Sustainable Fashion Design Proposal

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ISSUE 1 / JUNE 2018

FALL IN LOVE AGAIN An exploration of love, waste, longing & long term friendships

ELIZABETH MCPHAIL

PROPOSAL



Research Proposal 222453 VCD Research & Development Elizabeth McPhail 14244336

2018 Workbook

https://elizabethmcphail-4th year.tumblr.com/tagged/studio



Contents Abstract

4

Framing

8

Context Audience

8 10

Methodologies & Processes

12

Secondary Research

12

Primary research

24

Theory of change

30

Design Response

32

Aims & plan Touch points Visual style Tone of voice

32 34 36 38

Integrative review Theoretical literature review Casual chats & personal reflection Qualitative research

12 18

24 28

Where to next?

40

Works Cited

42

Illustration List

46

Appendices

48


Abstract

How might communication design make sustainable fashion accessible to provoke personal reflection and facilitate mindful consumption. 6


PROPOSAL

Abstract According to Hirscher the “sustainability crisis is a behavioural issue, and not one simply of technology, production and volume” (Hirscher 24). After oil, the fashion industry has next biggest environmental impact (Sweeny) but it is the area in which we care the least about sustainability (Euromonitor 32). Our fashion consumption increases exponentially every year and with it the environmental and social impact. “Nearly 95% of used clothing and textiles can be reused and recycled” (Secondary Materials and Recycled Textiles Association). The obvious solution is to consume less. This research proposal explores how communication design might help the problem of fashion waste. The majority of sustainable fashion solutions are created for those already actively trying to improve. This can be discouraging for the main purchasers of fast fashion. For this group creating sustainable behaviours feels too difficult. My methodologies have included exploring current literature, market trends and consumer behaviour, conducting semi-structured interviews and developing a theory of change. This process resulted in the conclusion that a series of short videos shared on social media might contribute to the improvement of consumption behaviours. The aim will be to break down barriers associated with sustainable fashion and provoke personal reflection. The narrative will follow the slow design principle of ‘reveal’ unveiling the hidden stories, memories and associations we have with our favourite clothes with the hope of inciting reflective consumption. 7


Framing Fig. 2

Why would you buy this Little Yellow Bird $35

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PROPOSAL

Fig. 3

If you could buy four of these H&M $7.99

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Framing

Context Globally, we consume four times the clothing we did 20 years ago (Jones). With increased consumption comes increased water usage, chemical pollution and pressure for manufacturers to prioritise time and money over working conditions. New Zealand produces 100 million kilos of textile waste every year (Street), this includes an average of 73% of the materials used to make clothes (Ellen MacArthur Foundation). Beyond improving recycling, the obvious solution is to produce less. Amazing work is being done on creating more sustainable clothing with ethical supply chains. However, if consumers demand to continue shopping in the same way the fashion industry’s impact is going to continue to be an issue.

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It has been found that “the average women wears each garment in her wardrobe 7x before she considers it old” (Make.Good). This is far too low. The first step is easy, “extending the life of clothes by just nine extra months of active use would reduce carbon, water and waste footprints by around 20-30%” (WRAP UK). However, education and the media has saturated our minds with the enormity of the problem, leaving us with Ecophobia. Ecophobia is “a fear of ecological problems and the natural world” (Sobel). This project will focus on making sustainable behaviours accessible, working through the barriers of Ecophobia and a lack of tangible solutions to empower consumers to take the first step.


PROPOSAL

Figure 4. 6 tonnes: the volume of textile waste sent to landfill in Australia every 10 minutes

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Framing

Target Audience

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Figure 5. User profiles

The audience for this project is digital native millennials. This group are currently 18-35, grew up using technology (Salem Press Encyclopedia) and feel innately comfortable around it. It is important to target this group as millennials dominate the fast fashion industry (Claer). Lower incomes (Stats NZ) and a focus on style, value and availability make fast fashion retailers the natural choice for this age group (Vingan Klein). Millennials are also more likely keep clothes for a shorter period of time and dispose of their clothing in unsustainable ways (YouGov). Conversely, this group also has the most desire for change. Research from Euromonitor positively linked education and “consciousness regarding important environmental considerations” (Euromonitor 13). Within New Zealand the most educated group is those 18 to 35 (Flyers and Walters).

