Fashion Futures AD6603- Something Old, Something Borrowed

Figure 1: Photoshop multimedia collage by Eleanor Hendry (Source: Hendry, 2022)

PAGES 6-7: PREFACE

CONTENTS

PAGES 8-9: INTRODUCTION

PAGES 10-11: BACKGROUND AND THEORIES

PAGES 20-21: IMPENDING CONSUMER

PAGE 22: WHAT ARE BRANDS DOING CURRENTLY?

PAGES 23: LIMITATIONS

PAGES 12-15: HEIRLOOM FASHION AS A MEANS FOR FUTURE SALVATION

PAGES 16-19: CASE STUDY: VESTIAIRE COLLECTIVE - MARKETING STRATEGIES

PAGES 24-26: PRIMARY RESEARCH CASE STUDY

PAGE 27: CONCLUSION

PAGES 28-31: REFERENCES

PAGES 32-38: APPENDIX

PREFACE

Tuesday 25th October 2022- A work from home day in your new hybrid role.

The warmer-than-usual morning consists of a scheduled Teams meeting and discussion of the latest collaboration you have pocketed with Gen Z’s trending fashion icon. Impressive. A 30-piece compilation embodying garments manufactured from 20% recycled materials and eco-friendly packaging is circulating the virtual room. “We can stamp this ‘sustainable’” one cheered. A revolutionary idea! The business is ecstatic; ‘radical’ steps have been achieved to tackle the industry’s biggest threat and you can now title yourself ‘transparent.’ Laptop closed, you head to the iced coffee machine to celebrate, whilst scrolling through a refreshed TikTok feed of #hauls. An influencer outfit grasps your attention with items from Shein tagged in the TikTok shop below. Some extra pieces in the already-brimming wardrobe won’t hurt, right? Indubitably, you deserve a treat after this morning’s success. The additional 10% new customer discount concludes the incertitude and within a tap of a button, delivery is shipped next day to your front door, alongside an extensive footprint of carbon emissions and underpaid wages. Incredible service.

Welcome to the climate crisis of a world we call ultra-fast, greenwashing fashion.

Figure 2: Photoshop multimedia collage by Eleanor Hendry (Source: Hendry, 2022)

INTRODUCTION

The commencing document is a real world and accurate interpretation of a day in the life of the fashion industry, and no, this isn’t a trend, nor an exciting reel like many others you see on social media today. And as solemn as it sounds, it isn’t something that can simply be addressed by administration and leading retailers either. It is something of which needs to be transformed and done so, urgently. The challenges surrounding sustainability appear to be falling upon deaf ears, and we as consumers have no choice but to be the foundation for action, to be the radical changemakers our government and favourite brands have failed to be so far.

The intention of this paper is to immerse oneself into the ongoing issue rupturing the future of fashion by centralising the contingency of a “greener” industry whilst critically analysing its attainability in the near prospective for Generation Alpha. It will provide a partial solution which can be exploited by an entity and encompass the opinions of industry professionals to solidify its potential. It will first explore the plethora of underlying issues encircling the fast fashion industry whilst combining thorough research and reputable statistics to reinforce its encumbrance. Methods, including case studies of both primary and secondary sources, will be documented in forms of ethnographies, memoirs, and surveys as means of substructure.

Whilst the issue of sustainability is often repudiated, there is a desperate requirement for an eco-friendly forthcoming as the fashion industry is notoriously existing as the second largest polluter in the world. Accounting for “8-10% of global carbon dioxide output and 20% of plastic production” (Dottle/ Gu, 2022), this frightfully figures to more than international flights and shipping combined, implying measures are needed immediately. Despite attempts being enforced by smaller, more ethical companies, we are unquestionably relying on bigger retailers who are overproducing and exploiting cheap, synthetic materials, to take the money goggles off and realise their supply chains are progressively damaging the world around them.

BACKGROUND AND THEORIES

The Marx theory of capitalism and alienation, condemned by Karl Marx and Friedrich Engels, holds a connection, and some may claim it reciprocates the current dilemma in civilisation. The theory explains the paradox “of social power and isolation that characterizes contemporary capitalist societies” (Øversveen, 2021). We can associate capitalism with those of our bigger retailers today; they are owned by the wealthy and have the foremost objective- to earn as much profit to a feasible extent. Under capitalism, the working class are made to endure harsh human activity through labouring hours and services demanded by these “seemingly impersonal forces dominating society” (Cox, 1998). Due to these actions, we can perceive a clear alienation between social classes, particularly of those within this sector of the industry. In bringing forth positively natured practices, like heirloom, such circumstances including worker and material exploitation can be eliminated. Alienation within consumerism (whereby individuals estrange themselves and feed into capitalism to remain updated with trends) will also be reduced too.

