MA Dissertation_chen,wenting by 陳玟廷Chen,Wen-Ting

s e k u n d ä r Practing Daoism in fashion industry

C h e n ,We n -T i n g

陳

玟

廷

Design foc u s

Acknowledgment I would like to express my sincere gratitude to the individuals and the companies who supported this project; to my tutors, colleagues, friends, and my family. Thank you for your unconditional support. Sponsors and Partner: Everest Textile Co Ltd Illuminate Embroidery Studio Dual studio Additional Support: Thomas Chiu, Senior Manager of Everestâ&#x20AC;&#x2122;s Connect&Development Dept. Annie Wang, Journalist of Taiwan Textile Monthly Chiang Ming Lu,Professionist of Taiwanese folk culture Zhen Xin She, Guan Jiang Shou troupe Young I00, Photographer

CONTENTS

4 Thesis #Understanding Sustainability In the Chinese Philosophy of Daoism

26 Design Strategy #Design with Compassion

58 Marketing Strategy #Not daring to put myself ahead of the world

82 Sustainable Standard Report #Consume with Frugality

100 Bibliography

Thesis #Understanding Sustainability In the Chinese Philosophy of Daoism

Index 6 Abstract 7 Introduction 10 Holistic Concept : The Unity of Man and Nature 15 Aspect of All beings : Equality of things 19 Aspect of Morality : Traditional Virtue of Frugality 22 Conclusion

Abstract Environmental protection is an important task worldwide. The progress of technology and knowledge is advancing human civilization, but it also causes heavy pollution to the natural environment. Cultivating moral sustainability is an important key for future development. This study aimed to investigate the understanding of the sustainable aspect of the Chinese philosophy of Daoism. The study obtained inspiration from the cosmology of Laozi to examine the relationship between man and nature in Chinese culture. The emotional relationship with objects in Asian culture was analyzed using the uniformity theory of Zhuangzi. The ancient Chinese practice of sustainability in daily life was realized by designing a harmonious environment. The study findings serve to promote the cultural interaction of sustainable concepts between East and West and to attract interest in the cultural contribution of the ancient Chinese philosophy of Daoism. This thesis hopes to inspire readers to give equal emphasis on humanistic spirit and scientific development to create a sustainable future.

Introdution According to the Danish Fashion Institute (2013), fashion is one of the most polluting industries in the world, second only to oil. For example, 25% of chemicals produced worldwide are used for textiles, and the industry is usually noted as the number two polluter of clean water after agriculture.1 Therefore, sustainability is becoming a neglected issue in the fashion industry. The designers and manufacturers are responsible for understanding this issue. In my observation, sustainability is difficult to implement in the fashion industry, not only because it complicates the supply chain, but it is also unattractive to the market. Why do fashion and sustainability contradict each other? In 2005, the World Summit on Social Development identified three core areas that contribute to sustainability: economy, society, and ecology. The Brundtland Commission described sustainability as “development that meets the needs of the present without compromising the ability of future generations to meet 2 their own needs.” Fashion is related to culture, art, and history. It is influenced by culture and communicates with art. “Fashion and clothing are in term of the concepts of culture and communica3 tion.” This idea could explain how the three areas of sustainability are not sufficient for the fashion industry, which requires the fourth pillar of culture to express the spirit of creativity and humanism. Sustainability authors Yencken and Wilkinson agreed that culture is also an important pillar of future sustainability in 4 their book Australia's Journey Towards Sustainability. Nowadays, technology has made great progress in the fashion industry in measuring the environmental footprint of the entire supply chain and reducing pollution in the natural environment. However,

1 Europe in the world: The garment, textiles & fashion industry (2015), Available at: https://europa.eu/eyd2015/en/fashion-revolution/posts/europe-world-garment-textiles-and-fashion-industry,(Accessed: February 12, 2017) 2 Matthew Mason, Environmental Science Organization, What is Sustainability and why important?, http://www.environmentalscience.org/sustainability 3 Malcolm Barnard, (2013), Fashion as Communication, London:Routledge, p26 4 Yencken, D & Wilkinson, D., (2000), Resetting the Compass: Australia’s journey towards sustainability, Collingwood: CSIRO Publishing,p9

there is one kind of pollution that cannot be measured: sustainability of the spiritual environment. The progress of human civilization also pollutes the mental environment, such as overconsumption of material use and the mental anguish of insatiable desire. Therefore, aside from the study of society, science, and economy, the influence of cultural force is also a major discourse in sustainable fashion. As a Taiwanese designer, I found translating and defining the word â&#x20AC;&#x153;sustainabilityâ&#x20AC;? to Mandarin in a common language difficult. Its definition encompasses a foreign cultural concept and logic thinking. Sustainability has been discussed for a long time in western civilization, but its discussion at the academic level is limited in the East. It would be unfortunate if the East would only follow the international law of sustainability for economic reasons without truly understanding the concept. Thus, I realized that discovering the meaning and value of sustainability in the eastern culture is important. On one hand, doing so can help the East better understand the concept of sustainability using its own cultural philosophy. On the other hand, it can deconstruct the framework of Western philosophy to broaden the concept. One interesting argument I found is that the spirit of sustainable awareness has been hiding behind ancient Chinese culture for thousands of years, but nobody has made the effort to understand it. In this thesis, the discussion centers on understanding the value and meaning of sustainability in the Chinese culture by examining the Chinese ancient philosophy of Daoism. Daoism, Buddhism, and Confucianism are the three main philosophies of Chinese culture. Originating from the Spring and Autumn period (770â&#x20AC;&#x201C;476 BC), Daoism is the most influential philosophy in Chinese culture, and its main contribution is its natural aspect. It exists not only in China but also in other Asian countries, such as Taiwan, Korea and Japan. Laozi, the founder of

Daoism, criticized the human-centered aspect and proposed the idea of “the unity of man and nature.” Daoism believes that humans are part of the universe, but they should not see themselves as the center of the world to conquer or destroy nature. The environmental philosopher Arne Naess also argued that anthropocentrism is the central problem in environmental philosophy, where it is used to draw claims of a systematic bias in traditional 5 Western attitudes to the non-human world. Another distinct aspect for comparison is Dualism. The main thinking system of Western philosophy is that the philosophy of Daoism always considers things with an integrated aspect and opposite things in one form, such as yin–yang. Daoism combines the aesthetic and the environment, and it inspires me to have a broad imagination of sustainability. I believe that ancient wisdom is still a valuable reference as an inspiration for future sustainable development. According to the book The Natural Step for Business, “Humanity must rediscover its ancient ability to recognize and live within the 6 cycles of the natural world.” This essay is divided into three parts. The first part discusses the basic concept of the relationship between man and nature in Chinese culture. Traditional Chinese garden design is used to understand the importance of nature in Chinese culture. The second part presents the value of all beings from the Daoism perspective to examine the connection among animism, art, and culture. The third part is a discourse on the environmental impact of the traditional moral virtue of frugality in Chinese culture. Under the rapid change of technology and human civilization, discovering the forgotten value of ancient wisdom reminds us to slow down and rethink not only environmental sustainability but also mental sustainability. 5 Ian Bowler,C.R.Bryant,C.Cocklin,(2013),The Sustainability of Rural System:Geographical Interpretations, Springer Science & Business Media,p46 6 Brian Nattrass,Mary Altomare,(2013),The Natural Step for Business: Wealth, Ecology & the Evolutionary Corporation, Canada: New Society Publishers,p5

Chapter 1 Holistic Concept The Unity of Man and Nature

Figure1,( 施大畏 , 1990)

The Unity of Man and Nature Western philosophies use Dualism to divide things into two different categories: physical and nonphysical; natural sciences and mental substance; and God and Man. René Descartes provided the classical statement of Dualism, distinguished between mental and substance, and claimed that mind and substance are two different aspects.7 From the Christian perspective, a spiritual relationship between God and Man is important. Christianity recognizes the dualistic thought that nature is matter created by God for the use of Man.8 On the contrary, the ancient Chinese philosophy of Daoism believes in “nature and human as one unit.” Daoism does not look at things from one perspective but views a situation as a whole. It believes that everything in the universe interacts with each other. It presents the relationship between nature and man co-existing equally in the world and rejects anthropocentrism.As mentioned in Dao De Jing in Chapter 25, Laozi said, “There was something formless and perfect before the universe was born, exist before heaven and earth, it was and formless, standing alone and undergoing no change. I do not know its name, I named it Dao. Dao is circulating and changeless, reaching far and remote; Return is the motion of Dao. Man takes his law from the Earth；the Earth takes its law from Heaven； Heaven takes its law from the Dao. 9 The law of the Dao is it’ s being what it is.”

7 Brian Beakley, Peter Ludlow, (1992),The Philosophy of Mind:Classical Problem/contemporary Issues, London : MIT Presses, P3 8 Min, Y. (2006). Impact and sublimation of Chinese nature philosophy on contemporary sustainable urban development: Western strategy meets eastern philosophy (11th ed.), Kaiserslautern: Techn. Univ. Kaiserslautern, p3 9 司馬哲 ,(2007), 道德經 , Beijing : 中國長安出版社 , p96

Daoism established the basic principle of cosmology in Chinese culture and claimed that everything in the world cannot avoid the principle of Dao like the sun rising and setting, the moon becoming full and waning, water evaporating and condensing, and life transmigrating after death. Everything changes and is thus endless. Laozi proposed “Man takes his law from the Earth；the Earth takes its law from Heaven；Heaven takes its law from the Dao. The law of the Dao is it’ s being what it is” as the methodology that teaches people to follow the way of nature and to respect nature when developing strategies and solving problems. In terms of sustainability, the concept of “nature and man as one unit” breaks the limits of Dualism and combines nature and man as well as spirit and substance. The design of ancient Chinese gardens can be used to exhibit that the philosophy of Daoism is established on the basic aesthetic of Chinese culture. The importance of nature influences the different levels of art, architecture, poetry, and music. The general Western garden design pursues conformity and pruning plants into a symmetrical shape to present the aesthetic of human civilization.