PROPOSAL

The NMI LOHAS (Lifestyle of health and sustainability) framework (NMI) segments audiences based on attitudes and behaviours around sustainability (NMI). Combining characteristics and titles from the LOHAS framework with fast-fashion behaviours I have defined 3 groups (fig. 5); LOHAS Leaders, LOHAS followers and Drifters. The leaders are already doing everything that they can to be sustainable. They find it easy. The behaviours of this group are a goal for sustainable behaviours and attitudes. LOHAS Followers and Drifters are interested in sustainability but lack follow through in their actions. In NMI’s segmentation of the USA’s population, Drifters were skewed towards the millennial age group (NMI). Driven by trends and social norms this group use reusable bags and keep cups. They are put off making further changes as it feels too hard and they don’t know where to start. Drifters are the main audience for my project. 13


Secondary Research

Methodologies & process INTEGRATIVE REVIEW “An integrative review includes both qualitative and quantitative research studies that summarize a topic of interest� (Doolen 29). Primary research was not needed to gain a general understanding about current sustainable consumer behaviour in relation to fashion. Many studies have already been conducted in this area. I explored then synthesised available information on sustainable behaviours, current trends and shopping behaviours.

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Figure 6. Sustainable Intentions. Facts from Apparel and Footwear: Global Industry Overview & Emotionally Durable Design, (Euromonitor 26, Chapman 171).

PROPOSAL

WE ALL HAVE GOOD INTENTIONS It was clear the majority of people have very sustainable intentions (fig. 6). Despite good intentions there appears to be very little follow through. Although so many people claim to prioritize sustainability other factors such as value and functionality are consistently rated more highly (Euromonitor 40, Dealspotr 14). This shifted my research further into the space between intentions and actions.

It is suggested that in order for consumers to become more ethical and sustainable they must gradually change their behaviour. A qualitative study from the Swedish School of Textiles found that social factors have a massive influence on fashion shopping behaviour, “priorities can change for some individuals when their surroundings change� (Forsman and Madsen 27). The process is more emotional with others. This is less so in general purchasing. Harnessing the social and emotive nature of fashion purchasing could bridge the intention action gap. 15


Secondary Research

Re-framing reduced consumption to highlight personal benefits could be key to achieving behavioural change.

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PROPOSAL

SUSTAINABILITY TRENDS Popular sustainability trends are centred around wellbeing, for example, all natural and no artificial labels (Euromonitor 6). There is a shift towards “experiences over things” (Euromonitor 6) and the majority of people are also “looking for ways to simplify [their] life” (Euromonitor 17). Consumers are most concerned with what effects them personally. Issues surrounding sustainable fashion consumption feels less personal than healthy eating and natural ingredients. “Research shows that people who place a high value on wealth, status, and stuff are more depressed and anxious and less sociable than those who do not” (Bodenhausen). There is evidence to support that materialistic behaviours have a negative effect on

human well-being, “attempts to satisfy non-material needs through material consumption will meet with only limited success, if any at all” (Jackson 25). Experiences make us happier than things. “Neuroscience from Cornell University supports that experiences -good or bad -make us happier over the longer term than material possessions” (Euromonitor 8). Re-framing reduced consumption to highlight personal benefits could be key to achieving behavioural change. Benefits would include physical and mental well-being and leading a more simplified life. Making the process an experience could make it more rewarding for the user both short and long term. 17


Secondary Research Figure 7. Why do we consume? Ideas synthesised from Jackson, Fletcher & Chapman (Jackson 26-31, Fletcher 132, Chapman 32-121).

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Figure 8. Materialism Time-line. Idea’s synthesised from Chapman, Chaplin & Roedder John (Chaplin and Roedder John 481, Chapman 39).

PROPOSAL

WHY DO WE CONSUME? In order to challenge current consumption behaviours it is important to understand why we consume on such a large scale. The reasons behind consumption appear to lie within the areas of social positioning, personal identity and a desire for meaning. There are far more meaningful ways that these goals can be achieved. Highlighting social connection and focusing on creating meaning will engage the audience.