Figure 3: Karl Marx- Marxism (Source: Kautsky, 1887)

There isn’t a cure, nor a one-way procedure which can rectify the matter surrounding sustainability. Consider it like a mind map, there are numerous factors spiking off from its core which conjointly equate to a harmful infringement. And it is safe to argue, humanity has been senselessly brainwashed into thinking, purchasing habits are beneficial to the economy as well as selfish pleasure. Marx’s resolution to capitalism and alienation requires the “abolishment of private property and abolishment of relationship between private property and wage labour to create universal human emancipation.” (Sociology 250, 2002) Whilst this remains despondent for the future of fashion, we can endeavour a hand-me-down mentality to reach as a safety net.

Figure 4: Handrawn mindmap by Eleanor Hendry (Source: Hendry, 2022)

HEIRLOOM FASHION AS A MEANS FOR FUTURE SALVATION

Today, we observe the rise of second-hand e-commerce selling platforms, providing a marketplace for every generation to engage in a circular fashion operation. This is an excellent solution to the sustainability crisis and one which benefits both people and planet. But is it too cliché to say, we could look closer to home in our efforts? That the solution to sustainability could quite literally be lying within our grandmother’s jewellery box?

Our ancestors have played a considerable part in building the culture we are raised in now and whilst it may only take a small conversation to realise just how much we can learn from them, it is these affairs which can ultimately dispute our throwaway mentality, into a fruition which could completely change the ways in which we shop currently. Rewind back to the early 1900’s and the era of the Great Depression which led the world into severe economic change as a result of the US stock market collapse; millions of civilians endured homelessness, hunger and were left under immense hardship. Fashion choices and styles were adjusted to the socio-economic times and the birthplace of modern-day upcycling began as an avenue for new practicality. The rising costs of materials, lack of raw fabrics, and surge of price points meant hand me downs and slimmed down wardrobes were essential for providing necessity clothing. Rather than having new garments, children would receive previously worn pieces from family members and taught to dress for warmth, not style. These items were altered, repaired, or reworked to fit their size and made suitable to be passed onto the next generation from them. Clothes with little lifespan hitherto left or discarded, were gathered, patchworked and repurposed into novel items.

Some may claim, ‘this screams poverty’. However, in such times of adversity, these pieces provided comfort and belonging to a generation who feared the unfamiliar around them. They retain memories, whether good or bad, to present to later lifetimes. These garments are still an occurrence today, yet not as widely evidenced, and often referred to as heirlooms.

“Heirloom” is also a term deriving from an ancient specialty style of sewing in the late 1800’s. Fine fabrics were impeccably hand-stitched with lace for royalty and preserved so they could be passed on from one generation to the next. We can employ this method of thinking as a sustainable alternative for consuming less. Heirloom fashion has differing perceptions and whilst some may argue it is “unstylish” and not corresponding with current trends, they can indeed be classified as pieces money can’t buy. In theory, heirlooms are far richer than the calfskin leather handbag or cashmere coat on your wish list in terms of emotional value and sentiment, they carry a train of history and contextual information one can learn from and look back on. These garments have longevity and affordability in mind which should be significant elements consumers adopt in purchasing habits today. Princess Beatrice presents a perfect example of how heirlooms are highly misinterpreted.

In July 2020, the Royal bride wore a vintage Norman Hartnell wedding dress which was a family heirloom of the late Queen Elizabeth II, as pictured in Figure 5. This was fashioned alongside a diamond fringe tiara also worn by Her Majesty on her own wedding day in 1947. The headdress was once said to be a reworked necklace belonging to the Queen’s grandmother and thought to be a huge honour since the monarch’s jewels are usually “borrowed by members of the royal family according to pecking order” (Blitz, 2020).

Figure 5: Princess Beatrice in Norman Hartnell heirloom dress (Source: Foussianes, 2020)

Society at present is awfully congested with trend thirsty consumers who have little to no knowledge of their clothing, they are indoctrinated to think buying cheaply means having the benefit of possessing more. Yet, if we were to study one another’s wardrobes closely, the likeliness of discovering garments with tags still attached or unworn pieces in original packaging, is outrageously high. A survey documented by ITV news discovered “around a quarter of clothes found in an average wardrobe go unloved and unworn. Across the country, this means 1.6 billion items are just left on their hangers.” (ITV News, 2022). A study conducted in 2019 supports this evidence in identifying women as the ‘culprits’ for possessing £22,140 worth of unworn clothes, with men following by a sum of £11,811 (Smith, 2021). Whilst this research has a limitation concerning date difference, it is valuable in detailing the extent as to how we are in an age of disposable convenience and greed.