Figure2,( 燕趙園 , n. d.)

Western landscape architecture is defined as “the art of arranging land and the objects upon it for human use and enjoy10 ment.” By contrast, Chinese garden design focuses on simulating the organic form of nature and combining architecture, mountains, and rivers to make visitors feel alive in the natural environment. In 1683, Sir William Temple described the Chinese garden as “against the formal symmetry and straight lines of the Western 11 Garden.” Instead of changing the shape of nature with human aesthetic, the design of a garden should present how the ancient Chinese adore nature and affirm that natural things have their own individual value and beauty without human intervention. The philosophy of Daoism also reflects to the concept of feng shui. In Chinese culture, people believe people are influenced by the land around them; different water and soil affect different people. The change in environment influences the energy and health of individuals. From a scientific perspective, feng shui is usually considered superstitious and a mysterious faith influenced by religion. By contrast, feng shui is actually based on environmental philosophy in Chinese culture. It is an activity that works together with nature to create a harmonious space that will benefit the people and bring comfort to all living things. According to an old saying that was recorded in The Book of Rites (202 BC–8 BC), “All living creatures grow together without harming each other. Ways run parallel without interfering with one anoth12 er.” This passage can explain the concept of feng shui and expresses the sustainable concept of ancient China. Generally, Chinese choose houses facing the south direction. On one hand, as China is located in the northern hemisphere, the sun is inclined toward the south in the four seasons, and the cold wind comes from the north. On the other hand, people believe that they cannot disobey the way of nature and that a good environment

10 Xiangqiang Chen,Jianguo, (2009), Sustainable landscape architecture, Hangzhou:Zhejiang University, [online] Available at : http://leml.la.asu.edu/jingle/Wu-Publications-PDFs/2009/Chen+Wu-2009-Sustainable_LA.pdf 11 Michael Sullivan, (1989), The Meeting of Eastern and Western Art, California : University of California Press, p.108 12 勞悅強, (2010), 文內文外 p.358

中國思想史中的經典詮釋, Taipei : 國立台灣大學出版中心,

will have a positive effect on them. In Chinese culture, people believe that burying ancestors at a “Fortunate Location” (also called Dragon Lair) will bring fortune and happiness to the family. Therefore, to maintain the condition of the “fortunate land,” soil and water conservation as well as avoidance of excessive deforestation of the mountain are important. Feng shui is based on by yin and yang. It is measured by the points of a compass, time, and the five elements of water, fire, wood, metal, and earth. People use this concept to create a harmonious space whether in a large or small area. Feng shui takes the approach in which people consider the comfort of all living things in the environment and not just personal comfort.

13 振興居士,(2010), 活學活用居家風水, Teipei : Hyweb Technology, p51

Chapter 2 Aspect of All beings Equality of things

Figure 3,( 梁炳倫 ,2013)

Daoism states that everything in the universe is equal and relates to each other, such as yin and yang as well as good fortune and misfortune, which are two buckets in a well. Zhuangzi is one of the pivotal figures in classical philosophical Daoism. In Zhuangzi’ s uniformity theory, the central concept is “Without 14 other, there's no self. Without self, there's no other.” This concept emphasizes that all things in the world are related and that no difference exists between objects and man. Nature and man are closely linked and equally exist. In The Floods of Autumn, Zhuangzi wrote a conversation between the god of river and the god of the North Sea to discuss how to recognize things in the world. The god of river asked, “Whether the subject be what is external in things, or what is internal, how do we come to make a distinction between them as noble and mean, and as great or small?” The god of North Sea said, “When we look them in the 15 light of Dao, they are neither noble nor mean.” The god of river saw himself as large, but after he met the sea, he saw himself as small. Zhuangzi explained that everything is equal; some things may look different only because people use relativity to compare them. If you only have a small part like a river, you will only see one side of the truth, but if you have a large part like the sea, you will obtain a holistic point of view. In The Fable of ZhouangZi, he said,” Everything in the world are different species, use different form exist in the world; in fact that everything are the same in the way of Dao, living circulating in a life cycle, whatever is great or small.” In The Floods of Autumn, a conversation between Zhuangzi and Huizi is recorded. Zhuangzi and Huizi were walking on the bridge to watch the fish in the river. Zhuangzi said, “See how the small fish are darting about! That is the happiness of the fish.” Huizi asked, “You are not a fish, how can you know the happiness of the fish?” Zhuangzi answered, “You are not me. How do you know that I do not know?” Zhuangzi often used animals and

14 Daohuan Yang, (2016), The structure of Chinese Philosophy : From Dao de Jing to thick black theory, US : Daohuan Yang, P149 15 Guying Chen, (2016), The philosophy of Life: A new Reading of the Zhuangzi, Netherland:Brill, p131

Figure4,( 汪亚尘 ,1939)

nature to tell a story and to present his idea that everything is equal and has its own value. He proposed, “Heaven, Earth, and I 16 were produced together, and all things and I are one.” All things should be recognized with equality to avoid using the subjective aspect to understand the world. People need to abandon the ego-centered idea to respect everything in the world, and should not evaluate the value of nature through their profit. The philosophy of Daoism has far-reaching influence on Chinese culture. The uniformity theory also reflects the long history of animism in Chinese culture. The basic concept of animism is everything in the universe has a spirit and its own will. Natural living things are not the only ones included but also architecture, painting, and the other artifacts. If you treat an object well, the object will reflect its kindness to you. However, if you treat it without respect, the object will cause a negative effect. “One of the characteristics of animism is the attribution of human qualities to the force and objects of nature. For example: bamboo was said to possess firmness, uprightness; mountains were characterized by 17 propriety, caution” . The idea of animism influences the relationships between nature and man and between object and man. In ancient China, wood imitates a relationship with human life. People use wood to build houses and daily essentials, and they have a strong emotional connection with wood. Ancient Chinese believed that plants have spirit ; therefore, felling tree was a dangerous job at that time. People had to worship trees before cutting them down, and they cut trees only at a certain hour in a day to express the noblest respect to nature. If people violated this rule, the god of trees would punish the people. In Taiwan, animism influences the relationship between objects and man in daily life. Many children in Taiwan have experienced being scolded by their parents for being rude and disrespectful to objects when the children move such objects as chairs or books with a

16 楊國榮, (2006), 庄子的思想世界, Beijing : 北京大学出版社, p233 17 Tai P.Ng, (2007), Chinese Culture, Western Culture : Why Must We Learn from Each Other? Lincoln: iUniverse, p68

loud noise. Different spirits are in charge of different objects, for example, the spirit of the door, the spirit of the table, and the spirit of bed. As people believe that the life of an object is meaningful, they treat objects kindly and with respect. For example, they do not throw books on the floor or kick things to move them around. From the scientific perspective, animism is superstition. However, in the old days, which lacked material resources, animism formed a good habit for people to learn how to appreciate and respect objects. Animism links the emotional relationship between nature and man and between users and objects. It also influences the spirit of craftsmanship in eastern culture. The delicate craftsmanship in Asia emphasizes how artisans wake the soul of a material through techniques and a respectful mind. Japanese designer 18 Toshiyuki Kita introduced the concept “the soul of design” to explain the philosophy of Japanese design. He considered that “form” and “function” are not enough for a good design; “soul” is the most important element of a good design. Good products need to have souls, so that user will appreciate them with their heart. Users will always repair and protect the products. People with compassion for objects value the materials and will not quickly throw them away.

18 David N Buck, (2014), Responding to Chaos : Tradition,Technology,Society and Order in Japanese Design,UK : Taylor & Francis, p113

Chapter 3 Aspect of morality Traditional virtue of frugality

Figure 5, 南京博物院 ,( Qing Dynasty)

