethical and less environmentally destructive” fashion, “…they can’t seem to get enough of ultra-fast fashion brands…” inferring that “price and speed trump conscience” (Fernandez, 2018).

Raising concerns about consumer ability to recognise fast fashion’s environmental destruction and to actually implement conscious commitments to shop sustainably. “’Better than sex’ was the revelation from one woman in a survey into shopping” (Arnold, 2009). Research shows that shopping is a scientific burst of happiness, released in the brain as ’dopamine’ (Dahl, 2017). Chemical reactions cause the positive feelings associated with

A SHOPPING BINGE IS...

shopping and brands leverage this biology for profit, through marketing campaigns. Neurobiologist, Sulzer (2017), reports that the “neurotransmitter surges when…considering buying something new…. We’re constantly comparing what we expect with what we actually perceive”. When unforeseen benefits enter the “cognitive field— e.g. 30% off! —the dopamine really

[FIGURE 1]

spikes”. Marketing manipulates the psychology of a consumer’s relationship with themselves, creating integrated desires to obtain peer validation through

HAVE YOU EVER BOUGHT SOMETHING BUT NEVER ACTUALLY WORN IT?

materialism and Western, cultural, liberation movements.

[100 ASKED]

Just like substance usage, a shopping binge is followed by the hangover. Contradicting the fulfilment shopping promises, Greenpeace (2017:8) surveyed shoppers finding that “around half respondents admit that their shopping cheer wears off within less than a day”.

YES

83%

Another survey, found that “16% of women ‘often’ buy clothes for the excitement factor, while another 56% admit to ‘occasionally’ splashing out to boost their wardrobe just because it makes them feel better.”

(Papworth, 2011). Supported by neuropsychologist

NO

Bilder (2017), the root of addiction is sourced from

17%

“developing a tolerance”. Each time requires a “larger dose to get the same effect”. Compulsive

0%

desires to shop stem from consumers “needing more

20%

40%

60%

80%

100%

and more”, to satisfy desired fulfilment through clothing acquisition.

The social science of‘ ‘why’ people shop could resolve why consumers become bored with their clothes. Murray

FOLLOWED BY THE HANGOVER

(2014) explains that “having what you want implies that a goal preceded the acquisition. Happiness results from…

[FIGURE 2]Therefore, our motivations for making those purchases”. the clothes are not the direct cause of the stimulated FASHION CYCLE happiness but rather the ‘by-product’ of an

PEAK IN POPULARITY

S

E

E

D

S

acquisition triggered, emotional reward, of coming into

E

C

N

R

E

LI

A

C

product ownership. “The vast majority of products are A

N

E D

D

IN

IN

not consumed out of such necessity. Frequently an D

D

A STYLE IS

N

E

A

M

M

emotional desire drives people to spend” (Graves, 2010:19). Inferring that consumers shop to satisfy their INTRODUCED

REJECTION

reward pleasure senses, with impulsive purchase’s being a means “of satisfying the short-lived desires” (Jones et al, 2018), supported by Figure 1. Bought with little INTRODUCTORY

ACCEPTANCE

REJECTION

PHASE

PHASE

PHASE

regard to the likelihood of garment usage and with trends shifting so quickly, impulsive fashion purchases seemingly fail to justify the resources required to 20

manufacture them in the first place.

Aside from economic analysis, the fear of missing out poses to be another purchase stimulant. The birth of online shopping makes purchasing easier than ever, with 24-hour access to seemingly limitless fashion

[FIGURE 2] FASHION CYCLE

choice at the click of a button. If the fear of loss plays

PEAK IN

greater through the immediacy of online shopping, then

POPULARITY

C R E IN D A

N A M E

N

D

Others dispute that consumers are not solely

D

A STYLE IS

D E

M

accountable for excessive consumption, as it “is

Greenpeace (2017:8).

IN

think…a product has limited availability.” (Moth, 2014).

advertising, clever marketing and pricing’ strategies”

E

be encouraged to make an impulse purchase if they

actively encouraged by fashion companies via media

N LI

A

sales drivers in ecommerce. Undecided shoppers can

C E

S E

consumption. “Urgency and fear of loss are powerful

D

S

the internet has arguably contributed to increased

INTRODUCED

REJECTION

Fast fashion retailers work, by drawing inspiration from two traditional catwalk seasons (Spring/Summer, Autumn/Winter), to produce 52+ seasons a year.

Merged with the growth of social media, it results in today’s new, hyper-connected consumer market,

INTRODUCTORY

ACCEPTANCE

REJECTION

PHASE

PHASE

PHASE

demanding non-stop trend innovation.

Trends are generally illustrative of the zeitgeist, which is

Continuous fashion consumption leads to the Western

“the defining spirit or mood of a particular period of

problem of ‘stuffocation...feeling suffocated by the

history as shown by the ideas and beliefs of the time.”

sheer volume of clothes that wallow in your wardrobe’

(Oxford Dictionaries, 2019). According to Vinken

(Wallman, 2015). Sifting through a full wardrobe

(2017:15) “fashion trends are a reflection of the spirit of

becomes more effort than buying something new, and

the times” and “the goal of determining a trend is to be

more ‘on trend’ instead. Graves (2010:34) conducted a

able to monitor that it achieves full integration among the

social experiment revealing that “when visual clutter of

majority”. The immediacy of trends today is arguably

a category was reduced people were happy to spend

due to them being manufactured out of concepts

longer in it, found it easier to distinguish the products…

stemming no deeper than visual aesthetic, with less

and could appreciate more of a smaller range”.

emotional backstory to rationalise the reason for a

Supporting the proposition that consumers would

trend’s emergence and growth. Hence, consumers

actually feel more content with less clothes, easing the

seek newer trends in pursuit of more emotional

process of outfit selection- this requires overcoming a

fulfilment than the last.

persistent desire to shop first.

The ‘Fashion Cycle’ (Figure 2), shows how micro-trends

Fashion trends are born out of desirable equities, not

become macro-trends, involving 5 key stages:

fundamental for survival, but idolised as a means to

“Introduction, rise in popularity, peak of popularity,

an enjoyable lifestyle. The argument for legitimate

decline in popularity, rejection”. (Josbd, n,d.). Once a

essential needs and “omg I need this new jacket”

trend is accepted amongst the majority, the

needs “is that a “culturalist’ notion of ‘needs’ can only

fashion conscious will seek the next new thing to

arise in a rather privileged community…where certain

sustain a trend-setter identity.