Figure 6: Graph of average value of unworn clothing in wardrobes of UK consumers across a lifetime as of 2019, by gender (Source: Smith, 2021)

The Royal family, along with A-list celebrities are great manifestations that hand me down clothing are not shameful or inferior, but a symbol of worth and identity. There is a multitude of fascinating paradigms which further support this, including that of Figures 7 and 8. These should be our influencers, you could say, for displaying a remarkable and intimate approach to the sustainability crisis. Heirlooms carry a culture, tradition, and memory enabling us to form connections with the past, present, and future. In diving into this beautiful heritage, we can be taught a new way of life. It is possible to utilise and learn from previous afflictions, like the Great Depression, and use it as message to put what’s happening in the world now into perspective. It can assist us in understanding that remaining resilient and responsible is key for rebuilding a more propitious environment. The next time we are purchasing online, shall we not consider ourselves as the first, last and only consumer. That we respect our next generation, just like our ancestors did? This should be the mentality we seek to acquire every day. Heirloom could be the future of fashion, if only we can alleviate the stigma associated with it.

igure8 8: Refashioning of necklace worn by Princess

Diana ( Source: Desk, 2020)

Figure 7: Courtney Cox’s daughter wearing heirloom dress (Source: @courtneycoxofficial, 2019)

Figure 9: Vestiaire photoshop multimedia collage by Eleanor Hendry (Source: Hendry, 2022)

As aforementioned, there have already been significant steps initiated for a latent greener future, in the appellations of second hand and resale. Websites including Depop, Vinted and Thrift+ alongside charity shops and second-hand stores, are a fantastic notion of collaborative consumption which are excelling in popularity, especially amongst Generation Z. A case study has therefore been conducted into pre-loved fashion giant, Vestiaire Collective, to determine the thesis of an ‘heirloom substitute future’ and to contend the possibility of its eventuality. It is designed to explore how the industry’s small steps contribute to a grander impact, as well as discovering advantages or limitations associated within this area of second-hand fashion.

L O NG LIVEFASHION

Vestiaire Collective launched in 2009, with a predominant vision to encourage the extension of a luxury products’ lifespan as a force of stimulation for circular fashion. As a leading online marketplace, founders Fanny Moizant and Sophie Hersan, established an outstanding solution to stranded wardrobe items with a concept of bestowing pieces a “new lease of life and a place at the heart of the industry and consumer mindset” (Moizant, 2019). Beginning the journey with their original title “Vestiaire Copines”, the company have transformed the industry, as well as consumer ethos, to desire preloved fashion. They have substantiated their current name of “Vestiaire Collective” to embody a community of fashion lovers who have consciousness at the forefront of their buying mentality and engaged a wider interest towards investment of items for their durability components, as opposed to trend values. In an interview fulfilled by Forbes,

the pioneering duo informed the magazine of an observed pattern and resurgence for classic, vintage brands, detailing the Dior Saddle, Fendi Baguette, and Celine Triomphe bag as some of their best-selling designs. We can surmise from this research a possible yearn for heritage, traditionalism, and nostalgic presence within consumer purchases. An increased popularity for sustainable brands was also acknowledged, which can postulate an advance of mindful practice too. Heirlooms preserve history, they have a strong heritage, one which can be retold and relived to experience nostalgia and memory- like many of these brands and their possessions. A product’s historical components are pursued onwards through these purchases, providing a circular system and a statement outlook that vintage is ‘cool’, fostering an enhanced certitude that hand me downs can be just as successful, sentimental, and a partial solution for the future of the industry crisis.

CASE STUDY

Figure 10: Vestiaire campaign imagery

(Source: Gorny 2022)

VESTIAIRE COLLECTIVEMARKETING

Accommodating to a younger audience in their sustainability credentials, Vestiaire Collective have surpassed their marketing strategies by producing campaigns which are highly distinguishable. Combining forces with Droga5 for their most recent advertisement, Vestiaire proposed their new philosophy of ‘Long Live Fashion’ through a film exhibiting a collection of puppets inspired by an assortment of style tribes, wholly fabricated from pre-loved garments. The concept is premediated to lure onlooker attention whilst tactfully grasping their awareness towards a critical topic of conversation, propelling them to navigate their brand and diverse mission. Typically for the prevailing generations, these forward thinking and unparalleled actions can be stapled as a requisite for drawing cognizance on such matters and hoisting discussion. The limitations with heirloom fashion are that it can be subjected to a person’s family or past, therefore such promotional strategies can be labelled difficult to perform. Nonetheless, if the future entitles brands to modify their collections so the garments fashioned on runways and sold in stores are handed down from previous fashion or family history, which can be reworked to appetize a consumer hungry for ingenuity, such rich platforms and forms of advertisement can prove extremely advantageous for pushing heirloom forward.

Figures 11: Vestiaire campaign imagery (Source: Gorny 2022)

Figures 12: Vestiaire campaign imagery (Source: Gorny 2022)

With reference to this study, we can compare it to the statistics provided by two research professors within the Oklahoma State University and their report findings as follows – the second-hand clothing market is projected to more than triple in value over the next 10 years. Fast fashion is expected to grow 20% in the next 10 years, second hand fashion is poised to grow 185% (Park/Joyner, Martinez, 2020). Despite the relevance of fast fashion remaining present, we can discern a much slower growth within this area, hence suggesting a reign in on a capitalist society. These results highlight a significant advancement within the pre-loved market, further promoting a positive notion for heirloom clothing to be an avenue for sustainable choices and a limited salvage from the accrescent dilemma of a broken planet.