The problem is consumerism. As Kate Fletcher, a prominent sustainable fashion scholar, writes “‘green’ products (and ‘green’ consumption) change things only superficially. For they, like all products, are totally dependent upon a consumer market. And when the market wanes, so does ‘green’ production” (Fletcher and Grose 174). A solution must exist outside the realms of traditional capitalism in order to create ‘real’ change as the ultimate goal is to move away from the focus on consumption. If the solution still relies on profit it will never work. 19


Secondary Research THEORETICAL LITERATURE REVIEW “Theoretical literature review focuses on a pool of theory that has accumulated in regard to an issue, concept, theory, phenomena” (Dudovskiy). My next step was to explore academic theory. My project combines fashion, activism and behavioural change so I have explored theories from all of these contexts to inform my process.

ATTACHMENT & PRACTICES OF USE Jonathan Chapman’s Emotionally Durable Design is an exploration into designing objects that have long term emotional attachments. He explores the reasons behind both holding onto and throwing out objects. He suggests that waste is a “symptom of expired meaning” (Chapman 6). Meaning is unique to the memories and experiences of the user, an object will stand the test of time if it can act as a vehicle for evolving meaning (Chapman 94). Denim jeans as an example of a successful “evolving narrative” (Chapman 116) where intimacy is created “through the passing of time” (Chapman 106). “Jeans are like familiar old friends” (Chapman 118). Their story is shown through visible fading, rips and imperfections. In the context of denim this enhances the character of the item adding further meaning.

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Kate Fletcher provides an alternative point of view, she believes that emotional attachment doesn’t increase active use, it simply leads to “accumulation and storage of seldom-used items” (Fletcher 229). Urging consumers to keep clothing is not enough. Fletcher explores the concept of durable fashion coming to the conclusion that it is “embedded in the techniques and processes of use” (Fletcher 230). I want to use both Chapman and Fletcher’s approaches. Whilst creating emotional attachment does not cause active use, highlighting the stories and memories of those items we do actively use could be important in creating meaningful connections with our clothes. Combining this with practical strategies to enhance the use experience will ultimately increase an items quality of life.


PROPOSAL

Fig. 9

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Secondary Research Figure 10. Common Cause Foundation. Statistical analysis (dimensional smallest space analysis) of value structure across 68 countries and 64,271 people.

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PROPOSAL

SOCIAL CHANGE The aim of the Common Cause Handbook is to support organisations creating positive social change. The handbook offers a framework based on values. Values are split into two groups, intrinsic and extrinsic values (Common Cause Foundation 20). Extrinsic values are based on external gratification or rewards such as wealth, material possessions or social power. Intrinsic values include a connection with nature, creativity or affiliation with friends and family. A feature of the values framework is the ‘see-saw effect.’ When one value is activated the opposite value is suppressed (Common Cause Foundation 18). For example using monetary rewards to promote shortterm action will activate the wealth value and as a result suppresses values in the universalism category. This causes collateral damage impacting negatively on long-term change (Common Cause Foundation 43). I want my project to focus on nurturing the existing values of universalism and benevolence. Even though my audience currently hold these values they are not being acted upon. This can happen when the value is not seen as relevant, if it is in competition with a stronger value, when it is not seen as the social norm or if it seems too difficult to carry out (Common Cause Foundation 26). An idea to work around the ‘difficulty’ barrier is for people to begin with small actions. Gradually increasing the involvement level will ensure people have the knowledge and confidence to carry them out. This approach has also been suggested by David Sobel as a solution to combat Ecophobia (Sobel 16). Another way to enhance these intrinsic values is by strengthening the values that surround them on the framework. Strong self-direction and tradition values will have a bleed over effect on surrounding values resulting in enhanced universalism and benevolence (Common Cause Foundation 18). 23


Secondary Research

SLOW DESIGN Slow design is “a unique and vital form of creative activism” (Strauss and Faud-Luke 1). It is aimed at influencing design thinking with the aim of creating solutions that lead to behavioural change for long term sustainability. There are 6 slow design principles described as “guiding principles open to dialogue, iteration and expansion” (Strauss and Faud-Luke 1). I want to focus my designs on three of them, reveal, reflect and participate (Strauss and Faud-Luke 3, 5, 6). Highlighting the forgotten memories and hidden uses of items, promoting reflection on current habits and participation in educating and empowering others. 24


Figure 11. Slow Design Principles (Strauss and FaudLuke 3, 5, 6).