‘basic needs’ have already been taken care of,” (Nava et al, 1997:57). Human desire to strive for progress sees

Bendoni (2017:230) claims that “Brands have the data

Western societies socially construct materialistic needs,

and tools today to give consumers what they want, when

to give individuals aspirations, readily attainable through

they want it, and where they want it.”, ensuring consistent

fast fashion consumption.

mass relevance, where trends appeal enough to persuade consumers to buy into them, but not so much that it hinders possible sales of new garments in the near future.

Trend prediction companies, like WGSN, research heavily to forecast how consumer zeitgeist will materialise into wearable fashion. Resisting against the supposed flow of societal values and attitudes could lead to a consumer experiencing “the fear of missing out (FOMO)” (Zaslove, 2017). Loss aversion is achieved when a consumer embraces a trend, suggesting that consumer values are influenced by peer acceptance, as well as desires to express identity.

21

Nava et al (1997:62) re-enforces this, expressing “the reduction of need to unreasoned preferences, to ‘choice’, is the social accomplishment of market relations…meditated by the impersonal steering mechanism of money”. Suggesting that the choice for a consumer to buy into trends gives false illusions of individualism- the sentiment micro-trends supposedly facilitate. “If we are following trends then we are following the masses...a trend becomes only a trend because it is shared by others” (Strähle, 2016).

Highlighting the power of marketing, by persuading consumers to buy into this seemingly broken narrative.

It is arguable that fashion garments directly associate to rewarding feelings of acquiring clothes for self-image construction. Supporting theories can be found dating back to the late twentieth century. Featherstone’s ((1991:187) cited through Nava et al, 1997:314) “Wardrobe Engineering” was “The science of clothing management”, introducing the “‘power dressing’ phenomenon of the 1980s” (Molloy, 1980:18 cited through Nava et al’s (1997:323) discourse of the ‘technology of the self’ identified power dressers as “a self who demonstrates that she is ambitious, autonomous and enterprising by taking responsibility for the management of the appearance.’”, which can be seen illustrated in modernity through social media.

Social media icon, Kylie Jenner, became “the youngest self-made billionaire ever” (Forbes, 2019) through her cosmetic line, embodying success for millennials and Gen Z. For her 21st birthday she wore a millennial pink, Swarovski crystal bodysuit. Overnight, fast fashion retailer, Fashion Nova, produced an affordable knock-off, advertising their copy on Instagram (Figure 3-4).

With those flaunting the trendiest lifestyles on social media idolised, it implies that consumers engineer their wardrobes for association to subcultures they deem successful, based on what they believe a successful life visually composes of. An outfit expresses these desired associations and shopping aspirationally fulfils self-perceived requirements of identity significance.

Fast fashion enables clothes to be utilised as a language of wealth. Veblen (1925), cited through Nava et al (1997:342) argues that consumers, “because of their knowledge of how much things cost, would be able to assess an individual’s wealth- and hence their social status – from the purchased goods that he or she displayed.”. Stemming from the look-at-me culture, millennials and Gen Z compete to out-dress each other, for the sake of a curated self-image, portraying PANTONE CONCEPT

subjective levels of trend affluence. However, “between

22

2014 and 2030” there is expected to be “2.5 billion new middle-class consumers” (Lacy & Rutqvist, 2015:6) globally, potentially looking to out-dress each other for peer approval; raising concerns about fashions increasing strain on natural resources.

[FIGURE 3]

[FIGURE 4]

23

ROLE OF SOCIAL MEDIA

24

25

26

“New communication platforms” like Instagram and

Today “underground” trend-setters take stage on

YouTube has birthed a “world of fashion-on-demand

“social-media feeds, which micro-tribes are using to

consumerism by allowing innovation to diffuse quickly

share their voice and their collective identity” (WGSN,

across markets”. Actively participating in determining

2018:5). Updating self-image keeps cool-hunter

trend zeitgeist, consumers seek “instant

‘tribes’ feeling exclusive, by setting themselves apart

gratification” (Bendoni, 2017:216). In the pursuit of

from the majority, hence the ‘need’ to possess new

“selective self-presentation” (Gonzales & Hancock,

trends quickly. Often embraced by ‘Do it for the gram’

2010) a consumer curates a digital self-image, in

millennials and tech savvy Gen Z to showcase

reference to an expected peer understanding of the

stylised identities, dressing for association to their

subcultural symbolism of outfit selection.

chosen micro-tribes.

Posts with “high engagement… increase the

The easier the process of purchase, the more likely

value of the trend and its viral effect to spready

a consumer can be swayed to spend. Social media

rapidly throughout the internet” (Bendoni, 2017:50),

channels are adding ‘Buy’ features to their content

with social media further blurring the lines between

which “encourages consumers to make impulsive

“grounded objective needs and arbitrary subjective

purchases with minimal effort, by allowing the

wants” (Nava et al, 1997:53). In the West, this is

transaction to be completed without even leaving

often parallel to material wealth, for example: having

the app (Bendoni, 2017:217). Greenpeace (2017:7)

the latest iPhone, the newest tech accessory of

argues that exposure to “one-click-buy temptations

Apple EarPods or Balenciaga trainers.

requires new competencies that many people are lacking.” Overall making shopping more

Materialistic wants of micro-trend consumption and

“psychologically” difficult to resist.

digital peer acceptance could be intensifying subjective senses of needs. “Envy based on ‘relative positioning’ is a direct symptom of social media use” (Absolute Motivation, 2019), meaning social media users are exposed to greater relative positioning, based on a visual comprehension of what comprises status, affluence and desirable equity, in the concept of style.

“ENVY BASED ON RELATIVE POSITIONING IS A DIRECT SYMPTON OF SOCIAL MEDIA USE” (ABSOLUTE MOTIVATION, 2019)

27

Shopping online provides a double dopamine hit. The initial satisfaction of purchasing is followed by the excitement of delivery and opening it. With consumers increasingly shopping online (Figure 5), submitting to biological instinct to reward the brain pleasure senses seems common.

The addictiveness embedded in the process, arguably outweighs consumer interest for transparency about garment origins. With an emerging, environmentally conscious consumers demographic, social media could enable greater access to information regarding fast fashion issues. An Instagram post depicting landfilled textiles is a universally understandable indicator of the throw-away culture.