Figure 13: Photoshop multimedia collage by Eleanor Hendry (Source: Hendry, 2022)

IMPENDING CONSUMER

As we examine the future of the industry further, it is notably important to review its awaiting consumer. The impending Generation Alpha will be a self-sufficient cohort, capable of making individual decisions and are extremely cognizant of the impact of their choices. So, when it comes to dealing with the sustainability exigency, Gen Alpha will be the ones sat in the driving seat, racing to find a more circular economy and eco-friendly environment. The children born from 2010 epitomise this era. They have been raised in a digital realm of social media platforms and technology giants, using these to their benefit for educational purposes and communicational processes. Albeit this being their contemporary lifestyle, Generation Alpha will bear a greater sensitive and emotional side, a likelihood effect of this influx of tech. Hence, we can perceive an interest and nostalgia for memorable items, positing them as a hopeful customer for an heirloom alternative. An article from The Guardian fortifies this impression- “for young people, the current trend is about what we can gain from the past, not a mourning for what’s lost… what we’re doing reclaims aspects of cultural history that weren’t previously accessible to everyone” (McArthur, 2022). Today, generations are looking back to previous eras and revitalising them to create their own sustainable version. The increased popularity for low-rise jeans is an example of this- many were available to purchase in thrift stores and reselling websites. Matters, like sustainability, should be educated from an adolescent year as Generation Alpha will have a reduced attention span. Yet with higher morals, values and ethics compared to their predecessors, they can be determined as feasible consumers for hand me down styles.

Brands are already modifying their ways to the flood of this generational wave including toy giant LEGO, who have recently unveiled their first prototype brick (materialised from recycled plastic) and broadcasted their ambitions to make all bricks sustainably sourced by 2030 so they can transcend on as heirlooms. With a program allowing brick owners to donate pieces they are no longer desiring; LEGO are providing a manifesto for an environmentally conscious mindset to start young and a new lease of creative life for old possessions. So far, the LEGO website has recorded “127,933 boxes of bricks donated and 199,050 children homing LEGO Replay donated bricks” (LEGO,2022). Through amalgamating sustainability and hand-me-down systems within their practices, LEGO have prospered in their approach to Generation Alpha as they are continuing to equip children with the toys they have grown to adore whilst supplementing sentimental values and the significance of giving back, reusing, and recycling their novelties. This truly facilitates a consumer who treasures emotional attachment and memories as well as conscious effortsa solid example that brands can take necessary steps forward to an eco-friendly future whilst producing products of a circular cycle which can be considered heirlooms in the near prospective.

Figure 15: LEGO REPLAY (Source: LEGO 2022)

Figure 14: LEGO REPLAY (Source: LEGO 2022)

If such enforcements are coming into materialisation, we now challenge what are the restrictions halting individuals from utilising their succeeded heirlooms/hand me downs? Statistics from a thredUP survey proposed for the latter Generation Z documented “80% of this age group agree there is no stigma associated with buying used fashion” (Ho, 2022). The elevation in figures suggest a positive sustainable forthcoming is feasible, so long as Generation Alpha inherit such consumer habits as stipulated; nonetheless it does interrogate the question: what is stopping Gen Z from exploiting these actions right now? Why are these figures exceptionally high, but we are still suffering from a fast fashion onslaught?

Trend conformity. The so-called pinnacle for social acceptance. As digital natives, youngsters are surrounded by alleged “influential” figures of social media- the fame wannabes compensated to sell a false lifestyle, shall we say. These people inculcate what one should wear to be ‘stylish’. A survey exercised in 2021 highlighted 45% of 13–19-year-olds discovered viral trends from online creators (YPulse Survey Data, 2021). This data reflects how teenagers are no longer using their style for self-expression, but a call for duplication and sense of belonging in a community which fears being different. Their parents (many from the millennial cohort) are equally to blame for pushing this “trend” mentality further due to FOMO/ YOLO philosophies and urge to be “cool”. If Generation Alpha emerge to

LIMITATIONS

establish their own decisions and continue their beliefs that “people should be accepted for who they are” (Dunmore, 2022) we can contend with this point in that their personal styles will be subjected to their own wants and needs, thus eschewing fear of judgment and instead, allowing a gateway for heirloom clothing to be a dominant “trend” achieved by this cohort.

It can be disputed that not all heirlooms will be of wearable condition or fit for one’s size. The longevity of an item can deteriorate from lack of maintenance or natural wear and tear. This argument can easily be flipped and repaired through the adoption of simple sewing techniques and creativity. The make do and mend theory is nothing new to the industry, formerly introduced as a campaign in the 1940’s for rationing of clothing and encouraging amendments of existing. Today, we have numerous resources for reimagining heirlooms into more fashionable and fitting pieces which positively saves money and allows the garment to be passed on further through generational lines. These small excuses irrefutably infringe a greener future for the industry. It is salient for individuals to delve into their given gifts of past culture and carry it forward to prolong its future as well as saving their own.