PROPOSAL

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Primary Research CASUAL CHATS & PERSONAL REFLECTION My primary research began informally with casual chats with my peers during class which lead to an exploration into the current ‘solutions’ available. I then reflected on my personal experience in relation to my findings so far. I applied auto-ethnography, a methodology which “seeks to describe and systematically analyse personal experience in order to understand cultural experience” (Ellis et al.)

INFORMAL CHATS I want to incite behavioural change and in order to do so I must work closely with my audience. My primary research began informally by talking to other students about my project. The main insight I gained from this was that everyone wanted a quick and easy way to know exactly what they should and shouldn’t be buying. For example a website that sold exclusively sustainable items. Initially I agreed. However, upon researching what is currently available I found that a number of companies already do this, for example Well made Clothes and the Good on You app. The problem appeared to be that nobody knew they existed.

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More conversations highlighted that people had a skewed perspective on what sustainable fashion was. Mostly people thought that the only option was to buy really expensive items from Kowtow, to buy second hand or to buy nothing at all. I took this further and attempted to research ‘how to have a sustainable wardrobe?’ A google search found blog posts with lists of brands that were sustainable/ethical, reports on what not to buy and lots of conflicting information. The main problem I found was that all of the ‘solutions’ still come from a consumerist perspective. We all want to know how to keep buying without the guilt.


PROPOSAL Figure 12-16. Current ‘solutions’ available for consumers.

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Primary Research

PERSONAL REFLECTION Over the last 3 years I have actively tried to be more sustainable with my fashion purchases. I am far from perfect but my habits have definitely improved and I now find it easier to be more mindful. Initially I stopped buying so much because I moved away from home and all my money was going towards expenses. This became proof that I didn’t need to buy clothes. I still liked buying new things but I wasn’t able to often. This meant that when I decided to actively try and make my wardrobe more sustainable it was easier as I felt it was attainable. This links to the Common Cause Handbook’s explanation of the ‘difficulty’ barrier to action. I didn’t feel like it was too difficult. This was something that was similar for other people I talked to. An external factor like saving for an overseas trip forced people to stop consuming and proved that the behaviour was possible.

MY CLOTHING ‘LOVE STORIES’ Throughout my research process, sustainable fashion became a topic of conversation with everyone in my life. Talking to my flatmate sparked the next phase of my design process. Sharing the items in our wardrobe that we couldn’t imagine getting rid of, we realised that every item had a story. They reminded us of people, of significant moments, places or feelings. This was in conjunction with feeling good to wear, and we both wore them often. Sharing the stories was fun, interesting and talking about them increased the connection I felt with the items. This prompted me to write stories about my favourite items. I articulated the hidden stories, that were always there but I didn’t always think about. I shared these stories with other people. The responses were overwhelmingly positive. There was excitement around the idea. It moved away from the constant stream of negativity surrounding sustainable fashion and focused on celebrating clothes. 28


PROPOSAL

“These boots have lived in two different cities and travelled to 3 continents. They have been on first dates, interviews and concerts. Arriving in my life when I was 17, they came with me when I moved cities and islands away from home for the first time. I wore them every day during winter, keeping my feet dry and warm during Wellington’s unfriendly rainy days. They have supported me up and down hills and through long shifts in jobs that I’ve hated. I can’t imagine how many moments these have accompanied me through.”

Figure 17. Black Boots. My Clothing Love Story.

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Primary Research

Figure 18. An interview with your clothes: clothing love stories. *Required ethics forms are included as appendices.

QUALITATIVE RESEARCH “Qualitative researchers study things in their natural settings, attempting to make sense of or interpret phenomena in terms of the meanings people bring to them� (qtd in ATLAS.ti). I wanted to collect stories from people about their favourite items of clothing. I used two different methods, semi-structured interviews and a survey. Both had strengths and limitations. Through the survey I was able to collect 25 different stories but there was little depth to them. The interviews proved the most valuable method, revealing detailed narratives. The limitation was the volume and diversity of the subjects. Due to the time frame of the project I was only able to interview people close to me.

SURVEY

AN INTERVIEW WITH YOUR CLOTHES

The survey included some brief questions asking people to describe their favourite item, when/where they purchased it and why they loved it. I received a wide range of responses. A favourite item is so personal to the individual, there is no one size fits all approach. Most people stated the reasons behind their favourite item as comfort and practicality, this was followed by feeling good when wearing it.