Social media has democratised the fashion industry, “by now becoming accessible to everyone, regardless of “ages, size, salary, social class, race” (Arthur (2017:39). Out of this tech revolution, has emerged a new type of celebrity: the social media ‘influencer’- usually determined by their ‘follower’ count (Figure 6 in Appendix). Brands are “concentrating on influencers” and their “ community of ambassadors and loyal consumers that can help build and share the brand” (Arthur, 2017:39). Tapping into this new market, brands collaborate with influencers to promote them and their products, with influencers endorsing free clothes in sponsored posts. Followers can follow post links straight to brand websites, creating consumer communities and rewarding brand loyalty. As gatekeepers of digital fashion, influencers offer authentic voices, equating to greater trust in decisions to purchase from a brand.

The likeable power of the influencer is that it can be anyone from any background. A celebrity, voted for by the public with likes, shares and follows. Bance (2018), re-enforces this, identifying that “the proliferation of social media meant that everyone was becoming a mini-celebrity in their own world…It added an increasing social pressure…not to wear the same dress twice”. It could be disputed that social media has intensified the competitiveness of consumers, trying to showcase up-to-date styles, with influencers the most successful at this.

[FIGURE 5] WHERE DO YOU DO MOST OF YOUR CLOTHES SHOPPING? [100 ASKED]

INSTORE

49%

ONLINE

51%

0%

28

20%

40%

60%

80%

100%

SELF

IMAGE

29

According to Econsultancy (cited through Bendoni, 2017:199), “90% of consumers trust

[FIGURE 7]

recommendations, especially from influencers”.

Even with paid influencer endorsements deemed “more trustworthy than any other forms of traditional marketing”. Consumer psychologist, Nightingale (2018) claims that “we recognise elements of

HAVE YOU EVER BEEN SWAYED BY SOCIAL MEDIA INFLUENCERS TO BUY A PRODUCT OR SERVICE? [100 ASKED]

ourselves in influencers, and therefore select -through follows, likes and subscriptions -- a database of internet personalities we’re willing to

YES

trust.”. Brands profit through exploiting follower trust,

%

60%

80%

100%

embedded in an influencer, re-enforced by Figure 7.

NO 28%

Through the growing desirability of influencer

WHERE DO 36% YOU DO MOST OF YOUR CLOTHES SHOPPING?

status, the speed which micro-trends move

[100 ASKED]

through the consumer pipeline has intensified. Just searching “#OOTD” (Outfit of The Day) on Instagram

will bring up 247 million posts (April 2019).

UTUBE ‘HAUL’ VIDEOS FOR NEW Instagram and fashion are now systematically RATION?

intertwined. “Instagram is fashion….”, it “…has rewired the industry, replacing print magazines as the primary way in which people discover fashion” (SHU, 2019).

INSTORE

49%

36%

“Socio-economic opportunity” (Lacy & Rutqvist, 2015:xviii) is also embedded in a new YouTube vlogger generation, with Gen Z particularly seeing YouTubing as a viable career. Social and financial rewards attainable through vlogging seemingly

I HAVE

ONLINE

51% CONSIDERED

IT

outweigh the environmental benefits of consuming less. “In 2009 haul videos became a game changer capturing the attention of the teen market.

0%

Today this is a “norm for millennials and Gen-Z”

20%

40%

60%

80%

100%

(Bendoni, 2017:77). Haul videos are a stimulating new media whereby vloggers go on spending sprees and showcase their purchases on YouTube, offering supposed style inspiration to their viewers. Although, the legitimacy of this outcome is contradicted by the data in Figure 8.

40%

60%

80%

100%

Whilst inferred that haul purchases are a shallow

[FIGURE 8] DO YOU EVER WATCH YOUTUBE ‘HAUL’ VIDEOS FOR NEW SEASON WARDROBE INSPIRATION? [100 ASKED]

means to make money on YouTube, disregarding fast fashion’s environmental ramifications, some are utilising the platform to promote sustainable alternatives. ‘#Haulternative’ influencers create

YES

21%

content, like hauls, showcasing sustainable alternatives like second-hand and upcycled garments. Whilst in its infancy, the ‘#haulternative’ movements growth could attract an audience of conscious consumers simultaneously.

NO

I DON’T KNOW WHAT A HAUL IS

69%

10%

0%

30

20%

40%

60%

80%

100%

Balenciaga Triple S trainers symbolise Western busy but leisurely lifestyles, emphasising societal values

affluence in high-street stores, embodying the zeitgeist of Balenciaga’s, without the price, showing inclusive benefits to fast fashion.

The preservation of personalised style is a key successor in the drive of fast fashion consumption.

“Ergo, buying and wearing an identical item has long felt like a breach of etiquette”, however with “monetized feeds” (Mistry, 2015), influencer status denotes from “the desire to be envied…on social media” and “motivated by competition, success and social status” (Green, 2013:109). Aspiring to be a

WANT TO

knock-offs can be attained by those of lesser

BE AN

trainers, due to their branded exclusivity. However,

ORIGINAL?

of comfort. Many Instagram influencers endorse the

trend-setter leads to rapid consumption, to ensure an updated self-image is shared with followers, with or without influencer status.

‘9%’ of UK shoppers “admit to buying clothing only to take a photo on social media” (Kozlowska, 2018) which highlights how a proportion of fashion purchases are made for “selective self-presentation” (Gonzales & Hancock, 2010). The ‘look at me culture’ needs user maintenance, which “requires a great deal of…curation and planning”. Younger demographics are arguably the most susceptible to this socially-constructed, digital identity curation, which is fast becoming an integral norm of Western culture. Figure 9 depicting ‘original’ printed sweatshirts demonstrates the juxtaposition, derived from social media merged with fast fashion.

[FIGURE 9]

31

I LIKE THOSE BALENCIAGA’S

I LIKE THOSE BALENCIAGA’S

I LIKE THOSE BALENCIAGA’S

I LIKE THOSE BALENCIAGA’S 32

I LIKE THOSE BALENCIAGA’S

I LIKE THOSE BALENCIAGA’S

I LIKE THOSE BALENCIAGA’S

I LIKE THOSE BALENCIAGA’S 33

For consumers, a new media expresses the paradoxical self-awareness of overconsumption and unnecessary habitual spending- stemming from intentional or subconscious exposure to trends on social media. An internet meme culture embraced by brands and shoppers creates justification of present-day consumerism.

Brands recognise the need to continuously adapt their “content strategy when communicating to their target audience”. Involving the “adoption of things like emojis, memes, slang” to come across more “authentic” (Bendoni, was shown to 100 consumers, of which 29% found it ‘relatable’ (Figure 11).