PRIMARY RESEARCH

I have devised a semi-structured interview with a purpose to interrogate personal narratives behind the preservation and utilisation of heirloom artefacts. My intention is to examine how current generations hold relationships with heirlooms, how they consider transcending these to upcoming cohorts and their opinion towards my argument of how hand-me-downs could provide a partial solvent. The participants explored were from a family background and interviewed individually (see Appendix for full interview transcripts). This allowed a trusting relationship in which the contributor felt comfortable revealing their accounts behind the treasures. A plethora of sources were received and narrowed down to produce efficacious qualitative evidence supporting this thesis. This strategy of research was influenced from the successful practice fulfilled by Jung, H., Bardzell, s., Belvin, E., Pierce, J., & Stoltterman, E in their account of How Deep Is Your Love: Deep Narratives of Ensoulment and Heirloom Status study. I wanted to accomplish a similar attempt of examination in confidence I would receive reputable conclusions towards my argument. Figures 16-21 display the treasured pieces alongside a description recounting what they are.

Figure

Figure 16: Heirloom book (Source:

Figure

Hendry, 2022)

17: Heirloom pin and cufflinks (Source: Hendry, 2022)

18: Handing down

medals (Source: Hendry, 2022)

(Source: Hendry, 2022)

Figure 19: Heirloom costume jewellery

This primary study was successful for identifying themes and underlying patterns emerging within respondents’ answers. One of the themes prevalent was memories and how they can be conserved and recited to future generations through a passing down mentality. Participant E informed me of the sentimental value they associated with a handmade coat sewn for her daughter. She retraced the periods of an economic downfall, where sewing was religiously used to “make ends meet” (J. Dimeloe, personal communication, 2022).

Sewing provided comfort for difficult conditions and a way to produce something “unique”. This correlated with Participant D who underscored the passivity of the current epoch, referring to them as a “throwaway society” and emphasised on the make do and mend theory as a system for reparation. This can compare to my former research regarding The Great Depression, and how heirlooms are excellent for educating newer generations of previous affliction as well as amending clothing they consume now. Perhaps practices, like sewing, need to be re-introduced through curriculum or courses to drive an heirloom notion even further.

Figure 20: Heirloom knitted coat (Source: Hendry, 2022)

Figure 21: Heirloom cotton coat (Source: Hendry, 2022)

Memory was also a theme recognised in Participant B, who acquired cufflinks originally possessed by his great grandfather who lived in Shanghai. All the above accounts demonstrate the depth of ensoulment and memory heirlooms can carry, as well as heritage associations which can be retold to future owners. Linking back to my secondary research of Generation Alpha, it was acknowledged they will bear an emotional tendency. Memory is something which could accommodate to this sensitive side and need for nostalgia through the use of clothing, ultimately suggesting heirlooms will be of interest to their requirements.

Furthermore, an underlying pattern of storytelling was highlighted, particularly by Participant A. This interviewee recorded how heirlooms represent a “connection with the past” in which memories recounted allows one to envisage stories and create an independent imagination associated with that item. When questioned if she considered heirloom fashion as a partial solution, Participant A stipulated how clothes are important to remember things by and have great attachments to oneself, therefore yes. She recollects of a pair of stilettos she continues to wear (once purchased by her mother) and prefers the imperfections as they

are “unique”. Originality is a trait Generation Alpha admire; they value the ‘unique’ (a theme linking back to Participant E). Participant A addresses how clothing “projects her mood and identity” further explaining how students within her workspace celebrate individuality. She compares this to a generation ago where she can see a shift in how youngsters approach fashion, when formerly consumerism and designer were driving forces. She stated, “heirlooms acknowledge how our past shape who we are and how we are building as individuals” (C. Hendry, personal communication, 2022), thus accentuating their advantages for allowing youth to be entirely themselves.

CONCLUSION

The future of fashion is undetermined, and actions are assuredly needed to restore an environment once lost in the hands of the incapable and avarice. However, heirloom and hand me down requisites have been proven throughout this essay to present a partial solution to the accrescent dilemma of sustainability, manifesting a positive and greener forthcoming for the fashion industry. Heirlooms carry historical and contextual value relating to one’s heritage and past which can be recapitulated to generations through storytelling practices and wear of garments. My evidence has highlighted the salience of nostalgia for prevailing cohorts, detailing a vast sentimentality for pieces which provide comfort in times of adversity. Heirlooms cater to this need, acquiring a notion for memory as well as revitalisation. Through adaptation and creative senses, hand-me-downs can be reworked and manipulated into original items- a phrase emphasised to be important for Generation Alpha. Longevity and affordability are yielded by heirlooms for those currently entering the financial recession, whilst supplying originality for one to be individual in their own clothing choices. The concept surrounding hand-me-down fashion is often neglected, yet this essay attests their worth, whether that be monetarily or schmaltzy.

Data encircling the second-hand market within this essay, has proven just how successful the partial solution of heirloom can be. Youngsters, today, are becoming increasingly aware about the dangers of consuming fast fashion and supporting capitalist societies. As Participant A articulated- “students are more interested in personal branding and projecting themselves” (C. Hendry, personal communication, 2022) – something of which dressing identically through trends eradicates. An heirloom substitute is promising since generations today are already acquiring passing down mentalities- as confirmed by Participants B and C. A limitation within my primary study was that it was directed towards Millennials, and Generation X. This can be rectified by future researchers by interrogating a wider market, thus driving the argument that hand-me-down strategies will make a difference and can be a partial solution to the sustainability crisis currently rupturing the future of fashion.