Traditional virtue of frugality Frugality is a traditional virtue in Chinese culture. It not only influences personal financial behavior but also relates to environmental protection. In ancient China, frugality was an important moral standard of a grateful king. People would judge if the king was a sage king or not through his frugal personality. This behavior can be traced its origin back to China’s initial philosophy. Frugality is emphasized in Daoism. As mentioned in Dao De Jing in Chapter 59, Laozi said, “For governing people, and serving nature, there is nothing better than frugality; Frugality means do not waste, than there is no obstacle you cannot overcome, and would never run out your resource; This is the root of growing a country. Persisting the principle, than the way will last long. We call this deep roots and solid truck. It’ s the way to achieve enteral Dao.” To be wise, a man has to learn moderation and to appreciate what one takes from nature with great respect. By contrast, in modern times, people take resources from nature without limits and destroy the environment in the process. In ancient China, wise men already understood the importance of maintaining the balancing of the natural environment and proposed the concept of “governing country by sustainability.” In the history of ancient China, many laws were implemented to protect the environment. In the Xia dynasty (2070 BC–1600 BC), Yi Zhou Shu recorded, “In spring, forbidden to cut down trees, to help plants growing; In summer, forbidden to netting fishes, to 19 help fish growing” In the Zhou dynasty (1046 BC–771 BC), The Book of Rites noted, ”In spring, felling tree is forbidden; in summer, 20 burning woods is forbidden”. King Wen of the Zhou dynasty announced that if any one broke the environmental law, they would 21 be executed without exception. During the Spring and Autumn

period of Chinese history, the prime minister of Qi state (c. 260 BC) Guan Zhong said, “A person who cannot protect the natu22 ral environment cannot be the king of the world.” In the Song dynasty, the emperor Taizu of Song (961) created the following law: “In February, hunting pullus, larva and adolescent fish is 23 forbidden.” In sum, environmental protection was important in Chinese culture in ancient China. Frugality also influenced the life of the public; people would make do of what they have in their life. A traditional custom from ancient China states that a family with a newborn baby had to collect different pieces of abandoned fabric from a hundred families to make a baby garment called “the cloth of a hundred houses.” People would give a piece of fabric from an old garment with a note of blessing. This cloth might not be the most beautiful garment, but it was the most meaningful, as it carried blessings from many friends and families. People believed that with this cloth, the baby would grow up with blessings. “The cloth of a hundred houses” represents the virtue of frugality. From the perspective of modern sustainability, it also meets the concept of upcycling. The concept of appreciating environmental resource also influenced product design in ancient China. In the Han dynasty, the lighting design combined the progress of aesthetic, technology, and sustainability. In ancient times, although people used animal oil as fuel, black smoke and dust would still pollute the air. Therefore, the ancients designed a pipe that dredges the smoke to a filtration sink. People would fill the sink with water. When the light was burning, the sink would filter the smoke and dust to protect the environment. In this example, the horn of the bull is the pipe, and the body of the bull is the sink that filters polluted air.

22余文濤, (1987), 中國的環境保護, Beijing : 科學出版社, p8 23 趙汗, (2016), 古人如何保護環境明清皇帝禁獻奇珍異獸 [online] Available at http://www.chinanews.com/cul/2016/11-22/8071189.shtml [Accessed 11 March. 2017]

Figure 6,(南京博物院, Lighting design of the Han dynasty in Sou Zau, China)

Conclusion This study confirms the truth that the ancient philosophy of Daoism has a significant influence on the sustainable aspect of Chinese history. It provides confirmatory evidence that the main importance of the ancient sustainable method is to give equal emphasis on both the spiritual environment and the natural environment. Modern people pursue the three needs of sustainability, namely, economy, society, and ecology but usually forgot the immeasurable value of culture and art, which concretize people’ s spiritual environment. Without culture and art, any great invention cannot express its best ability. Cultural soft power is one that can change the world. To advance sustainability, aside from establishing specific laws on environmental protection, we should also not overlook the effects of culture, language, and art. The fashion industry is especially related to culture and art. If it only relies on the three needs of modern requirements, then it will not be able to move toward sustainability. Lao-Zi introduced an alternative value system that is different from the modern world value system that advocates the pursuit of speed, efficiency, and profit. He posited his “three treasures” as a conclusion of Dao De Jing and as a methodology for people to practice Dao. “First is compassion, second is frugality, third is not daring to put myself ahead in the world. Having compassion, I can be brave. Having frugality, I can be generous. Not daring to put myself ahead in the world, I can rule myself.” (Chapter 67) The three treasures can also serve as a principle for practicing sustainability in the fashion industry. I propose the guideline of “design with compassion, consume with frugality, and practice Dao with a humble mind.” Compassion means highly valuing a merciful heart and affectionate emotion in the life process of cultivating virtue and 24 reaching Dao. Laozi promotes having a compassionate heart for everything in the world to eliminate the boundary between nature 24 Min, Y. , (2006),Impact and sublimation of Chinese nature philosophy on contemporary sustainable urban development: Western strategy meets eastern philosophy (11th ed.). Kaiserslautern: Techn. Univ. Kaiserslautern, p128

and man and between the self and non-self, and to practice the concept of “Heaven, Earth, and I were produced together, and all things and I are one.” In the modern fashion industry, which is influenced by industrialization, man no longer plays an important role in it. Retailers can produce garments without designers, technology has replaced the value of artisans, and tailors have become production line machines in industrialization. As the value of humanism and culture is lacking, the products we make do not meet the mental demand of consumers and are also harmful to the environment. “Designing with compassion” considers the environmental issues in the fashion industry and compassion for all living things in the world. We should attach importance to human involvement and support the value of human spirit to produce long-lasting products that meet and touch the physiological needs of consumers. The famous Chinese artist Zikai Feng, who was known as the Father of Chinese Cartoons in the 1920s–1930s, spread the importance of compassion. His major collection “Creating a World with Compassion” was praised as the most sustainable teaching material for children in China. He said, “the compassion of artist is not just reflect amongst people, but also with every object in the world, such as animal, plants; with compassion, everything in the 25 world of art is alive, can laugh and tear with soul.” The difference between a painter and an artist is compassion, which helps people to feel the beauty of the world. The painter only depicts the appearance of an object, but the artist presents the soul through the object. Compassion combines art and sustainability together; it is the key element of the fashion industry in the future. When the self feels united with nature, an individual can learn how to create meaningful sustainable products and appreciate the natural environment.

25 丰子愷,（1985）,丰子愷論藝術, Shanghai : Fudan university, p124

The fashion industry should “consume with frugality.” In this industry, material consumption involves the production process of manufacturing and the consumption behavior of users. Manufacturers take resources from nature without limit, thus causing serious environmental pollution. The phenomenon of overconsumption makes modern people forgot their emotional relationship with objects from ancient times. We should remember the principle of uniformity theory, as mentioned in the second part of this essay. All things, whether animate or inanimate, should be respected. Frugality reminds us to appreciate what we have and to reduce taking resources from nature to mitigate the environmental impact. It not only saves the natural environment but also our spiritual environment. The third treasure of Daoism is “not daring to put myself ahead of the world.” It means to “practice Dao with a humble mind.” This principle helps people to remember that man is not the center of the world and to be humble in the fashion business. The principle of capitalism is not the progress of enlightenment or hu26 manism but rather speed. The business model of the fashion industry is about making the fastest and the largest quantity. By contrast, Laozi educates people not to try to be number one. If competition is the only thing that matters, then people will not have the time to improve their self-ability and will forget that other things are more important than getting ahead and fame. People should be like still water that looks calm but runs long rather than a large wave that comes fiercely but goes in the blink of an eye. Being humble is the way to approach a sustainable future and to attain longevity in business.

26 David W.Hill,(2015),The Pathology of Communicative Capitalism,UK : Springer, p5

Sustainability is not an urgent problem that needs to be solved in our generation; rather, it is the peopleâ&#x20AC;&#x2122; s eternal responsibility generation after generation. Both spiritual and natural environments should be given equal emphasis on future sustainable development. Environmental pollution,, such as clime change or air pollution, is visible and measurable by science and technology. However, people always neglect the unseen mental pollution, which involves attitude and faith that influence human behavior. By learning ancient philosophy, Dao can be practiced in real life to cultivate sustainability among people and to understand the importance of culture and art. The immeasurable soft power greatly affects the world.

Design Strategy #Design with Compassion

Index 28 Design Concept 30 Design Strategy 36 Cutural Heritage 40 Aesthetic Inspiration 43 Mood Board 44 Material 45 Color 46 Technical Drawing 48 Design Process 50 Sketch 51 Photo

Design Concept

In my project, there are three ideas relating to design. The first is “The unity of man and nature” . In the book Dao De Jing, it describes the philosophy of Daoism: “There was something formless and perfect before the universe was born; Born before Heaven and Earth; Independent and changeless; Circulating and ceaseless. This is the mother of the world. We call it Dao. Man follows the earth, Earth follows heaven. Heaven follows the Dao. Dao follows what is 27 natural.” The founder of Daoism, Lao-zi, believed that the world is circulating like Dao, such as the sun rises and sets day after day, the moon waxes until it becomes full, and then wanes night after night. “Return is the motion of Dao” . This rule of how the universe works is how I envision a future fashion industry. This concept inspires me to apply the rule of Dao to the fashion industry and design whilst considering our natural environment.

27 司馬哲 ,(2007), 道德經 , Beijing : 中國長安出版社 , p96

The second idea is the equality of things. Daoism states that everything in the universe is equal and related to each other, such as Yin and Yang. “Without others, there is no self. Without self 28 there is no other.” This concept emphasizes that there is no difference between objects and man. This reminds me that the value of a garment is not just a consumed item, but could have a higher value. Due to the fast fashion atmosphere, the speed of at which people are throwing away their garments is just as fast as the speed of making them. Nowadays, We have lost the emotional connection with objects. Therefore, this project is aiming to rebuild the connection between a garment and the consumer, in order to educate the consumer about the positive influence and the sheer beauty of cherishing an object. The third is compassion. Compassion is one of the three treasures in Daoism. In Daoist philosophy, compassion means highly valuing the merciful heart and affectionate emotion in the life process of cultivating the virtue of Dao. The famous artist Zikat Feng, known as the father of Chinese cartoons in 1920’ s, once said “ the compassion of an artist is not just reflected amongst people, but also with every object in the world. With compassion everything in the world of art is alive, it can laugh and cry with 29 soul.” The difference between a painter and an artist is compassion, the painter only depicts the appearance of an object, but the artist presents the soul through the object. Compassion is the key element to eliminate the boundary between nature and man, and between the animate and inanimate, It is also the main concept to combine aesthetic with sustainability. In the modern fashion market, most garments are created by analysing the best selling products in magazines or social media, rather than designers. People follow the hottest trends blindly rather than giving more attention to the design concept behind each garment. The garments without soul and meaning are also causing the universal phenomenon of overconsumption, which is the main reason for environmental pollution. 28 Daohuan Yang, (2016), The structure of Chinese Philosophy : From Dao de Jing to thick black theory, US : Daohuan Yang, P149 29 丰子愷,（1985）,丰子愷論藝術, Shanghai : Fudan university, p124