Consumers seem accepting of brands overt blatancy of manipulative intentions, with both brands and consumers identifying spending habits as unnecessary. As a result, it can be argued that fast fashion brands carry accountability in preventing consumers shifting to sustainable alternatives, through mastering a system of relatability, channelled through the humour of memes.

Western “cultural elements that are passed on by imitation” (Graves, 2013:46), like the sharing of memes, acknowledges collective recognition of negative behaviors. Potentially releasing shopping guilt in reflection that others also indulge unnecessary shopping, with the problem focused on Western subjective needs instead of on the real global issues of exploited resources.

The social reach of meme’s could be harnessed to create content that raises consumer awareness of fast fashion issues.

34

[FIGURE 10]

2017:38). To investigate this, Figure 10

0%

Digital citizen journalism gives consumers power opportune to create content.

People want entertaining content, so posting the same outfit twice could seem un-inspired and unlikely to gain social approval. Consumers seek “instant gratification of their fashion desires with each double-tap on Instagram” (Bendoni, 2017:20), as a result, spawning a notion that “a trend is over before it begins”. Contrastingly, survey statistics reveal that, 50% of respondents ‘prefer not to follow trends’ (Figure 12). Considering “every second, a truck full of clothing ends up in landfill” (Ellen McArthur

HAVE YOU EVER BEEN SWAYED BY SOCIAL MEDIA INFLUENCERS TO BUY A PRODUCT OR SERVICE?

Foundation, 2017) consumers may be in denial about consumption levels.

Alternatively, consumers may genuinely not recognise the impact of [100 ASKED]

clothing consumption, due to a lack of brand transparency.

Theories claim that FOMO stems from seeing your peers engage in positive activities on social media, making you compare their lives to yours”, which can lead to “anxiety, stress and… depression” (Yehezkel, 2017). Social

YES

media has had a direct impact in how people form relationships and

NO

increased disconnect from reality. Dependency on material possession

28% could be in search of re-establishing connection. It is suggested that

“we increasingly rely on objects to give us a sense of self-esteem and 36%

identity…partly the consequence of the breakdown of things that use to give us identity like community and social things which have been replace by consumerism” (Bendoni, 2017:19).

Social phobia is an outcome of attempts to avoid FOMO, where users can experience the phenomenon of “post-posting depression”, when they post content and ‘do not immediately receive ‘likes’”. Flaunting new trends is one

36%

way to impress followers and attain ‘likes’ of social approval; spurring on a necessity to keep up a fresh wardrobe in order to remain stimulating to followers. Suggesting that consumers shop for social acceptance and to preserve a curated digital self-image. The adoption of FOMO through marketing, emphasises consumer vulnerability, as they could be manipulated

I HAVE CONSIDERED IT

into feeling like inferior trend-laggers for not keeping up with trends.

[FIGURE 12] DO YOU FIND IT HARD TO KEEP UP WITH THE PACE OF FASHION TRENDS TODAY? [100 RESPONDENTS]

YES

24%

NO

26%

I PREFER NOT TO FOLLOW TRENDS

50%

0%

20%

40%

60%

80%

100% 35

THE CONSERVATION CONVERSATION

36

37

“ WE ALL HAVE OUR PRICE AND IF IT’S LOW ENOUGH WE’LL TRADE IN OUR VALUES” (ARNOLD, 2009:222-22) In 2013, Rhana Plaza garment factory in Bangladesh collapsed, killing “1,132 people” and injuring “more than 2,500” (ILO, n,d.)- the deadliest garment industry disaster to date.

Retail giant Primark confirmed “that one of its suppliers occupied the second floor of the eight-story building” (Strydom et al, 2013). However, Primark also “reported a 20% sales rise” just 3 months following on from the disaster” (Neville, 2013). Pointing to an emotional disconnect within a consumer’s ability to directly associate the Rhana Plaza disaster, to the clothes in a Primark store. A consumer’s immediate environment could be a psychological barrier, creating a disconnect from fast fashion issues. “Humans… respond to their environment far more than we are aware of at a conscious level. If you want to change… someone else’s behaviour, the first thing you can do is change the environment”. (Graves 2010:60) Once clothes are styled on a shop floor there is enough disconnect between the source and end product that a consumer can justify buying it, without a second thought for the resources invested into making it. Arnold (2009:222-223) further critiques fast fashion for “providing credit crunched consumers with clothes so disposable they’re not worth washing… Some see Primark as the hypocrisy of the consumer who one-minute claims to value ethics but then shops in Primark: We all have our price and if it’s low enough we’ll trade in our values”. Reducing Western consumption in the linear model would potentially slow down the problems, but not fix them at the core. Furthermore, less Western consumerism would potentially jeopardise millions of garment factory jobs in the developing world.

The disconnect between manufacturing’s environmental impact and an end product is highlighted in Figure 13, assessing what matters the most to consumers when buying new clothes. Being ‘sustainable’ ranked as the least important factor out of five categories.

NUMBER THE FOLLOWING 1 (MOST) - 5 (LEAST), ON WHAT MATTERS THE MOST WHEN BUYING NEW CLOTHES?

38

[FIGURE 13]

[100 RESPONDENTS]

@raveena_aurora

“ LESS THAN 1% OF COLLECTED CLOTHING IS RECYCLED”

‘Where The Wild Things Are’ Fashion Editorial

40

To explore this further an interview was conducted with Jonna Haeggblom from circular.fashion.

Haeggblom argued that from “a business perspective, it has to do with the fact that the bottom line in a linear economy still rules the way the industry operates. However, ‘green’ your products are you still need to gain a profit, sell more pieces than last year” (Interview 1). Suggesting that, consumers find it easier to prioritise other factors above sustainability, as it is what brands accessibly present to them.

According to ancient Japanese culture, ‘Kintsugi’, is an art form where “broken ceramics are mended… with “a lacquer resin mixed with powdered gold” (Dilonardo, 2015).

The repair is regarded as a

unique part of the object’s history, adding to its beauty. In Victorian England, the majority of the population possessed few, but highly practical, clothes. “Many outfits were bought second-hand and were passed down through the family. Clothes would have been mended and patched for as long as possible” (Durham University, n,d.), ensuring maximum garment longevity. However, as outsourcing of garment production took off in the “early 1980’s”, more brands took their business “overseas to emerging markets in a bid to cut costs and increase their margins”. According to Bearne (2018), by 1995 the UK had “offshored 70% of its production”. Most garment manufacturing process take place behind the face value of a finished product due to outsourced production. Even more so for online shopping, where a consumer will not touch a product until in its ownership. Not understanding the process of bringing a garment into existence could explain why c onsumers fail to appreciate garment value.