REFERENCES

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Blitz, S. (2020, July 18). Queen allows granddaughter to wear treasured heirloom from her own wedding in 1947. Daily Mail Online. Retrieved December 5, 2022, from https://www.dailymail.co.uk/news/article-8537285/Queen-allowsgranddaughter-wear-treasured-heirloom-wedding-1947.html

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ITV News. (2022, October 7). Average wardrobe has 31 items of unworn clothing, study says. ITV News. Retrieved December 5, 2022, from https://www.itv.com/news/2022-10-07/average-wardrobe-has-31-items-of-unworn-clothingstudy-says

LEGO. (n.d.). Donations so far... Replay - environment - sustainability - lego.com GB. Retrieved December 5, 2022, from https://www.lego.com/en-gb/sustainability/environment/replay

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Nyfeler, J. K. (2012). ...And who sewed your clothes? (thesis). …And who sewed your clothes? Alienation in the time of division of labour – A Marxist analysis on two contemporary Swedish fashion brands. Diva Portal. Retrieved 2022, from http://www.diva-portal.org/smash/get/diva2:533640/FULLTEXT03.

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Martinez Associate Professor of Fashion Merchandising, C. M. (2020, September 16). Secondhand clothing sales are booming – and may help solve the sustainability crisis in the fashion industry. The Conversation. Retrieved December 5, 2022, from https://theconversation.com/secondhand-clothing-sales-arebooming-and-may-help-solve-the-sustainability-crisis-in-the-fashion-industry-148403

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Joyner

IMAGE REFERENCES

Figure 1: Photoshop multimedia collage by Eleanor Hendry

Figure 2: Photoshop multimedia collage by Eleanor Hendry

Figure 3: Kautsky, K. (2007). Variants of marxism. Encyclopædia Britannica. Retrieved December 2022, from https:// www.britannica.com/topic/Marxism/Variants-of-Marxism

Figure 4: Handrawn mindmap by Eleanor Hendry

Figure 5: Foussianes, C. (2021, November 2). Norman Hartnell, the designer behind princess Beatrice's wedding dress, has long been fashion royalty. Town & Country. Retrieved December 2022, from https://www. townandcountrymag.com/style/fashion-trends/a33370413/who-was-norman-hartnell-princess-beatrice-weddingdress-designer/

Figure 6: Smith, P. (2021). Average value of unworn clothing in wardrobes of Uk consumers across a lifetime as of 2019, by gender. Average value of unworn clothing in UK wardrobes 2019, by gender. Retrieved 2022, from https:// www.statista.com/statistics/970513/unworn-clothing-british-men-and-women/.

Figure 7: Cox, C. (2019, June 11). Courteney Cox on Instagram: "I'm not one to hold onto things but this was a damn good purchase! 21 years later...". Instagram. Retrieved December 2022, from https://www.instagram.com/p/ BylP2z0juul/?utm_source=ig_embed&ig_rid=b1c56678-3c39-4991-824e-e4671fdb23dc

Figure 8: Desk, W. (2020, December 30). Queen Elizabeth absolutely loathed princess diana for miswearing precious royal heirloom. thenews. Retrieved December 2022, from https://www.thenews.com.pk/latest/766622queen-elizabeth-absolutely-loathed-princess-diana-for-miswearing-precious-royal-heirloom

Figure 9: Photoshop multimedia collage by Eleanor Hendry

Figure 10: Gorny, L. (2022, March 21). In droga5's vestiaire collective campaign, the clothes become the models via puppetry. It's Nice That. Retrieved December 2022, from https://www.itsnicethat.com/news/droga5-long-live-fashionfilm-210322

Figure 11: Gorny, L. (2022, March 21). In droga5's vestiaire collective campaign, the clothes become the models via puppetry. It's Nice That. Retrieved December 2022, from https://www.itsnicethat.com/news/droga5-long-live-fashionfilm-210322

Figure 12: Gorny, L. (2022, March 21). In droga5's vestiaire collective campaign, the clothes become the models via puppetry. It's Nice That. Retrieved December 2022, from https://www.itsnicethat.com/news/droga5-long-live-fashionfilm-210322

Figure 13: Photoshop multimedia collage by Eleanor Hendry

Figure 14: LEGO. (n.d.). LEGO® Replay is currently available in the US and Canada. Replay - environment - sustainabilitylego.com GB. Retrieved December 2022, from https://www.lego.com/en-gb/sustainability/environment/replay

Figure 15: LEGO. (n.d.). Packing tips. Replay - environment - sustainability - lego.com US. Retrieved December 2022, from https://www.lego.com/en-us/sustainability/environment/replay/

Figure 16: Primary imagery by Eleanor Hendry

Figure 17: Primary imagery by Eleanor Hendry

Figure 18: Primary imagery by Eleanor Hendry

Figure 19: Primary imagery by Eleanor Hendry

Figure 20: Primary imagery by Eleanor Hendry

Figure 21: Primary imagery by Eleanor Hendry

APPENDIX

Primary Research Interviews

This appendix consists of the transcripts of primary qualitative research (virtual) interviews undertaken by myself (Eleanor Hendry) to extend my examination of- How can heirloom fashion and hand-medowns present a partial solution to the accrescent dilemma of sustainability for the future of the fashion industry? The following participants were invited to a semi-structured interview in which the questions proposed mainly supported the answers responded to of prior. This allowed a relaxed and conversational feel to the interview, alleviating pressure and ensuring I received open and honest feedback.