More in depth responses highlighted the hidden attitudes and emotions associated with the items. This process involved two of the slow design principles, revealing and reflecting. The process of being interviewed about their item prompted reflection and revealed stories that were almost forgotten. The interview started with similar responses to the survey including reasons such as comfort, practicality and style. However, there was much more to the stories than that.

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Primary Research THEORY OF CHANGE A theory of change map visually shows an overview of all of the steps or preconditions that need to happen in order to reach the ultimate goal (Retolaza Eguren 2). It is important to understand where you are going in order to ensure your efforts are moving you in the right direction. As explained in the common cause framework, short term change, if motivated by the wrong values, can cause collateral damage to long term change (Common Cause Foundation 43). As the problem of fashion waste is so large I mapped out all of the steps needed in order to reach the ultimate goal of no wearable clothing being sent to landfill.

As my overall goal is huge there is no single design intervention that can take us there. I have identified three pathways to change, practices of use, purchase habits and waste behaviours. My theory of change map spans four different phases of the change process. We currently exist in both the satisfaction and denial phases (Retolaza Eguren 11). For a large number of people they see no need to change their behaviours surrounding fashion waste. For others, they know something is wrong but change feels too hard and goes against the status quo. Denial The first part of my theory of change works to move people out of the denial phase and into the confusion phase. This involves overcoming the internal resistance that people feel and opening their mind up to the possibility of positive change. This phase will also work on creating a social norm around caring and developing small behavioural changes, for example actively wearing clothes for longer, will create a base for larger steps. 32

Confusion In the confusion phase there is a desire for change but a lack of skills and knowledge to carry them out (Retolaza Eguren 12). Harnessing the desire to change and giving people the tools to follow through is essential. This will be accompanied by creating communities of like minded individuals to help up skill and motivate each other. Renovation The final phase is the renovation phase. In this phase mass change occurs (Retolaza Eguren 12). It becomes the social norm and there is mass behavioural change. In this stage consumer pressure will be harnessed to create change in the manufacturing processes and environmental impact of the fashion industry.


Figure 19. My theory of change map * Read from the bottom upwards Full size included as an appendix.

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Design Response

Design Response

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PROPOSAL

Figure 21. The different steps of my strategic plan.

PROJECT AIMS My design outcome will exist in the first phase of my theory of change. It will focus on the use practices pathway. I will firstly focus on the three slow design principles, reveal, reflect and participate. Reveal Telling stories will highlight the forgotten memories and hidden meanings of the items we love and use often.

Reflect This will prompt my audience to reflect on their current wardrobes, including the items they love and wear and the ones they don’t, causing a more mindful approach to consumption. Participation To create long term change I want to involve my audience in the process and connect them with others. Intrinsic values such as affiliation with friends and creativity will insight long term change. They will be encouraged to participate in educating and empowering others. 35


Design Response Figure 20. The aim of my design outcome.

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STRATEGIC PLAN My design outcome will not exist in one step. My aim is to create a community that will be responsive to evolving messages of sustainability. To avoid barriers such as Ecophobia, the first step will focus on making sustainability accessible to my audience. This will then be followed by encouraging them to share their stories and building a community.


PROPOSAL

Figure 22. Touch points for the first three steps of my strategic plan.

TOUCH POINTS

VIDEO

Research into the current habits of my target audience has lead to my choice of platforms for the campaign. When beginning the search for a new item of clothing, the majority of millennials use digital media (Dealspotr 17). It therefore makes sense to focus on digital platforms to ensure my audience is ready to engage with the information. The majority rely on fashion influencers, bloggers, friends and family as inspiration for their purchases (Dealspotr 9). This means that it is important to engage these groups in the campaign.

As this project includes a number of touch points and design outcomes I will first focus on the video. The aim of the video is to insight personal reflection. The narrative will explore the hidden stories told during the interviews. The stories are based upon intrinsic values. The shirt signifies personal freedom, travel and place. The jacket incites memory and a feeling of social connection with family. The scarf’s story explores all of the senses, smell, touch, warmth and the experience of use. Values go beyond the personal stories and connect with people on a deeper level. The video will focus on the object. It will not include the faces or identities of the story tellers. This means that it will be more easy for the audience to put themselves in the narrative, provoking personal reflection. 37


Design Response 38

Figure 23. Precedents for the visual style of the campaign.