Donating unwanted clothes leaves them out of sight and out of mind. However, “less than 1% of collected clothing is recycled” (McCarthy, 2018). Even then, “recycling…destroys most of the invested labour (Lacy & Rutqvist, 2015:9). If recycling alone is not enough, consumer attitudes to garment value could be a good place to initiate shifts towards conscious consumerism. “If true resource cost was factored in to manufacturers, there would be huge incentive to

SILKY GREEN

in product design and development in the process”

make products that last forever” (Vrany, 2017). Brands should advance the notion of “eco-effectiveness” rather than “eco-efficiency” to “drive economic development” (Braungart & McDonough, 2002:21).

In this light, brands hinder circular fashion prosperity, as they focus on “optimising on the wrong things” rather than designing products in order to “deliver a positive contribution” (Braungart, 2013:30). Conscious consumption cannot occur if fast fashion brands are not facilitating necessary changes. Contrastingly , brands seem unwilling to embrace sustainability if there is not yet consumer demand for it, illustrating a lack of communicative transparency between both supply and demand parties.

41

@gabbois

42

@isaac.protiva

“Eco-chic in the in the 1990’s was dominated by

solutions are materialising, although the accessibility

natural-looking colours and fibres that did not reflect real

of this on a mass market scale is unclear.

world progress…the trend was more a stylised reaction

The psychology of switching away from familiar brands

against simplistic perceptions of… industrial pollution than

has associated risk. “When it comes down to a real

a conversation about green values,” according to

purchase decision…the unconscious minds’ desire to

Fletcher (2007:276). Eco-fashion may still hold

avoid risks can often make the choice of something

connotations that fail to resonate with how consumers

new feel far less appealing” (Graves 2010:40). Fear

perceive trends today, hinting that fears of compromising

of missing out still largely outweighs environmental

on trends, prevents eco-fashion pursual.

considerations, as aspirations for acceptance within society and validation online is still prioritised.

Stereotypes surrounding eco-fashion, like presumed

“People buy with their feelings rather than logic”

beige aesthetics, may deem it unrepresentative of

(Arnold, 2009:86) and emotionally-led purchases

modern Western zeitgeists. Especially when considering

imply either a lack of empathy for the environment,

the notion of Millennial Pink and Gen Z Yellow

or disassociation from environmental exploitation.

which highlights colour significance in generational

An arguable example of consumer selfishness, to

identity. Applied to social media, Envato (2018) claims

consider any justifications of environmental harm for

that, “[Instagram] posts with a pink thing in them

the sake of Western ideologies of self-image and

perform better”. With aesthetics defining younger

trend-led aesthetic.

generations, it infers that generational identities may need to be compromised for a harmonious balance

Sustainable fashion may also connote higher costs to

between eco and fashion. Contrastingly, Haeggblom

the consumer, meaning fewer garments for their money.

believes that consumers are discovering “innovative

Subconscious drivers could lead consumers to make

and creative brands out there doing products that are

relative “a safe choice, rather than necessarily making

both aesthetically and sustainably beautiful” and

the best choice” (Graves, 2010:43). When fast fashion

“therefore it is the question not the pre-conception

is cheaply available, parting with money is less risky

that for some reason is held onto” (Interview 1).

for the consumer, with the prospect of a trend shift more financially feasible. If brands view “ethical values

For example, UNMADE Knitwear predict that fashion’s

as added value, they believe it can command a

future is “data-driven” and “must transform to become

higher price” (Arnold, 2009:37) hinting that sustainable

sustainable”. Using 3D printing, this zero-waste brand

fashion is not financially possible for all. Price and

services personalisation and unique garment

accessibility may hinder capability of conscious

relationships due to its “consumer-centric” (UNMADE,

consumerism. To “what degree ethically responsible

2019) designs, maximising product longevity out of

purchases… are feasible options for shoppers of

greater emotional attachment on the consumers part.

lower socioeconomic backgrounds than higher net

Advancements of merged sustainable and creative

worth consumers is unclear.” (Fernandez, 2018).

43

Brands whom adopt sustainability must find “relevancy” (Flaim, 2013:167). “The question is: How can we tackle sustainability to make it relevant to everyone’s life – as well as inspire and reward people to make smarter choices for a more sustainable future?”. In a sustainability survey of UK consumers, 33% said that they ‘rarely think about sustainable fashion’, with 24% admitting ‘cost and style come above sustainability’ (Figure 14). Sustainable

CAUGHT

fashion’s growth must cohere with other consumer priorities to successfully disperse across all levels of the industry, with accessibility at any entry point, regardless of economic background.

Murray (2019) wrote that “saving the world starts at

GREEN

home”, through prioritising “second-hand, searching for ethical brands and investing in longevity”. Meaning that “being conscious hasn’t meant I couldn’t buy into trends”.

However, failing to separate consumption with the need

HANDED

to always have an updated self-image, makes the prospect of less volume intensive, business models being successful seem unlikely.

More brands are adopting sustainability as a marketable commercial concept, recognising the growing need to implement sustainability due to finite virgin resources and increasing consumer awareness.

Consumers trusting brands sustainable promises is compromised by the ‘Greenwashing Effect’. Defined as a phenomenon, with brands “repairing public perception of their brand by marketing their products or proposals as green” (Craig, 2016). Greenwashing sees brands “masking commitments” (FashionUnited, 2013). Brands, seeing green as the new gold, wish to capitalise on the notion of sustainability to become more socially desirable, without really changing its operations.

H&M endorsed the idea of slowing down fast fashion with a 2018 Conscious Collection, featuring a “range of

https://mymodernmet.com/si-chan-hug-me/

HUG ME COAT BY SI CHAN

ineffective actions with paper promises and weak

sustainable fabrics…like recycled cashmere” and “new velvet made from recycled polyester” (H&M, 2018).

Despite commendation for pioneering sustainable fast fashion, H&M still exercises shifting mass volumes of product and it is already evident that the volume intensive linear model is unsustainable. Brands encapsulating sustainability as a marketable trend, could dissuade consumers from demanding industry change. At surface value, brands appear to be addressing the issue, whilst getting away with continued exploitation under the legal loophole of greenwashing Fast fashion brands launch “eco-collections as they understand that consumers care about sustainability. But because their marketing is so prolific, younger consumers in particular seem to be very cynical about their aims” (Stott, 2018), resulting in speculation. 79% of consumers feel that sustainable fashion is less accessible (Figure 15) due to a ‘Lack of information’ (Figure 16). Stand-alone eco campaigns, may make deciphering fully sustainable alternatives seem complicated, with convenience coming from sticking to familiar brands.