Interviewer: Eleanor Hendry

Interviewees: Labelled as Participant A, B, C…

Date: 26th November 2022

Participant

1. What is the item you have presented today?

A: The photographed item is an old copy of a book called Little Woman based on the story of four sisters. It is a story about the importance of telling stories! It’s not worth much I believe and is rather delicate to read now but it is very special to me.

2. Can you further emphasise as to why it is special?

A: Yes, of course. This was given to my Nana as a present for her eleventh birthday, as shown in the inside covers. My Nana then passed this down to me as I am an avid reader. I am fond of how they have documented who it was given to when passed on from one person to the next. It will be lovely to continue this manner when I gift it to someone in our future family line.

A (Owner of Little Woman book copy)

A: As mentioned before, I want to continue passing this down from one generation to the next; despite it being a bit rough around the edges and must be handled carefully. There is always a storyteller in every family; a person who holds the collective memories of things that have happened in the family and pass these memories on. My great Nanny Watson was very good at this, Nana is the person who does it in ours. One day this will be inherited by the next storyteller in the family!

4. What do heirlooms mean to you?

A: Heirlooms represent a connection with the past in a way that a historical relic cannot; they belong to someone who means something to you. Handling something tangible or using it in the same way a family member may have done, helps to bring a past version of that person back to life and allows you to have a shared connection back to their memories. Lots of the stories I have been told by my older relatives have their own versions that live in my imagination. There is no way to completely experience the life that someone else has lived and the memories they have accrued. If the contents of imagination looked like a film, then that person would not recognise that memory if they could look inside my head as it is impossible to download their own version of it; I have created it from my own imagination based on a story once told to me and by doing so added my own layer of experience to it. Heirlooms have the same effect: like the memories they symbolise, they are shared and reused objects. By owning them for a time, you are not a possessor of the object as it does not really belong to you. Instead, you become a custodian over the collective memories. You change the object through your own use, it ages and gets worn and by using it you add your own version of the memories to it! Eventually you pass it and the story of its meaning onto the next generation.

5. Since you own an heirloom and notify its worth and treasure, have you ever considered how clothing heirlooms can provide a sustainable alternative to purchasing habits?

A: Personally, clothes are important to remember things by. I think I probably have an attachment to clothes than most people! I can usually remember what I have worn to occasions and how they made me feel. I often keep hold of clothes because of memories they represent. Sorting through my wardrobe and finding items from nice memories, gives me joy. This attitude of fashion comes from when I was growing up. My mum had a ‘dressing up box’ full of sparkly outfits, ball gowns, guest outfits, ridiculous 80’s puffed sleeves dresses, towering stilettos- all sorts! She could

3. How and why do you consider this an heirloom piece?

not bear to throw these away as they represented a version of herself that she wanted to keep alive. She told me the stories of where she wore each piece and I used to dress up, pretending to be in all the scenarios of her single life as described. I have an old pair of her green suede stilettos from the 70’s which I still wear now- they are a bit discoloured, but I like the imperfections as it makes them unique. It saddens me that she didn’t keep the entirety of the box because I would have definitely re-worn some of the pieces. As an adult, I use clothes to project my mood and identity. As a student I used to buy fast fashion and get frustrated when it fell apart so easily, or the current trends did not suit me. Now I’m in my 30’s, I rarely buy fast fashion as I’m not good at keeping up with the trends, I know what I like and what suits me, so I shop around for more unique pieces. For my preferred jewellery, I re-wear old wedding rings from previous family members which I will hand down to other family members. Some of my favourite fashion pieces are vintage buys, I see the value in spending time altering clothes to fit/suit me better too. I love the feeling when someone asks me where my clothing is from, and I can say second-hand and tell them the story behind it. Buying more of this has also made me better at clearing out my old clothes and disposing of them more sustainably. There is more joy giving something away to someone else for them to make memories out of it and in the hope, they will pass it on too! I currently work with students, and I have definitely noticed a change in how they approach fashion. A generation ago, students were obsessed with consumerism and designer. Nowadays, a lot wear second-hand. Their attitudes have increasingly changed, especially towards fashion and sustainability. They seem to celebrate individuality and having pieces with a story to tell rather than copying what friends are wearing. I think they are more environmentally conscious then my generation and more interested in personal branding and projecting themselves as individuals. Wearing family heirlooms helps people to actively feed into a narrative of identity building as individuals. It acknowledges that our family past shapes who we are as people, giving us the building blocks to construct our sense of future selves!