Design Strategy Compassionate Redesign In this project, I have combined the above the concepts of Daoism to develop my own design strategy â&#x20AC;&#x2DC;Compassionate Redesignâ&#x20AC;&#x2122; . This means after the consumer returns the products; they will be redesigned into new products. For example, in its first life, the product might be a dress; in its next life, it might become a part of a coat. The product development will focus on making patterns to be suitable for deconstruction and redesign in the future. Compassionate Redesign is different from the value system of the modern fashion industry. The mission is about creating an ongoing design experience for the consumers in order to extend the lifespan of their garments. There are several important aspects to follow when implementing Compassionate Redesign. Firstly, to be considerate of the impact design could have on nature and to use sustainable material with a respectful mind. Secondly, to emphasize the importance of human involvement in the design process, which means to respect the spirit of the artisans, pattern makers and all the professionals in the fashion industry, instead of creating garments by merely relying on machines and data. Thirdly, to plan a life journey for the garments. Just like in Daoism, everything in nature has an afterlife; the garments should also have several life cycles. This would enhance the relationship between consumers and garments. The last is to design a garment with a compassionate mind, discovering more value in culture, nature and humanity, and to educate consumers about the beauty of cherishing an object.

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Comsume with frugality

Manufacturing with artisans

Compassionate Redesign

Figure 7 (Redesign model, Author's own image,2017)

Compassionate Redesign is building circularity into design process.Instead of a linear system, Compassionate Redesign creates different life cycle with the consumers. This project only selects polyester material, which is certificated with Ă&#x2013;ko-tex 100.Polyester is the one of most durable materials for recycling. Since 1993 the first polyester garments made from fiber recycled plastic bottles appeared on the market, and in 2005 also became possible T2T (Textile-to -Textile)recycling of those garments made of poly30 ester. We especially choose to recycled polyester as the main material, which is design for long-lasting and recycling at the end of the product's life.

30 Anon, (2017). Recycle and Materials for Circularity. [online] Available at: https://www.linkedin.com/pulse/recycle-materials-circularity-alice-beyer-schuch [Accessed 1 May 2017].

The simple vest and the traditional collar of “Guan Jiang Shou” can be combined into a new garment..

� The trouser can be redesigned into a short with pockets or embellished with a new embroidery pattern.

� The dress is deconstructed and different and fabric and embroidery is introduced.

�

The process of embroideri n g t h e c h a ra c t e r “ 將 ” ,which means general in english.

Several products are combined to create a dress full of memory.

ďż˝

Part of the jacket sleeve is preserved and embellished.

ďż˝

All the garments have a open lining, which is suitable for redesign and embroidery.

Cultural Heritage Traditional Taiwanese Hand Embroidery

Figure 8,(Embroidery, Author's own photograph,2017)

Figure 9 (Young Ioo,2017)

In this project, I collaborated with a Taiwanese embroidery studio called â&#x20AC;? Illuminate,â&#x20AC;? to explore the technique of traditional hand embroidery. Taiwanese embroidery originated with Min Embroidery, but after the past three centuries, Taiwanese religious folk art enables Taiwan to have its own unique characteris31 tics. Due to the growth of Industrialization, but it has become less popular . The embroidery master og Illuminate devoted to preserving cultural heritage, collaborated with me to implement this technique into fashion design in the hope to stir the interest of more young consumers. In this collection, besides deconstructing the garments, I also deconstructed the embroideries. I decided to show the unfinished process of embroidery on garments. The consumer can see different stages of the embroidery development, and experience the process of hand embroidery. It is like a life journey between the garment and the consumer. The whole supply chain is based in Taiwan. I have used 100% Recycled PET fabric from Everest Textile Company as the main material and incorporated CMT process with Dual Studio, which is a team of young fashion graduates. 31 Teen-Hang Meen, (2014), Innovation in Design, Communication and Engineering,China: CRC Press,p 278

The first stage of a dragon The Master traces the dragon on the fabric,then places polyester stuffing on ce r t a i n a re a s a n d stabilizes them with threads, this gives a three dimensional look to the embroidery.

Figure 10 (Dragon,Author's own photograph,2017)

The second stage of a dragon He then embroiders t h e w h o l e d ra go n with many colorful threads. As an experiment, the embroidery in this collection is with polyester threads instead of traditional golden threads.

Figure 11 (Dragon,Author's own photograph,2017)

Figure 13 (Young Ioo,2017)

The final stage of a dragon H e u s e s d i f f e re n t c o l o r threads to outline the delicate dragon scales.

Figure 12 (Dragon,Author's own photograph,2017)

Aesthetic Inspiration

Figure 14 ( Guang Jiang Shou,Author's own photograph ,2017)

The aesthetic inspiration of this project comes from a Taiwanese folk culture â&#x20AC;&#x153;Guang Jiang Shouâ&#x20AC;? . Guan Jiang Shou comes from the Taoist religion; it is a kind of polytheistic religion. Guan Jiang Shou is described as the underworld police or the bodyguards of gods. Their duties are to protect gods, expel demons, and bring blessings to people. They commonly protected god in charge of managing and punishing spirits in the underworld. People can often see Guan Jiang Shou dancing in religious events. In Taiwan, people usually misinterpret them as a symbol of illiteracy and danger, because of the lack of communication and understanding. The truth is, they are just a group of people who spend their lifetime preserving the traditional performance art. I used them as an inspiration because a lot of Asian people scorn their own culture and pursue the western world blindly, this causes their own culture to rapidly 32 disappear . I want to tell people that, while the whole world is marching into the future towards globalization and focusing on developing new technology, we should not forget that there are many small corners in the world. In your country,

32 Xin Ran,(2004),China is obsessed with all things western,[online] Available at: https://www.theguardian.com/world/2004/jul/23/china.gender [Accessed 4 May 2017].

Figure 15 (Zhen Xin She, the troup of Guang Jiang Shou,Author's own photograph,2017)

there are stories, culture, which may be forgotten but should still be valued. Through this project I wish people would change the stereotype of fashion trends and have a tolerance for unusual things and people even if they do not really understand them. I believe that sustainably is not only for protecting the environment, but also for presenting human culture and spirit. In May 2017, I went to visit Zhen Xin She,which is a famous troup of “Guang Jiang Shou” in New Taipei City in Taiwan. They explained to me the costume of Guang Jiang Shou and displayed the way of wearing piece by piece. I found that the construction of traditional costume is very different from modern clothes. The complexity of these garments presents a different value system from modern fashion. The process of wearing the garment is like a ceremony, you have to really understand your garment and have a respectful mind. Therefore, in this project, I use traditional Guang Jiang Shou’ s costume as the main pattern and redesign it into a modern form, while creating multiple life cycles for the garments.

Figure 16 (Zhen Xin She, the troup of Guang Jiang Shou,Author's own photograph,2017)

Mood Board

Material

100% Recycle PET

Figure 17 (fabric,Author's own photograph,2017)

Color

Figure 18 (Temple,Author's own photograph,2017)

Technical Drawing

Figure 19 (Technical drawing ,Author's own photograph,2017)

Figure 20 (Technical drawing ,Author's own photograph,201719

Design Process

Figure 21 (Design Process,Author's own photograph,2017)

Sketch

Figure 22 (Look 1 ,Author's own photograph,2017)

Figure 23 (Look 2 ,Author's own photograph,2017)

Figure 24(Look 3 ,Author's own photograph,2017)

Figure 25 (Look 4 ,Author's own photograph,2017)

Figure 26 (Look 5 ,Author's own photograph,2017)

Figure 27 (Detail ,Author's own photograph,2017)

Figure 28 Author's own photograph,2017)

Marketing Strategy # Not daring to put myself ahead of the world

Index 60 Business Plan 61 Project 61 Vission 61 Mission Statement 62 Value Position 63 Market segmentation 64 Price Range 65 Redesign

68Sales and Marketing 68 Channel 70 Target Group

72 Marketing Plan

71 Promote

72 Corporate Identity 73 Logo 73 Package 74 Hangtag 75 Manual 76 Brand Relationship 76 Brand Personality 76 Brand Self-image 77 Brand Culture

78 Marketing Analysis

Businese Plan

“Not daring to put myself ahead of the world, I can rule myself.” Dao De Jing Chapter 76 translated from Chinese

Figure 29,(雲上文化,2017)

Figure 30,(McLaren Excell, 2017)

Project Sekundär explores the ancient Daoist concept that “The unity of man and nature” as it relates to the fashion industry through the practices of sustainable production and compassionate redesign. The brand aims to offer customers a sustainable lifestyle, by combining art, fashion and environment, while spreading the wisdom of Daoism philosophy to the world.

Vision Designed with compassion, consuming with frugality, and being humble to challenge the world.

Mission Statement The mission of the brand is to create a harmonious world by combining environmental objects with fashion design. We believe in highlighting the importance of valuing artisans and presenting the traditional spirit in modern form. By enhancing the emotional relationship between products and consumers, the toxic mentality of over-consumption is reduced.