44

[F IG U RE 15 ]

AS AC CE SS IBL E AIN AB LE FA SH ION IS DO YO U TH INK SU ST LE FA SH ION ?

AS NO N- SU ST AIN AB [100 ASK ED]

21 %

YE S

79 %

NO

0%

20 %

40 %

60 %

80 %

10 0%

45

CIRCULAR ADVANTAGE

46

47

48

ALL ANIMALS, PLANTS AND NATURAL RESOURCES OPERATE IN A CIRCULAR SYSTEM 49

“DEGROWTH WILL a circular system. “Nature produces no waste, only BREAK THE WAY OF nutrients”.

Therefore “In a waste-based THOUGHT THAT society, products will cause problems” (Lacy & Rutqvist, 2015:31).

However, if fashion can CONSIDERS INFINITE mimic nature’s circularity, the whole industry could become sustainable at every level of its processes.

GROWTH TO BE POSSIBLE AND Fashion’s linear growth model is living on borrowed time. Brands reliant on “scarce resources” may struggle SUSTAINABLE” in the future “to compete with less resource-intensive All animals, plants and natural resources operate in

competitors” (Lacy & Rutqvist, 2015:12). According to Brismar, (2017), circular fashion is “designed, sourced,

LATOUCHE (2017)

produced and provided with the intention to be used

“The

and circulate responsibly and effectively in society for

offers

Circular

as long as possible in their most valuable form, and

biodegradable

hereafter return safely to the biosphere when no longer

linear ones” (Lacy & Rutqvist, 2015:35). WGSN (2018:2)

of human use”. The need for circularity arguably the

predict for 2020 society embracing “inter-generational

merging of Latouche’s, (2017) ‘Degwoth’ theory and

perspectives”,

mounting pressure for the fashion industry to align its

traditional corporate structures, and mass consumption”.

access

Supply-Chain to

fully inputs

moving

business

renewable, as

“away

model

recyclable

or

substitutes

from

tired

for

marketing,

practices with sustainability. ‘Degrowth’ “will break the way of thought that considers infinite growth to be possible

Whilst

and sustainable” focusing on reducing, “overproduction

fashion

discussions future,

and overconsumption.”, allowing societal developments

urgency

from

with new measurable wealth metrics, like education.

explanation

as

are

there both to

emerging is

still

brands

why

about

a and

circularity

a

seeming

circular lack

consumers.

has

not

of An

advanced

further is because “today the use of virgin resources cannot

is often subsidized, so their full cost isn’t necessarily

reverse the fashion industries damage, as it prioritises

reflected in their price” (Lacy & Rutqvist, 2015:42). Keeping

recycling as the solution, failing to recognise that if a

fast fashion prices low, there is not enough emphasis on

bath tub is overflowing, turning the tap off comes before

the value of the raw materials behind a garment’s existence.

Evidence

suggests

that

the

linear

model

mopping the floor. For example, textiles recycling begins to tackle the landfill crisis, but fails to resolve the ‘resource’

Established

crisis, hence the need for innovative, circular concepts.

optimistic place to start by bringing initial exposure to

brands

introducing

consumers,

increasing

example,

Timberland

the

circularity

concepts have

is

an

familiarity.

reworked

For their

classic boot to create “Timberlands Earthkeeper boots, constructed features

purposefully

such

as

soles

for

‘disassembly’,

made

of

“with

recycled

tire

rubber”. (Lacy & Rutqvist, (2015:64). Progress could achieve large-scale appeal if enough consumers can overcome

needing

‘newness’

as

a

component

of

identity and adopt a new mentality embracing circularity.

“To

transform

the

fashion

industry

and

have

a

true

systemic shift towards circularity, we need to design in circularity from the very beginning” (Haeggblom, Interview 1).

50

51

However, the prospect of circularity is not without concerns. Andersen (2007) sheds light on the “costs of circular systems that must be balanced to avoid the creation of negative value”. Allwood (2014) also raises concern of the problematic “technical impossibility of a closed circle in combination with growing demand or problems with the energy required to recycle material”. Meaning circularity needs to be accessible and beneficial to all, deriving from capability to adequately fulfil the needs of today’s consumers and not just those whom will have greater privileged access. Haeggblom (Interview 1) validates this, claiming that it is a “privilege to even have the time and possibility to discuss sustainability, and more so to be able to purchase garments”.

Circular meaning

fashion

is

conscious

time

a

new

concept

investment

is

to

arguably

consumers required

to

(Figure

17)

understanding

it.

“Today, the average person’s attention span is 8 seconds…a four second drop in 13 years (March 2017)” (Bendoni, 2017:111), which could explain why circular fashion

has

not

gained

momentum.

Circular

fashion

concepts

have

to

be

highly stimulating to stand a chance of gaining traction with consumers, whom are engaged

in

fast,

and

globalised

media.

Switching

to

sustainability

requires

consumer effort to break away from conditioned psychological behaviors. It is easier to process conditioned thinking, like returning to shops where the clothes sizing and garment quality is somewhat presumed. “Frequently repeated conscious actions create unconsciously

driven

behavior…Studies

show

that

thinking

uses

glucose,

so

the

more thought an activity requires the more tired we will become” (Graves, 2010:45).

Sustainability therefore appeals less, by requiring effort to break away from routined psychological behaviors. This suggests that consumers will have to actively condition their behaviours against the flow of ease, to identify sustainable fashion alternatives.

“ THE PROSPECT OF CIRCULARITY...