PROPOSAL

Figure 24. Experimental collage working with the visual style using content from the interviews.

VISUAL STYLE To ensure that my project is accessible to my target audience, I want my visual style to reference current fashion trends and aesthetics that are already familiar. This includes clean lines and a minimalist style. My ultimate goal is to challenge the norms surrounding consumerism and constant consumption. I therefore want to combine this style with collage. Collage was

widely adopted by the Punk movement of the 70s where it was “widely accepted as” one of “the natural languages of anger and protest” (qtd. in Poynor). I want to involve some of these connotations but in a much more subtle way so as not to intimidate my audience.

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Design Response


PROPOSAL

Figure 25. Example of the proposed rhetoric.

TONE OF VOICE For overall tone of the campaign I want to use humour to ensure my audience feels comfortable. Words and phrases such as sustainability, eco, environmental impact, ethical fashion and climate change have so many negative connotations and cause feelings of guilt and denial. In order to break through these barriers, I want to avoid ‘sustainability language’ and instead use humour to convey my message. Comedy provides a way to connect with political messages without fully engaging (Deakin University). An example of this is meme culture, something that digital natives are very engaged with. It has given young people the confidence to engage in political messages, providing a way to “show your interest in an issue from a slightly removed point of view” (Deakin University). The rhetoric of my campaign extends Jonathan Chapman’s description of jeans as old friends. Favourite items of clothing will be referred to as long term/best friends and fast fashion purchases as fake friends. This narrative places all of the ‘blame’ on the clothing themselves relieving the audience from the guilt that often acts as a barrier for action. 41


Summary 42

Fig. 26


PROPOSAL

Where to next?

PLAN FOR THE BREAK • Create a user journey for how my target audience will interact with the campaign including how it will relieve their current pain points. • Develop the rhetoric of my message further. As I want to use, humour this will need to be tested on my audience to ensure that it resonates with them. In the holidays I intend to develop my language and test it on my target audience. • Develop the visual style further and create a storyboard for the video. • I need to do more research into video precedents. The nature of my process meant that the choice of a video came towards the end of the semester. I need to find precedents and work out a technique I want to use e.g. motion graphic, stock motion etc. 43


Works cited

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PROPOSAL

downloads. Coviello, Kehley. “Digital Native.” Salem Press Encyclopedia, 2013. Deakin University. “Have memes become the new political cartoons?.” Deakin University, 14 Nov. 2016, http://www.deakin.edu.au/about-deakin/

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media-releases/articles/have-memes-become-

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https://www.littleyellowbird.co.nz/blogs/news/ we-now-consume-80-billion-pieces-of-clothingand-purchase-400-more-than-we-did-20years-ago. Make.Good. “The fashion industries problem with waste.” Make.Good, 2017 https://www.makegood. world/fashions-problem-with-waste. NMI. “LOHAS Segmentation” NMI, 2018, https:// www.nmisolutions.com/syndicated-data/ segmentation-algorithms-a-panels/lohassegmentation. NMI. “U.S. Consumer Perspectives and Trends in Sustainability.” NMI, 2013, https://www. ftc.gov/system/files/documents/public_ comments/2014/05/00005-90255.pdf. Poynor, Rick. “The Art of Punk and the Punk

Sobel, David. Beyond ecophobia. Great Barrington, MA: Orion Society (1996). Stats NZ. “2013 Census QuickStats about income” Stats NZ, 2013, http://archive.stats.govt.nz/ Census/2013-census/profile-and-summaryreports/quickstats-income/tables.aspx. Strauss, Carolyn F., Fuad-Luke, Alastair. “The Slow Design Principles.” n.d. http://raaf.org/pdfs/Slow_ Design_Principles.pdf. Street, Danielle. “The impact of throwaway threads.” The Wireless, 18 Aug. 2014, http://thewireless. co.nz/themes/impact/the-impact-of-throwawaythreads. Sweeny, Glynis. “It’s the Second Dirtiest Thing in the World—And You’re Wearing It.” AlterNet Media, 13 Aug. 2015, https://www.alternet.org/

Aesthetic.” Design Observer, Observer Omnimedia.