Value Position -Educating customer in a sustainable lifestyle. -Combining fashion, culture and philosophy into a sustainable future. - Transforming traditional cultural heritage into modern fashion form. -Supporting Taiwanese traditional embroidery craftsmanship. -Using sustainable material and non-toxic production to reduce environmental impact. -Offering, “on going design experience” and “personalization design”. -Designing for high quality, long lasting and slow fashion. -Bringing sustainability to women’s ready-to-wear market.

Figure 31,(Young Ioo, 2017 )

Market Segmentation

Figure 32 Market segmentation

Price Range in the segment In the fashion industry, we differentiate the fashion market into five categories: Haute Couture, Ready-to-Wear, Diffusion, Bridge and 33 Mass Market. The price range is varies in each segment. The most expensive price point would be Haute Couture which is about 1000 € and up.34 Haute couture offers the top quality and most exclusive design in the fashion market. For example, Chanel. Ready-to-Wear is also called Pret-a-Porte in French. This market segment combines creativity and industrialization with small to medium quantities, such as Prada. The price is about 3 to 5 times the mass market price product- which is in the range of 120-1000€. The price range of the 35 diffusion segment is between 100-500€, The diffusion segment is targets a young audience and tries to offer good quality in a wider volume. Pricing for Marc by Marc Jacobs is around 50-200€ placing the brand in the much more affordable “bridge market” unlike the high end brand, Max & Co.The bridge market usually designs for daily uses and offers consumers a level of creativity. As for the mass market, it offers the lowest price to consumer in a large production quantity. 33 Aliamarino,(2017),Fashion Market segementation,https://fashionthoughtsweb.wordpress.com/2016/11/23/fashion-market-segmentation/ 34 Anasyaku,(2014),https://ansyaku.worpress.com/2014/10/10/week-2- fashion-market-segmentation/ 35Aliamarino,(2017),Fashion Market segementation,https://fashionthoughtsweb.wordpress.com/2016/11/23/fashion-market-segmentation/

Price range that Sekundär offers Sekundär uses only high-quality, sustainable fabrics and traditional embroidery craftsmanship. The products will be highly handcrafted. The aesthetic is unique, isolated and independent. Thus, the product would be premium priced and purchased by a loyal customer who is interested in a significant, individual product. The price range of Sekundär would be around 200- 700€, which belongs to high-end ready-to-wear. The price of second life of products is differentiated in three levels, classic , premium and exclusive. The price depends on the complexity of the redesign.The second life design at classic price would be around 200-300€ and the price of Premium design is around 500-700€. The price of Exculsive design, which offers a personalizable design experience, would be around 900-1200€. Our customer could combine their creativity and wisdom for designing a individual new look for their old garment with designer.

Classic

200-300€

Premuim

500-700€

Exculsive

900-1200€

Figure 33, author’ s own photograph

Redesign System Sekundär is offering a unique shopping experience by combining Daoist philosophy, art and sustainability. The modern fashion system is falling into a vicious circle of over-consumption, which means buying more clothes without appreciating the value of the design and consuming it at a rapid pace in the most fast speed. In this way, people easily lost the intimate emotional connection with products. Sekundär is focusing on creating a poetic life journey between consumer and garments. We call it “Compassionate Redesign” . Compassionate Redesign includes following elements, in order to share a positive value system. We consider the importance of sustainability while creating a meaningful shopping experience. The inspiration of Compassionate Redesign comes from the equality theory of Zouang-Zi, which is one of the main concepts in 36 Daoism. The products of Sekundär are designed to have continued redesign possibilities and to have a meaningful journey with consumers, instead of becoming wastes after the first use. Compassionate Redesign is similar to the concept of Upcycling. There are still differences between those two systems. The purpose of upcycling is about giving a new value to wasting potential material. In the book Cradle to Cradle, the author seperates the term “recycling” into two different terms “upcycling” and “downcycling” , depending on recy37 cling the waste into higher value products or lowering the value. In my opinion, the definition of waste and the value in fashion are dependant on personal subjectivity Besides, The exisiting upcycling system in the fashion industry usually collects the material from waste, including pre-consumer waste and post-consumer waste, which does not guarantee the safety and the quality of the material. On the other hand, compassionate redesign uses reliable material in the first place. The process of redesign is personal in order to educate consumers on the importance of being responsible for products and to create a safer upcycling life-cycle of products. 36 Liu Jianmei, (2016), Zhuangzi and Modern Chinese Literature,Oxford University Press,p 125 37 William, McDonough; Michael Braungart (2002). North Point Press, ed. Cradle to Cradle: Remaking the Way We Make Things. North Point Pr. pp. 56–57.

â&#x20AC;&#x153;Everything in the world are different species, use different form exist in the world; in fact that everything are the same in the way of Dao, living circulating in a life cycle, whatever is 38 great or small.â&#x20AC;? Zhuangzi translated from chinese

38 Guying Chen,(2016),The philosophy of Life: A new Reading of the Zhuangzi, Netherland:Brill,p131

In the light of Dao, objects and man, they are neither noble nor mean.

Compassionate Redesign Consider the natural environment Connect the importance of human involvement Design a life journey of a garment Design garments with a compassionate mind Discover more value in culture and humans. Educate consumers about the beauty of cherishing things. Enhance the relationship between humans and products.

Sales and Marketing

Figure 34 (Bless Home,2017)

BLESS HOME,Berlin

Channel SekundĂ¤r is selling at alternative fashion select shops, which targets young and spiritual individuals. SekundĂ¤r is also displayed at modern art galleries to present the importance of cultural heritage and the spirit of Taiwanese traditional hand embroidery.

Bless is located three floors up and hidden away in a typical residential street in Berlin. They are collecting special items from all over the world, and create a unique home shopping experience.

Figure 36 (Dover street ,2014)

Dover Street Market,Tokyo Dover Street combines just the right media, where fine art meets fashion, with a varied selection of international designers and artists. Figure 35 (Merci,2017)

Figure 35 (Merci,2013)

Merci,Paris Merci is a concept store that is about more than fashion; it combines furniture, home textiles, and literature to create a fancy, cozy atmosphere. Figure 37 (NON Berlin ,2016)

NON, Berlin Gallery NON Berlin pursues an aim to become the hub for exchanging culture and arts between Asia and Europe through organizing sustainable projects, mapping networks, creating archives and providing up-to-date information. 69

Target Group •Life style with Wisdom: They would like to learn more knowledge and experience different cultural atmospheres through selecting meaningful products in their life. •Confident and Stylish: They are confident to wear something different and interested in expressing their special personality, instead of following mainstream fashion style. They think the design concept is the most important element to present their idea, but not through lux material to set off their financial status. •Sinophile: Sinophile is a person who has strong interest in Chinese culture and aesthetic. •Ethical & Sustainable Believer: People who have conscientious customer behavior.

Promote Hunger Marketing: Each item will produce less than 10 pieces. Besides, Redesign collection is individually made. Every piece is unique. Seasonless: Defining the collection as “SPFW”, instead of using summer or winter to divide design, this strategy can make the relationship between customer and brand to be closer. Direct marketing: The brand will send the news, collection or event direct to customer’s e-mail, in order to build an intimate relationship with customers. Customers will feel they are a part of the brand. Digital communication: The brand will use social media as the communication tool;I will use “facebook” to communicate with the global consumer, and use “weibo” to communicate with Chinese consumer. Figure 38 ( 趙益平 , 品書院 ,2017)

Transparency: Every product will have an individual passport. It does not only record the information of material and production, but also records the story of the previous owner. The transparency of information will build the trust between customers and the brand. Personalized service: Creating a personalized shopping experience in brand’s studio, offering flexibility of redesign your garments.

Culture Event: The brand will hold the pre-order event, combines with Chinese culture elements. Ex: tea ceremony. Storytelling: The brand is telling the beauty of sustainable philosophy. Through understanding Asian culture aspect to experience the sustainable lifestyle.

Marketing Plan

Corporate Identity Figure 39 (authorâ&#x20AC;&#x2122; s own photograph,2017)

Logo

Figure 40 (author’ s own photograph,2017)

The name of the brand is “Sekundär’ , which means the second place in the German language. The brand follows the philosophy of Dao, by reminding oneself the 39 rule of Dao, “Not daring to put myself ahead in the world, I can rule myself ” . Sekundär is standing aloof of the value system in modern fashion world. We are not placing ourselves to be number one; we are not chasing the standard beauty of society; we are not the icon of fashion, we are different, we are ourselves.

Package

The Package is designed for helping our customer to preserve well the products for a long time.

Figure 41 (author’ s own photograph,2017)

39Thomas Michael,(2015), In the Shadows of the Dao: Laozi, the Sage, and the Daodejing,New York : SUNY Press,p262

Hangtag

Figure 43(straw shoes of Guang Jiang Shou,author’ s own photograph,2017)

Figure 42(hangtag,author’ s own photograph,2017)

T h e d e s i g n o f h a n g t a ge i s inspiring from creating a journey between garments and consumers. The hangtag could be a postcard. We provide a envelope for our customer to collect and record evey memorable experience with the garment. The rope of the hang tag is made by the straw of the shoes of “Guang Jiang Shou” .

Manual The brand designs a m a n u a l ,w h i c h d e s cirbes the process of a garment in Compassionate Redesign.

sekundär

Figure 44(Manual,author’ s own photograph,2017)

sekundär

The trouser could be redesigned into a short pants with pockets or apply new embroidery pattern .

Figure 45(Manual content,author’ s own photograph,2017)

Brand Relationship â&#x20AC;&#x153;Unique design, Individual service, Secret phenomenonâ&#x20AC;? The brand aims to build an intimate and discreet relationship with consumer. Such as a personal designer offering customers more flexibility to redesign old garments.