[FIGURE 17] HAVE YOU EVER HEARD OF THE CIRCULAR ECONOMY / DO YOU KNOW WHAT IT IS? [100 RESPONDENTS]

YES

16%

NO

@grugwela

52

I HAVE HEARD OF IT, BUT DON’T KNOW WHAT IT IS

74%

10%

0%

20%

40%

60%

80%

100%

...IS NOTYOU WITHOUT CONCERNS”

53

“HYPER-INDIVIDUALISM HAS FRAYED OUR COLLECTIVE BONDS AND CONNED US INTO FIGHTING CLIMATE CHANGES AS INDIVIDUALS” LUKAS (2017) Western consumers may be uncommitted to full sustainability. For example, many have stopped using plastic straws to save the fish, but still continue to eat fish. This issue could stem from problems of conscience. Individual consumers are still subconsciously led with the inclination, ‘what’s in it for me?’. Lukas (2017) claims that Neoliberalism’s “celebration of competitive self-interest and hyper-individualism…has frayed our collective bonds” and “conned us into fighting climate change as individuals”. Whilst belittling individual efforts would be counter-productive, it suggests that those

Fashion is romanticised for its aspirational affluence,

privileged with access to sustainability, will not

status and iconography. Lacy and Rutqvist (2015:99)

equate to enough people to result in sufficient

raise the question “is a consumer really interested in

industry change. Especially if those of affluence still

filling his or her cupboard with a cache of clothing

wish to continuously update self-image. “Individual

or does he or she simply want to be able to wear

choices will most count when the economic system

fashionable clothes?”. Illustrating consumer desire to

can provide viable, environmental option for

access trendy clothes, without accountability of

everyone” (Lukas, 2017), meaning that the lack of

permanent ownership. Particularly when a garment is

wide-spread circular implementation is down to

likely to be worn once, such as wedding attire.

brands failing consumers by not providing

Clothing rental services promote that “rather than

accessible, circular alternatives.

accepting that products sit idle, the platform boosts their productivity” bringing a user-centric experience

This argues that the idea of individualism and

to the forefront and allowing “multiple customers”

self-image is a product of the political constructions

access to a garment, reducing “demand for new

which enabled unprecedented growths and

manufacturing”. (Lacy & Rutqvist, 2015:84)

untouchable practices of an elitist orientated free market. The idea of holding the individual responsible

Potentially appealing to millennials, the most for

for any personal ‘down fallings’ within their life, can be

representing their “to share is to care” (Bendoni,

solved by the supposed marvel of consumerism, with

2017:129) philosophy, as purpose trumps ownership.

opportune to aspirationally buy into senses of identity

“Many companies connect with Facebook and other

or success. Others believe that “true power lies in the

social media to allow users to interact and ‘meet’ the

demand side” (Lacy & Rutqvist, 2015:24) because

people whom they will be sharing their goods” (Lacy

“garments that last longer reduce production and

& Rutqvist, 2015:93), suggesting renting could appeal

processing impacts, but only if new purchases are

to tech savvy Gen Z also. The sharing economy “fits

avoided” (WRAP, 2017).

with wider trends of how we consume now- quickly, digitally and on demand”. Spotify, Netflix and Airbnb

Suggesting that even if all the tools to make better

are evidence of where this is already adopted in other

choices are in place, without a consumer mindset

industries, as people are coming to “realize that

shift, change seems improbable. However, there is

experience and time are the most precious

a lack of “clear understanding of the extent to which

commodities” (Bance, 2018).

the circular economy could contribute to subjective well-being”. In the meantime, scattered singular efforts

Exploring the psychology of consumer apprehension,

at “Eco-consumerism may expiate…guilt. But it’s only

ELLE journalist Cochrane (2018) recalls that trialing

mass movements that have the power to alter the

rental fashion came “with some anxiety” from fear of

trajectory of the climate crisis” (Frey and Stutzer,

damaging the garment. Arguably a small sacrifice for

2001). Consumers failing to hold corporations

allowing consumers to satisfy desires for trend-led

accountable for their destructive practices could be

clothing, whilst significantly minimising environmental

hindering the progress of circular fashion.

footprint, compared to a traditional consumer.

54

conscious(un)conscious Adriano B

TO SHARE IS TO SHARING ECONOMY

CARE

BEGIN ENDING

55

An issue in preserving nature is that it is largely “out of sight and out of mind, and that, essentially, is an advertising issue.” (Vevers, 2017). Arguably, this is where brands hold responsibility, to make aware to consumers the industry’s environmental impacts. Business model amendments need to suit the needs of Western consumers, in harmony with being able to justify what has been taken form the natural world, in order to have been made into a marketable commodity.

One perspective is that ‘Governments have the ability to enforce change but there first needs to be a demand for change from the citizenship” and “in the world of the free market, where there is demand, supply can and will be created.’

(Woodyard, 2017). To thrive through circularity, any out-dated stereotypes of eco-fashion will need overruling in a manner that acknowledges trends in separation to linear systems. Meanwhile, consumers could begin practicing circularity, by casting consumer votes responsibly and adopting concepts like reuse, repair, rework, trade-ins, renting, shopping in the resell market; adopting customisa-tion, upcycling or embracing garment brokenness as decorative features. Consumer willingness to participate in sustainable fashion is demonstrated in Figure 18.

Highlighting the inherent goodness within human nature, to overcome desires of micro-trend consumption and retail thera-py norms. Brand progress in cooperation with consumer participation could effectively tackle large-scale industry issues embedded in fast fashion. Haeggblom predicts (Interview 1) “great momentum for circularity in fashion - both by large global players and small designers. There’s lots happening and the industry is really waking up to tackle the environmental impacts it imposes”.

56

O

D T W S

74%

10%

0%

20%

40%

60%

80%

100%

[FIGURE 18] PLEASE TICK ALL THE FOLLOWING STATEMENTS THAT YOU AGREE WITH: [100 RESPONDENTS]

I would like brands to tell me more about where my clothes are made & where they source fabrics & materials for their products.

74%

I am interested to learn more about how brands are taking steps towards sustainability

49%

I would be willing to participate in new schemes of returning old garments to the store for collection, to then be recycled properly

69%

A product clearly marked as ethical or sustainable would make it more appealing than a non-ethical version

None of these.

52%

1%

0%

20%

40%

60%

80%

100%

57

CONCLUSION

58

59

60

CONCLUSION

Evidenced by the research presented, Western

accountability lies and who holds greater capacity to

consumers possess a desire to continuously update a

initiate change. Both consumers and brands appear

curated ‘self-image’, expressing individualism and

hesitant to directly address the brokenness of the linear

belongingness to identity-based beliefs through visual

‘take, make, waste’ model. Without transparency,

associations to trend-led subcultures. Micro-trends enable

consumers may struggle to fully trust brands whom

subculture participation by allowing consumers to avert

claim ‘sustainable’ status but if consumers cannot

FOMO. The self-image is often for presentation to peers,

overcome psychological urges to buy ‘new’ clothes,

largely via social media. “The desire to be envied

then the linear model will potentially run its course until

from a societal and environmental standpoint on social

an ecological collapse.

media” (Green, 2013:109) leads to the copy-cat culture of competitive out-dressing for social approval, and

Consumers may need to dismantle curated individualism

recognition for being able to flaunt micro-trends within

and cultural liberation movements and use the power

near immediacy of its introduction into society. Failures

of collectivism to tackle more significant goals of

to see beyond the bigger picture of influencers and

environmental justice. The neo-liberal theory of

micro-trend subcultures is arguably preventing the circular

“celebration of competitive self-interest and

economy from gaining traction, with privileged Western

hyper-individualism” (Lukas, 2017) has arguably

consumers seeking to satisfy “culturalist’ notion of needs”

manipulated consumers into failing to recognise

(Nava et al, 1997:57), defined as identity curation.

societal consumerism failings. Although, it is debateable

Disregarding environmental externalities, deriving from

if consumers can call brands out for greenwashing if

the impact of fast fashion consumption.

they cannot hold themselves accountable first.