Participant B (Owner of Cufflinks and Medals)

1. What are the items you have presented today?

A: One of the pictures is of your great grandfather’s cufflinks and tie pin from his time living and working in China, where my dad was born. They carry great heritage. The other picture is of the medals I have been awarded. I have both full size and miniature versions.

2. Why do you class these as heirloom?

A: As said, the cufflinks were my grandfathers who handed them down to my father, then to me- they are an heirloom with great historical reference. Both my grandfather and father were born in Shanghai thus the Chinese symbols. I don’t know what they stand for as such, but they were worn as part of his dinner suit. They are a part of our family memory from when they lived in China. My medals I’d class as modern heirlooms which I will hand down to both you and your brother and so forth. From left to right are the Queen’s Golden, Diamond, and Platinum jubilee for long service and good conduct medals. These are something I am extremely proud of and would love for them to be passed on from generation to generation so they can look back and see part of the successions of their Hendry family line.

3. These items can be worn as part of accessorising an outfit. Do you think many people consider utilising these in such ways?

A: I think they can definitely be used for accessorising an outfit, I wore my medals last month when I marched at the Cenotaph in London on Remembrance Sunday. I know many folks will maintain them for sentimental reasons as their value is immeasurable- they are money can’t buy pieces.

4. Have/would you personally wear these?

A: My medals I always wear as part of my suit, especially for marches or representing my work role for occasions. The cufflinks are a little less suitable and are more of a treasure to me than accessory. I have looked after these well, as shown in the picture, so they may be of use to future generations.

Participant C (Owner of Costume Jewellery Brooch and Gold Cross Necklace)

1. What are the items you have presented today?

A: I was gifted both of these items from my mother-in-law. She was originally given these by her mother who I was extremely close to! One is a diamante brooch and the other is a gold decorative cross.

2. Why were these handed down to you?

A: They were gifted as sentimental hand me downs because she wore the brooch on many outfits, especially for special occasions. The cross was passed on to my mother-in-law then passed to me as I had recently been confirmed and she thought it would be important to me because of my religious beliefs. She knew I would look after it!

3. Do you wear either of these often?

A: No, they are kept safely in my jewellery box. The cross is quite unusual since it has a patterned face and a thick chain- different from most you see on the market today! I would consider wearing the cross on special religious occasions, but not every day since it holds sentimentality and perhaps value. The brooch, on the other hand, isn’t really my style but I treasure it still and possess photos of the previous owner (my mother-in-law) wearing it which is special.

4. If the brooch could be reworked into something of more relevance to today’s style, would this be a consideration?

A: Yes, I’d say so! Or if I had a scarf or jumper which was more trend-like (not exactly brand new either, just updated), it could be accessorised alongside this. I like the idea of merging the old with the new!

5. Will you pass these down to your family?

A: Yes, I am passing all my special jewellery box pieces to my daughter. They carry great memories and I believe her generation could manipulate/ put them to good use and extend their heirloom prosperity.

1. What are the items you have presented today?

My lovely mum knitted the coat for my daughter to wear when it was cold. The other image is of a jumper she knitted for my son. She was amazing at knitting and would do it often. I still have many items she has made.

2.

What do they mean to you?

A: They have great sentimental value and hold a lot of memories of my children wearing them. I like to treasure them safely to show to others later on, you never know when they’ll come in useful again!

3. Do you think these garments will provide a partial solution to fast fashion and the climate crisis?

A: Yes! The problem now is, we have a throwaway society, whereas back in the day we had made do and mend. Today if we have a hole in our sock, we simply dispose of it and buy a pack of new pairs. I am one to talk because I have accustomed to this new way of living too. But I do think we need to go back to the old ways of repairing our clothes, we’re lazier today and rely on convenience. Before this we had a wooden darning mushroom. You would put a sock over the top and it would stretch the fabric so we could stitch the hole back together with darning wool.

Participant D (Owner of Handmade Knitted Coat and Jumper)

Participant E (Owner of Handmade Cotton Coat)

1. What are the items you have presented today?

A: I made this coat for my daughter when she was a little girl, we used to do a lot of sewing in those days to make ends meet. I have always enjoyed sewing and made many little outfits. I have done scarfs too, which were given to my granddaughter to keep warm in the wintery months! It was an economical way to save money and create something unique. They look just as good and original!

2. Would you pass the coat down as an heirloom?

A: Many of my items made I did pass down to my children. This coat I wanted to keep because it was one of the favourites I had made. I kept the odd things for memories, I love showing them to family and friends to rekindle the old-time recollections. A memory of your children growing up! To think she used to wear this when she was around 2 years old, it is a fond piece and lovely image to use for your project.

3. What was this fabricated from?

A: I am pretty sure it was an acrylic fibre called Courtelle. It was a material which had a self-backing, so you didn’t need to go to the extra measures of getting lining, I loved an easier process. It has bound buttonholes too which I think makes it look more professional!