Brand personality The brand is looking for a unique aesthetic, instead of blindly following the mainstream fashion. It Expresses the creative idea and humanistic spirit of the young generation.

Brand self-image The brand as an educator, to sharing the beauty of craftsmanship, creating a new figure of future women, and spreading the wisdom of sustainability. We wish, after wearing this brand, our customers will feel themselves as individual and perceptional in their profession area.

Brand Culture

Brand Identity Model Culture

Capabilities Embroidery Craftmanship Compassionate Redesign Ethical Production

Daoism Philosophy Experimental Sustainable

Personality

Relationship Intimate Discreet Wisdom

sekundĂ¤r

Unique Creative Young Spiritual

Physique

Self-Image

Orient Aesthetic Trandition x Mordern Artistic

Individual Perfectionist Literature

Figure 46(brand identity model, authorâ&#x20AC;&#x2122; s own photograph,2017)

Marketing Analysis

Sustainability is the key issue of High-end market According to the Danish Fashion Institute in 2013, fashion is one of the most polluting industries in the world, second only to oil. For instance, 25% of chemicals produced worldwide are used for textiles and the industry is often noted as the number two pol40 luter of clean water after agriculture. Sustainability becomes a big issue in the fashion industry. From production to consumer, the whole supply chain is moving forward to change the negative image of fashion industry. For the luxury market, some people believe those wealthly consumers are increasingly concerned about environmental issues. But based on the data of Esther Mauer’ s report, “While the majority of the consumers (67%) believe that a luxury brand, service or product is a guarantee for the quality of the product, they are very skeptical and pessimistic on whether it is also a guarantee for sustainable production. Also 72% stated that 41 luxury is not a guarantee for sustainable production.” Luxury brands as the leader of the fashion industry are more willing to follow the tradition. They hesitate to move forward to face the problem of environment issue for a long time. But nowadays, due to the rapid change of nature environment, population structure, and the progress of technology, Luxury brands need to face the whole new game; even the most conventional brands also noticed that. 40 Europa.eu. (2015). Europe in the World: The garment, textiles & fashion industry | European Year for Development. [online] Available at: https://europa.eu/eyd2015/en/fashion-revolution/posts/europe-world-garment-textiles-and-fashion-industry [Accessed 19 Feb. 2017]. 41 Mauer, E. (2014). Is green the new black? Sustainable Luxury challenge or strategy,opportunity for the luxury sector. Master. Haute Ecole de Gestion de Genève.

Governments also took action on sustainability.World leaders launched a lot of events, such as Sustainable Development Goals or COP 21 in Paris 2015, to open more eco-friendly dialogue to the world. The data gathered in the 17th Annual Global ECO survey provides strong evidence that “46% of CEOs agreed that climate change and 42 resource scarcity would transform their business.” Under the environment stress of society, sustainability becomes the main challenge of the luxury industry, more and more luxury brands attach the importance to corporate social responsibility and corporate environmental responsibility. For example, Gucci is trying to solve the problem of heavy metal tanning process, and Kering group is taking the responsibility to improve water pollution and chemical use. Consumer awareness of sustainability is growing rapidly. According to a study from Ifop, in 2002, “only one ‐ third of French consumers were aware of the meaning of sustainability compared to 91% in 2009. In the UK, ethical spending went up from GBP 9.6 million in 1999 to GBP 54.4 million in 43 2012.” Through this study, we can ensure that sustainability also plays an important role in the future of the luxury industry. The leading companies of the luxury industry are proving that sustainability and social responsibility are influencing their business decisions. Their leading movement might encourage more fashion brands working on improving supply chain transparency and reducing environmental footprints of production process.

“Culture” is the non-negligible element of sustainable fashion In 2005, the World Summit on Social Development identified three core needs that contribute to sustainability: economy, society, and ecology. The Brundtland Commission described sustainability as, “development that meets the needs of the present without compro44 mising the ability of future generations to meets their own needs.”

42 PWC, (2014). 17th Annual Global ECO survey,Business success beyond the sort term:CEO perspective on sustainability. [online] PwC. Available at: https://www.pwc.lu/en/sustainability/docs/pwc-17th-ceo-summary-sustainability.pdf [Accessed 21 Feb. 2017]. 43 ETHICAL MARKET CONSUMER REPORT 2013. In: Ethical Consumer [Pdf ]. Available at: h t t p : / / w w w. e t h i c a l c o n s u m e r. o r g / p o r t a l s / 0 / d o w n l o a d s / e t h i c a l _ consumer_markets_report_2013.pdf (Accessed on 29 May 2014) 44 Mattew Mason,Environment Science Organization,What is Sustainability and why important?, Available at: http://www.enviromentalscience.org/sustainabilty

But this definition is not good enough for the fashion industry. Fashion is related to culture, art and history.” Fashion and clothing 45 are vessels of culture and communication.” It is influenced by culture and communication with art. The three areas of sustainability are not sufficient for the fashion industry, which requires the fourth pillar of “culture” to express the spirit of creativity and humanism. Sustainability authors Yencken and Wilkinson agree that culture is also an important pillar of future sustainability in their 46 book Australia’ s Journey Towards Sustainability. Nowadays, technology has made great progress in the fashion industry in by measuring the environmental footprint of the entire supply chain and reducing pollution in the natural environment. However, there is one kind of pollution that cannot be measured: sustainability of the spiritual environment. The progress of human civilization also pollutes the mental environment, such as overconsumption of material use and the mental anguish of insatiable desire. Therefore, aside from the study of society, science, and economy, the influence of cultural force is also a major discourse in sustainable fashion.

Brand should feature itself as an Educator The fashion industry should take sustainability as a serious issue. The industry should not make excuses that blame the lack of sustainable awareness on consumers. Robert Burke, the founder of the New York retail consultancy, once doubted that “Consumers look at luxury brands for exclusivity, quality and status. I’ m not 47 sure where sustainability fits in that pecking order.” Also according to the 2007 WWW Deeper Luxury Report, the luxury industry

45 Malcon Barnard,(2013),Fashion as Communication,Lodon:Routledge,p26 46 Yenken,D & Wilkinson,D.,(2000),Resetting the Compass: Australia’ s Journey towards sustainability,Collingeood:CSIRO Publishing,p9 47 Givhan, R. (2015). Luxury fashion brands are going green. But why are they keeping it a secret?. [online] Washington Post. Available at: https://www.washingtonpost.com/lifestyle/style/luxury-fasion-brands -are-going-green-but-why-are-they-keeping-it-a-secret/2015/12/08/ d3d93678-8c8a-11e5-acff-673ae92ddd2b_story.html?utm_term=.786d63bf42e7 [Accessed 1 Mar. 2017].

lagged behind other brands of consumer products when it came to sustainability. They claimed the cause to be lack of consumer awareness and public demand. It is time for luxury, as the leader of the fashion industry, to feature itself as an educator through transparency in material choice and supply chain and by contributing to social responsibility by increasing consumer awareness. Also, luxury brands are good at building long-term relationships to the brand history and philosophy through story telling. The luxury industry should use this advantage to bring wisdom and knowledge to luxury consumers with beautiful imagery and poetic language.

Sustainable Standard Report #Consume with frugality

Index 84 Introduction 86 Key emphasis and definitions 86 Consume with frigality 86 Attaching importance to human involment 86 Cultural heritage 87 Multiple lifecycle of a garment 87 Enviromental Standard 87 Sustainable local production 88 Circularity

89 Challenge 89 Upcycling 90 Local Production

91 Material choice 94 Information of supply chain 94 Material suppier 96 CMT 97 Craftsmanship

98Conclusion

Introduction

The fashion life cycle is moving faster and faster and increasing year after year. A lot of fast-fashion companies produce a massive amount of clothes with low quality and cheap prices. These low-quality productions increase carbon emissions, water pollution, and contribute to global warming. Along with the environmental pollution, there is also the mental world pollution, which is more difficult to be measured and cured. Under the atmosphere of fast-fashion, a lot of brands are promoting their new collections every week; the competition of speed is influencing not only fast-fashion retailers, but also the high-end market. They are attracting consumers to buy more and consume more clothes. In the U.S. the average person discards 32kg of clothing annually. The Agency estimates 85% of these wind-up in landfills, and 48 that’ s just America. As a waste-reduction report from the House of Lords committee noted: “The culture of fast fashion encourages consumers to dispose of clothes which have only been worn a few times in favor of new, cheap garments which themselves will also 49 go out of fashion and be discarded within a matter of months.” Our lives are full of these cheap and low quality garments. Consumers were educated by the fashion industry that buying more clothes is equal to being fashionable. The fast-fashion industry creates the endless desire of consumer, lowers the value of fashion, and pollutes our environment. Therefore, the emotional relationship between garments and consumers no longer exists. The virtue of cherishing a product is decreasing in this generation.