Dismantling “individualism” could enable a more

“Suffocation” highlights the resource intensive

inter-connected society, where belonging and

overconsumption of the Western consumer. Arguably,

meaningful interactions become more significant, enabling

to those accustomed to the privilege of Western

greater potential to make political stances, regarding the

materialistic issues, environmental justice may seem

threats of the fashion industry on the planet. Not to

oppressive to their normal way of life, as it likely requires

suggest that the idea of identity is fundamentally wrong,

consumers to sacrifice the need to continuously have

but more the way that Western identities are based on

new clothes.

ability to act as a good, loyal consumer. Those able to continuously consume new trends are celebrated on

Research highlights consumers submitting to biological

social media, through a system where material

urges to shop, due to basic human instinct to seek out

possession is used as a metric value for success.

reward pleasure senses for the brain. The positive of fast fashion is that it enables trends to be experienced by a

A fashion revolution needs to take place within the

majority of society. Cheaper fashion allows backgrounds

consumer zeitgeist, before it can be expected to

to indulge in the Western norm of retail therapy.

successfully transcend into mainstream society.

Therefore, circular fashion must transcend from the

Trend-setters and influencers could hold the capacity

primary considerations of environmental justice and

to lead the charge on the consumer side. However, for

inclusivity, by considering to “what degree ethically

consumer efforts to be effective, brands must be willing

responsible purchases” (Fernandez, 2018) are practical

to facilitate changes at industry level and offer full

for all. This is when fashion circularity becomes an

transparency to consumers.

issue of privilege. Excluding any “socioeconomic backgrounds” from participating in circularity could

Going forward, consumers should utilise social media

spark social outrage, by highlighting social inequalities

to spread awareness of fast fashion issues through

within fashion accessibility.

accessible digital content, whilst brands respond effectively to what consumers expect from their clothing,

For consumers trying to shop sustainably, greenwashing

enhanced by implementing circularity. Breaking-down

is a concern and possibly a brand-based hinderance to

the need to fulfil self-identity for peer validation will

circular fashion. Inferring that a more transparent

shift consumer zeitgeist from material, aesthetic success

rapport between brand and consumer is required to

to fulfilment and rewarding actions for greater societal

enable circular systems to function. Reflecting on the

good and environmental justice, enabling fashion to

content, there is critical debate between where most

become fully circular.

61

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[Interview 1]

[FIGURE 1]

2019, February 1 Interview with Jonna Haeggblom, Head of Marketing at Circular.Fashion Questions: 1)

What was your personal motivation for getting involved with circular fashion?

My personal interest in circularity in fashion started when I got my first ‘real’ job after University.

I graduated with a business degree (major in sustainability/CSR) and had not planned to work in the fashion industry, however the job I got happened to be at a fashion label. I worked with CSR, e-commerce and communication and it was very exciting learnings. However, quite quickly I realised that it’s not “enough” (however very important!) to communicate the right things to the customers, we need to design the right things. To transform the fashion industry and have a true systemic shift towards circularity, we need to design in circularity from the very beginning.

I got very interested in how two design products for circularity from the very beginning. Luckily, I

APPENDIX

met a company who focuses on this exact question - circular.fashion - and creates services and

[FIGURE 2]

tools that enables designers to design circular garments and ensure closed loop recycling.

2)

Why do you think ‘how on trend a garment is’ and the cheapest possible price it can be

accessed for still gets prioritised over whether or not it’s ethically and sustainably made?

From a business perspective it has to do with the fact that the bottom line in a linear economy still rules the way the industry (economy) operates. However ‘green’ your products are you still need to gain a profit, sell more pieces than last year etc. This is a short-term perspective, but it’s easier to prioritise as it impacts right now rather than long-term environmental impacts. However, the approach of circular economy and circular fashion changes this. Such an approach offers exciting ways of gaining profit detached from material consumption. Such as renting, leasing garments for example!

3)

Why do you think people may hold the preconception that sustainable fashion is not trend-

[FIGURE 3]

led and often dull or boring?

I really don’t think people think so! There are so many innovative and creative brands out there doing products that are both aesthetically and sustainably beautiful. I honestly hear people asking this question way more than I’ve ever heard people stating that preconception. So it’s rather the question not the pre-conception that for some reason is held onto :-)

4)

As many brands regard sustainability as added value into their product, how would you

argue against criticism that circular fashion would be exclusive, for only those whom could afford the more expensive but sustainable garments?

I definitely think this is an important debate. It’s such a privilege to even have the time and possibility to discuss sustainability, and more so to be able to purchase garments. We are very aware that it is and are working with many brands trying to make sustainable garments accessible at a larger scale at less price than today. It has of course a lot to do with volume, smaller brands have higher costs and many brands working with sustainability are such brands. If we could increase the share of sustainable garments made by global players that could make it more accessible.

5)

Do you have any predictions for the future of fashion if circular practices aren’t implemented

soon?

I see a great momentum for circularity in fashion - both by large global players and small designers. There’s lots happening and the industry is really waking up to tackle the environmental impacts it imposes.

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[FIGURE 16] [FIGURE 6] Different tiers of influencers: “Micro (10K - 50K followers)’, ‘Macro (500K – 1 million)’, ‘Elite (1 million – 5 million)” (Google 2018) Sheffield Hallam University [SHU] (2019, January 28). Social Media & Influencer Marketing.

Retrieved from https://shuspace.shu.ac.uk/bbcswebdav/pid8298313-dt-content-rid-32390175_2/courses/55-606496AF-20189/Week%2027%20FFP%20Social%20Media%20%26%20 Influencer%20Marketing%5D.pdf

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