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UK, 2 Dec. 2015, http://www.wrap.org.uk/

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resources/frequently-asked-questions/. Sobel, David “Climate Change Meets Ecophobia.”

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Connect, Synergy Learning, November/December

YouGov AU, 6 Dec. 2017, https://au.yougov.com/

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news/2017/12/06/fast-fashion/. 47


Illustation List

Illustration List Figure 1 (Front Cover Image). McPhail, Elizabeth. Yellow Dress. 2018, photograph. Figure 2. Little Yellow Bird. Women’s Tui Tee. n.d., photograph, Little Yellow Bird, https://www. littleyellowbird.co.nz/collections/organic-cottonbasics/products/100-organic-cotton-fitted-tee. Figure 3. H & M. Jersey Top. n.d., photograph, H & M Hennes & Mauritz AB, http://www.hm.com/nz/ product/74206?article=74206-G. Figure 4. ABC War on Waste. 6 tonnes: the volume of textile waste sent to landfill in Australia every 10 minutes. 2017, photograph, Make.Good, https:// www.makegood.world/fashions-problem-withwaste. Figure 5. McPhail, Elizabeth. User Profiles. 2018, digital sketch. Figure 6. McPhail, Elizabeth. Sustainable Intentions. 2018, digital sketch. Figure 7. McPhail, Elizabeth. Why do we consume. 2018, digital sketch. 48


PROPOSAL

Figure 8. McPhail, Elizabeth. The life-cycle of materialism. 2018, digital sketch. Figure 9. McPhail, Elizabeth. Brown Scarf. 2018, photograph. Figure 10. Common Cause Foundation. Statistical

www.tearfund.org.nz/ethicalfashion. Figure 17. McPhail, Elizabeth. 2018, photograph. Figure 18. McPhail, Elizabeth. An interview with your clothes: clothing love stories. 2018, photograph & digital sketch.

analysis (dimensional smallest space analysis) of

Figure 19. McPhail, Elizabeth. My theory of change

value structure across 68 countries and 64,271

map. 2018, photograph & digital sketch.

people. Diagram, Common Cause Handbook, 2012, p. 13. Figure 11. McPhail, Elizabeth. Slow Design Principles. 2018, digital sketch. Figure 12. Kowtow. Stagelight Boxy Tee, Pink Navy. n.d.

Figure 20. McPhail, Elizabeth. The aim of my design outcome. 2018, digital sketch. Figure 21. McPhail, Elizabeth. The different steps of my strategic plan. 2018 photograph & digital sketch. Figure 22. McPhail, Elizabeth. Touch points for the first

photograph, Kowtow, https://nz.kowtowclothing.

three steps of my strategic plan. 2018, photograph

com/collections/all/products/stagelight-boxy-tee-

& digital sketch.

pink-navy. Figure 13. Little Yellow Bird. Tee Bundle. n.d., photograph, Little Yellow Bird, https://www. littleyellowbird.co.nz/collections/organic-cottonbasics/products/100-organic-cotton-fitted-tee. Figure 14. Well Made Clothes. Tees & Tops Well Made Clothes. 2018, screen shot, Well Made Clothes, https://wellmadeclothes.co.nz/shop/clothing/teestops. Figure 15. Good on You. Good on You ethical shopping

Figure 23. Visual Style Mood Board. 2018, photographs, https://www.pinterest.nz/ bethmcphail/major-project/visual-style/. Figure 24. McPhail, Elizabeth. Experimental collage working with the visual style using content from the interviews. 2018, digital collage. Figure 25. McPhail, Elizabeth. Example of the proposed rhetoric. 2018, digital hand-lettering. Figure 26. McPhail, Elizabeth. Yellow Dress 2. 2018, photograph.

app. 2018, mock up, Good on You, https:// goodonyou.eco. Figure 16. Tearfund. Ethical Fashion Guide Aotearoa New Zealand. 2018, front cover, Tearfund, https:// 49


Appendices Ethics forms Theory of change

50


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222453 VCD Research & Development Elizabeth McPhail 14244336

2018 Workbook

https://elizabethmcphail-4th year.tumblr.com/tagged/studio


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