48 Jennifer Hermes, Environmental leader, Assessing the Environmental Impact of the Fashion World, (2014),(Accessible at:https://www.environmentalleader.com/2014/10/assessing-theenvironmental-impact-of-the-fashion-world/) 49 Lucy Siegel, Time to abandon cheap fashion,(2008), Accessible at: https://www.chinadialogue.net/article/show/single/en/2397-Time-to-abandon-cheap-fashion

This project aims to slow down the fashion business model, to enhance the emotional relationship between garment and consumer, and to give equal emphasis on the sustainablity of the mental world and natural environment. I believe that in order to make the fashion industry to be more sustainable, we should start to build up the positive values of consumer behavior. Therefore, I take the ancient Chinese Philosophy Daoism as reference to take a look how ancient wisdom taught people to be respectful to our environment and inspired people to be more thoughtful and sustainable. In Dao De Jing chapter 25, Laozi described the universe function as circularity. 'There was something formless and perfect before the universe was born; Born before Heaven and Earth; Independent and changeless; Circulating and ceaseless. This is the mother of the world. We call it Dao. Man follows the earth, Earth fol50 lows heaven. Heaven follows the Dao." This concept inspired me that we should stop consuming garments with the linear system. It is against the way of nature and it's important to create a new system in the fashion industry. The methodology of this project is combining upcycling in the fashion business model, through a compassionate redesign to extend the lifecycle of a garment and enhance the emotional relationship between products and consumer. In order to decrease the environmental pollution and give a garment more meaningful value that just be fashionable. The whole supply chain of this project is based in Taiwan, which is helping me to challenge the possibility of sustainable production in Taiwan. The project is using recycled polyester as the main material to design a collection for high-end women’ s wear. The project aims to create a circular system with sustainable production, combining the traditional embroidery with modern textile and design.

50 司馬哲 ,(2007), 道德經 , Beijing : 中國長安出版社 , p96

Key emphasis and definition Consume with Frugality: Frugality is one of the three treasures in Daoism, Frugality means to appreciate what we have and to reduce taking resources from nature to mitigate the environmental impact. In ancient China, wise men already understood the importance of maintaining the balancing of the natural environment and proposed the concept of 51 “governing country by sustainability.” This project aims to through the ancient aspect to build a sustainable model. There are several methods to practice frugality in the production:

•Attaching importance to human involvement and the value of human spirit This project highlights the inner value of artisans; instead of seeing them as a sewing machine. They are professional in different delicate techniques, such as tailoring, pattern making, and embroidery. We believe that the hand of artisans can awaken the soul of materials. Therefore, we are supporting individual tailor studios and collaborating with local craftsmanship. •Cultural heritage We are collaborating with Taiwanese traditional embroidery studios, to protect this ancient technique, which is difficult to survive in this fast fashion industry.

Figure 47 (Tang Yi,Making the Bride's Gown, 1970-1825,)

51 瀏海年,楊一凡, (1994), 中國珍稀法律典籍集成 : 漢代屯戍遺簡法律志, Beijing:科學出版社,p41

•Multiple lifecycles of a garment We offer a design service where consumers can bring back the product, and the designer will redesign it and give the old clothes an after life. This extends the lifetime of the material used and embraces the emotional connection between consumer and products. •Environmental Standard We select materials from well-deserved reputatable suppliers in Taiwan, which have the sustainable standard, such as Bluesign, ISO, and Öko-tex 100. •Sustainable Local Production The brand integrates the whole sustainable supply chain in Taiwan, from material choice to CMT. This Challenges the possibility of sustainability of “Made In Taiwan” and inspires the Taiwanese fashion industry to face those problems and be more sustainable in the future.

Figure48 (Ladies making fabric, Zhang Xuan,early 12th-century)

â&#x20AC;˘ Circularity The collection is only uses mono-material, which is made of 100% PET and can be recycled in the future. The material supplier of this project,Everest, is devoted to approach the concept of cradle to cradle through collecting waste from the production process and turning the waste into new purpose. They are not only collecting post-consumer polyester bottles, which is very common in the textile industry recently, but also collecting pre-consumer waste, which is wasted fiber during their spinning and weaving process.The process of recycling helps Everest to save 40% of energy, to reduce 74% of carbon emission and 73% of waste water emission.52

Figure( Process of recycling, Everest, 2015)

52 Everest sustainable report,(2017),http://www.everest.com.tw/_english/00_site/01_edit.aspx?MID=87&SID=224&TID=249

Challenge

Upcycling Upcycle is a young term in history. It was first coined in 1994; it means a way of processing an item to make it better than the original. The goal of upcycling is to prevent wasting potentially useful materials by making use of existing ones. It’ s the opposite of downcycling. Nowadays, there are several brands doing upcycling, which divided into two types. First, is upcycle the pre-consumer waste, second is upcycle the post-consumer waste. Christopher Raeburn is an excellent example of a designer using pre-consumer 53 waste. His his extreme attention to detail is reminiscent of the military over stock and overruns that he utilizes as his base material.He turned the military textile waste into fashion. Another example is Meb Rure, she recycled sari silk from Nepal and used 54 that fabric on furniture design. Her ethnic-inspired design brings warm and cheerful atmosphere to spaces and solves the problem of material use. On the other hand, some brands upcycle post-consumer waste, such as Maison Martin Margiela. This brand has a collection line “Artisanal” , which is fully hand made 55 by different second-hand materials. This collection shows the MMM legacy of deconstruction, and documents the passage of time. The kids wear brand, Kallio, is also upcycling the post-consumer waste. Kalio is a conscious-creates kids wear brand based in Brooklyn. They use men’ s shirts to make kids wear. These brands are good examples of reducing waste with upcycling. However, those upcycling products still have the problem need to be solved.

53Antonia Edwards,(2014),http://www.upcyclist.co.uk/2014/04/christopher-raeburn-ss14/ 54Meb rure,(2013),http://www.meb-rure.com/ 55 Hit fashion magazine,(2013),http://www.hintmag.com/post/maison-martin-margiela-artisanal--july-03-2013-2017 56 KALLIO NYC,(2016),https://kallionyc.com/

Figure 49 (Christopher Raeburn ,SS15,2014)

The most difficult problem is that the brands cannot guarantee the quality of the products. Itâ&#x20AC;&#x2122; s difficult to know the contents of the material and cannot guarantee the safety of humans and the environment. In this project, we are including upcycling into the fashion business; the difference is that the brands only collect the products, which are produced by ourselves with the environmental friendly material than we can make sure the material is safe for human body and environment. Besides, in the high-end luxury market, people have a strong stereo image of the luxury material. The used material is normally unacceptable for most luxury consumers. Therefore, itâ&#x20AC;&#x2122; s a huge challenge to promote this methodology into high-end womenâ&#x20AC;&#x2122; s market. This project aims to promote upcycling into a different level through compassionate redesign.

Local Production Taiwan is famous for sustainable synthetic fabric manufacturing, and high-quality production worldwide. In fact, there is a crisis in the supply chain gap in the fashion industry in Taiwan. Due to the labor price competition, many CMT process suppliers moved their factories to China or south Asia. Besides, those fabric manufacturers are exporting their products to other countries by massive amounts, therefore, those small and young brands in Taiwan have difficulty surviving. They only can buy fabrics from the downstream retailer, which is not possible to know the correct content of the material. This situation makes Taiwanese young brands have difficulty to move forward to sustainability. In this project, we try to integrate the whole supply chain in Taiwan, challenge the possibility of sustainability, and inspiring more brands to be sustainable.

Material Choice In this project, there are two reasons for choosing polyester fiber as main material. First, is because of the advantage of local production. In 1960, Taiwan had developed the weaving skill of cotton and wool, but due to the limitation of land, Taiwan no longer produces nature fiber, such as cotton, wool, and silk. From 1970, 57 Taiwan is focusing on developing synthetic fiber technology. The domestic textile industry develops synthetic fabric, which has demonstrated to be outstanding options to natural products. Nowadays, Taiwan synthetic fiber has gained an important position in the world. The following image showing the development process of Taiwan’ s textile industry :

Figure 50 ( Lee-in Chen Chiu ,Thr policy, institution and market factors in the decelopment of Taiwan’ s textile industry,2017)

The second reason is that using recycled polyester fiber is an efficient way to reduce plastic waste. According to the EPA, plastic accounts for 12% of the total amount of waste we produce. Also, it takes 30% less energy to make clothes from recycled plastics than 58 from virgin polyesters. Besides, It is a common assumption that natural materials are more sustainable to our environment, and synthetic fiber are assumed to be toxic and harmful. In fact, synthetic fiber is suitable for recycling at the end of its life and it could save natural resources and lower the gas emissions if people engage in a good way.

Figure 51 ( Hannah Ellsbury,Reduce plastic bottle waste,2012)

58 Jessie Andrews,Ethically sustained,(2017),https://ethicallysustained.wordpress.com/

Material 100% Recycle PET fabric and padding In this project, we use 100% recycled polyester from Everstet with the same quality and appearance as new garments. It complies with the spirit of environmental protection, reduces petroleum consumption and toxic substances produced during incineration.

Figure 52 (fabric,Authors own photograph,2017)

Figure 53 (fabric certification,Everest,2017)

100% Polyester embroidery thread and sewing thread Polyester thread may be appropriate for many purposes, and is commonly used for general sewing, quilting, and embroidery. Itâ&#x20AC;&#x2122; s known for its strength and durability.

Figure 54 (thread,Fujix,2017)

Figure 55 (thread certification,Fujix,2017)

Information of supply chain

Material supplier: Everest Textile Co.,Ltd Founded in 1988 Everest Textile is an R&D oriented and vertically intergrated textile manufacturer that specializes in yarn spinning, 59 twisting, weaving, dyeing, finishing, printing, and coating. They have focused on design for environment and taken the environmental impact in every stage of product life cycle into its design considerations. Everest will strive to promote green supply chain management and establish an SOP for green procurement 60 through supplier, design, processes and materials evaluations. It ensures Everest provides hazardous substance free and environmental friendly products that conform to customer requirements and international regulations.

Figure 56 (Bluesign,Everest,2015)

59 Briesf of Everest,(2017),http://www.everest.com.tw/_english/00_site/01_edit.aspx?MID=16 60 Commitment, Everest,(2017),http://www.everest.com.tw/_english/00_site/01_edit.aspx? MID=16&SID=262

Figure 57 (7R,Everest,2017)

Everest implements the 7R discipline (Rethink, Redesign, Reduce, Reuse, Repair, Recycle, Recovery) and emphasizes balanced developments among economy, society and environment. In the future, Everest will insist on green innovation to increase recourse product ability, and continually accumulate our green 61 competiveness.

6 1 E ve r e s t s u s t a i n a b i l i t y, E ve r e s t , ( 2 0 1 7 ) , h t t p : / / w w w. e ve re s t . c o m .t w / _ e n glish/00_site/01_edit .aspx?MID=87&SID=118

Information of Manufacturers

CMT Production: Dual Studio Dual Studio is a small scale tailor studio, which is based in New Taipei city in Taiwan. Dual Studio is a group of fresh graduates from the fashion design profession. Their mission is to advocate the importance of the spirit of artisans. Dual Studio is encouraging Taiwanese young people to contribute their talent in Taiwanese fashion industry and offering a humanistic working environment to artisans.

Figure 58 ,(Dual studio,2017)

Figure 59 (Young Ioo, Illuminate,2017)

Craftsmanship : Illuminate, Traditional Embroidery Studio This project collaborates with the embroidery studio "Illuminate" in Taiwan. Illuminate is based in Tainan city, which is well preserved Taiwanese traditional culture. The founder of Illuminate is Master Lin. He is one of the last remaining traditional embroidery masters in Taiwan. Master Lin has been devoted to preserving this ancient technique for over 50 years. Now, his daughter has taken this embroidery art to a new level; they are not just manufacturing for religious use, but also trying to combine this old craft into fashion. Their mission is educating the traditional handmade skill to our next generation and sharing the beauty of Taiwanese embroidery worldwide.

Conclusion

Through the experience and research of this project, we could have more confidence to make the fashion industry moving forward to a sustainable future, through a thoughtful design strategy and sustainable production. It's also valuable for future development to understand the challenge and the problem in the market. To summarize, there are several points highlighted in this project: First is the challenge of material choice. In fact, it's impractical to only use natural fiber or synthetic fiber in our daily life, we cannot define which one is the most sustainable material in the world due to the difference of producing, consuming and washing. However, we can produce in a better way and consume with a positive value system. This project uses recycled polyester as a better choice of synthetic material . Although synthetic fabric usually is designed for active wear, the result of the project proves the possibility of making the garment by recycled polyester for the high-end market. The advancement of the recycled polyester is not only functional but also could be fashionable and recyclable at the end of its life. Second, Redesign is the future of upcycling. The word upcycling is distinguished from the word downcycling, by creating higher value from the waste. The word waste is used for describing the stage of a material. But in the aspect of art, it's difficult to define what waste is, because there are a lot of elements and different concepts to define what waste is, such as the meaning of design or the purpose of usage.By the influence of Daoism, I believe that a garment is not just a consumption item. People have to learn to cherish products with a respectful mind.

The redesign system is creating an on going design experience to extend the life span of a garment and considers the garment as an animated, instead of throwing away after first use. Besides, the existing upcycling system in the fashion industry usually collects the material from waste, which is hard to guarantee the safety and quality of material. In contrast, in this project, the redesign system uses a sustainable material in the first place, to create a safe upcycling world in the fashion industry. Third is the importance of transparency.In Taiwan, there is a big gap between consumers, manufacturers and material suppliers. Because of the un-transparent information, I found that consumers hardly know where their clothes are coming from or the content of the material. The lack of transparency causes the problem of moving forward to a sustainable future. The project aims to integrate the supply chain in the sustainable condition and reveal the whole supply chain to the customer. The brand considers the supply chain as an added value, which is combining the spirit of artisans with the advancing of high-tech fabric, and connecting the old generation with the young generation of the fashion industry in Taiwan.

Recycling is only the first step, choosing recycled material is the second step; how to cherish garments with positive value system is the next of many steps to living sustainably.

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57 Lee-in Chen Chiu, Kai-fang Cheng,(2006),The Development ofTaiwan’ s Textile and Garment Industry and Its Implication to Less Developed Countries,https://www.researchgate.net/publication/299392390_The_Development_of_Taiwan's_Textile_and_Garment_ Industry_and_Its_Implication_to_Less_Developed_Countries,p 19 58 Jessie Andrews,Ethically sustained,(2017),https://ethicallysustained. wordpress.com/ 59 Briesf of Everest,(2017),http://www.everest.com.tw/_english/00_site /01_edit.aspx?MID=16 60 Commitment, Everest,(2017),http://www.everest.com.tw/_english/ 00_site/01_edit.aspx?MID=16&SID=262 61 Everest sustainability, Everest,(2017),http://www.everest.com.tw/_english/00_site/01_edit .aspx?MID=87&SID=118

Image 1 施大畏 ,( 1990), http://auction.artron.net/paimai-art5031200217/ 2 燕趙園 ,(n.d.),The garden design in Jiāngnán, https://www.encho-en.com, 3 梁炳倫 ,2013,http://ggwh.guoguanjiu.com/Index/mlist/id/4 4 汪亚平 , 1939,http://wap.kaiwind.com/ltjx/201509/18/t20150918_ 2856827. shtml 5 南京博物院 ,( Qing Dynasty), http://neomm520.blog.163.com/blog/static/1413763722009511740505/ 6 南京博物院 ,（Han dynasty）, https://read01.com/4jD53Q.html 7 Redesign model, Author's own image,(2017) 8 Embroidery, Author's own photograph,(2017) 9 Young Ioo,(2017) 10 Dragon,Author's own photograph,(2017) 11 Dragon,Author's own photograph,(2017) 12 Dragon,Author's own photograph,(2017) 13 Young Ioo,(2017) 14 Guang Jiang Shou,Author's own photograph,(2017) 15 Zhen Xin She, the troup of Guang Jiang Shou, Author's own photograph, (2017) 16 Zhen Xin She, the troup of Guang Jiang Shou, Author's own photograph, (2017) 17 Fabric,Author's own photograph,(2017) 18 Temple,Author's own photograph,(2017) 19 Technical drawing ,Author's own photograph,(2017) 20 Technical drawing ,Author's own photograph,(2017) 21 Design Process, Author's own photograph

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22 Look 1 ,Author's own photograph,(2017) 23 Look 2 ,Author's own photograph,(2017) 24 Look 3 ,Author's own photograph,(2017) 25 Look 4 ,Author's own photograph,(2017) 26 Look 5 ,Author's own photograph,(2017) 27 Detail ,Author's own photograph,(2017) 28 Detail ,Author's own photograph,(2017) 29 雲上文化 ,(2017), http://www.sohu.com/a/140913491_720986 30 McLaren Excell, (2017), https://www.pinteest.com/pin/5207355802697419/ 31 Young 100, (2017) 32 Ansyaku,Marketing segementation,(2014), https://ansyaku.wordpress.com/2014/10/10/week-2-fashion-market-segmentation/ 33 Author’ s own photograph,(2017) 34 Bless Home,(2017), http://www.bless-service.de/BLESS_new/News.html 35 Merci,(2017),https://www.merci-merci.com/fr/ 36 Dover street,(2014),http://newyork.doverstreetmarket.com/ 37 NON berlin,(2016), http://www.nonberlin.com/ 38 趙益平 , 品書院 ,(2017), http://hunan.ifeng.com/a/20170321/5484786_0.shtml 40 Author’ s own photograph,(2017) 41 Package, Author’ s own photograph,(2017) 42 Hangtag, Author’ s own photograph,(2017) 43 Straw shoes of Guang Jiang Shou,Author’ s own photograph,(2017) 44 Manual,Author’ s own photograph,(2017) 45 Manual content, Author’ s own photograph,(2017) 46 Brand identity model,Author’ s own photograph,(2017) 47 Making the Bride's Gown,Tang Yi, (1970-1825) 48 Ladies making fabric, Zhang Xuan,(early 12th-century) 49 Christopher Raeburn ,SS15,(2014),http://www.hedonistmagazine.co.uk/fashion/2014/6/16/christopher-raeburn-takes-a-flight-at-lcm 50 Lee-in Chen Chiu ,Thr policy, institution and market factors in the decelopment of Taiwan’ s textile industry,(2017),http://www.cier.edu.tw/public/Data/710161735171.pdf 51 Reduce plastic bottle waste,Hannah Ellsbury,(2012),https://www.banthebottle.net/articles/5-ways-you-can-help-reduce-plastic-bottle-waste/

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52 Fabric,Authors own photograph,(2017) 53 Fabric certification,Everest,(2017) 54 Thread,Fujix,(2017),http://somac-shop.co.uk/polyester-thread 55 Thread certification,Fujix,(2017),http://fjx.co.jp/business/pdf/oeko_polyester.pdf 56 Bluesign,Everest,(2015) 57 7R,Everest,(2017),http://www.everest.com.tw/_english/00_site/ 01_edit.aspx?MID=87&SID=118 58 Dual studio,(2017) 59 Young Ioo, Illuminate,(2017)

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Chen, Wen-Ting ESMOD Berlin Internationale Kunsthochschule fĂźr Mode Master Program 2017 Contact : tatjanachen@gmail.com.tw

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