The Wearer - Gabriele Stonciute Self Initiated Project by gabriele.stonciute

The Wearer

Self-Initiated Project Gabriele Stonciute Tutor - Lorenz Herfurth

Product Design Department Glasgow School of Art, 2018

Contents Brief Introduction

03 04

Main Challenges Responsibility Key Tensions Approach to Sustainability STEP Research Research Framework Field Research Volunteering Key Insights User Engagement Key Insights Initial Opportunities Persona Cards Concept Development Refining the Concept

08 10 12 14 16 18 20 22 24 26 28 46 48 54 58

Key Aspects Final Concept First Prototypes Defining Aim & User Further Prototyping Final Prototype Defining the Service The Wearer Key Elements Aims Reflection Sources

68 70 72 78 89 82 85 86 90 105 108 110

The ultimate goal of this project was to suggest a method of mindful consumption of clothing. Firstly, I aimed to research and present an alternative consuming solutions which potentially would aďŹ&#x20AC;ord the consumer to buy less or at least be more aware and considerate about their purchases. I wished to explore three main areas mindful buying, mindful selling and frame this in a system of mindful relationships buyer and the object, seller and the object, seller and the buyer.

Core StaďŹ&#x20AC;: Kirsty Ross Mil Stricevic Janet Kelly Lorenz Herfurth Irene Bell

The reflections through my process are marked by grey background.

’In today’s unsustainable world of goods, where products are desired, purchased, briefly used and then promptly landfilled to make way more, consumption and waste are rapidly spiralling out of control with truly devastating ecological consequences. Why do we, as a consumer society, have such short-lived and understimulating relationships with the objects that we invest such time, thought and money in acquiring, but that will soon be thoughtlessly discarded?’ Jonathan Chapman, Emotionally Durable Design

Introduction These words by Jonathan Chapman really inspired to think more closely about the modern ownership. Even after 12 years that this book was firstly published, the ideas and concerns discussed, are still extremely relevant. Seeing not only shelves in the shops filled to excess but also online platforms now oďŹ&#x20AC;ering vast quantities of diďŹ&#x20AC;erent items, makes me, as contemporary designer, realise that our relationship with the objects that we decide to acquire is seriously disrupted. More than ever our material possessions are identification of ourselves - our status, preferences, taste and even values. But in the same way it raises the question - who dictates all of the mentioned? Is it us, who know who we are and what we value, or more and more often, it is our material world that is taking over this leadership of oneself?

Main Challenges

Clothing

Sustainab

Why it matters? The relevance of clothing is beyond dispute. For some clothing might be superficial and for others it might be highly important, however, all of us are regular clothing consumers.

The apparel industry accounts for 10% of global carbon emissions and remains the second largest industrial polluter, second only to oil. 1

Future Experiences

In recent years similar facts, as well as terms like waste, exploitation, pollution, excess has been known for most of us in parallel to the word fashion. In the report produced by Greenpeace the introductory statement says it straight: ‘Overconsumption of fashion is an international phenomena.’ And as it explains further, the most worrying aspect of our culture of fashion consumption is the fact that we no longer buy just because we need it. In many cases the experience of purchasing is closely intertwined with our longing for fulfilment, confidence, happiness or relaxation.2 From my perspective. Terrifying statistics of our clothing consumption is also extremely relevant to the

paradox of choice. Facing this incredible selection that fashion industry oﬀers today we are dissatisfied with most of our purchases. Raising influences from social media encourage us to consume in trends (or microtrends) and seasons rather than confidently following our own style and personal preferences. Furthermore, recycling becomes an excuse to consume more and enable us with the lifestyle of ‘buy and get rid of.’3

bility

Responsibility

Who is responsible? Clearly the problem of waste orientated clothing consumption is not only consumer habits driven. John Thackara discussing clothing states: ‘As awareness and concern has grown, many fashion brands have committed to do less harm and proclaim that their products are verified, accredited, or certified as being sustainable. But <..> in the absence of a shared definition of what ‘sustainable’ actually means <..> most brands commit to merely ‘minimise’ negative economic, environmental, and social impacts and do ‘as little harm as possible’. <..> this addresses the symptoms, but not the principal cause, of our diﬃculties: an economy based on perpetual growth in a finite world.’ 4

Not a single fashion brand has told its customers to buy less. 5

Future Experiences

Linear business model is eliminating an extremely important part of the whole experience - clothing as many other man-made products historically and even economically has always been like a bridge or a connection between people. Made objects and also materials in their core could be considered as collections of energy, ideas, caring or attention. By neglecting these aspects, our objects become inert and static and they mean nothing to us and to those making them. This disconnection from the making process as well as the makers is further discussed by Thackara: ‘I begged him to look after and nurture the country’s tailoring traditions - but look for new ways to make them viable as a

business. Connect the people who make things, here, I pleaded, with people who need clothes and would love to have a direct relationship with the person who makes them.’6

Model from Stella McCartney’s collection where the designer raises questions about fashion industry, specifically focusing on fashion waste 7

Key Tensions

Key tensions My desk research was a good way to identify some common myths and misconceptions related to our habits of clothing consumption.

The footprint of cotton Cotton is usually perceived as a natural therefore sustainable material. However, for each t-shirtâ&#x20AC;&#x2122;s worth of cotton, 150 grams of pesticides and fertilisers are used which makes it the fibre that requires most pesticides to produce. Furthermore, cotton requires vast amounts of water - approximately 20000 - 40000 litres of water are used to grow a kilogram of cotton. 8

Biodegradable materials So-called biodegradable fibres cannot simply be chucked on your compost or food waste binned. In order to actually degrade it needs special condition and highly controlled environment. If those conditions are not met the materials do not change. 9

Future Experiences

Laundry Most of us no longer wash our clothes to clean them but rather to refresh them which with the help of washing machine is easier then ever. However, the average piece of clothing is washed and dried 20 times in their lifetime. 82% of its lifetime energy occur during laundering. Therefore conscious washing is very important in order to be energy eďŹ&#x192;cient. 10

Donating to charity Clothes donated to the charity shops which do not find a new owner are eventually sold to companies which export unwanted clothes to developing countries. In most countries this seriously distorts local economy and local produces are no longer able to compete with extremely low prices of second-hand clothing. 11

Approach to Sustainability

Clothing Work by professor Stuart Walker inspired me and helped me define my approach towards sustainability. In one of his TED talks he explains: ‘Always along with this period of modernity there has been a sense of meaninglessness <..> A triple bottom line (Figure 1) of sustainable development for a very long time has been economic development, social welfare and environmental care. <..> This bottom line helped, but it’s not comprehensive, it lacks relevance to the individual, and most importantly, it diﬀers from deeper more profound understanding of human meaning which has been with us for a lot longer. What this bottom line also does is that in a monoculture it privileges the economy and then the social and

Future Experiences

Sustainab

environmental consequences get pushed to the background. <..> The quadruple bottom line (Figure 2) expands this idea to - 1. practical meaning, which is a basic human need of practical meaning, utility, benefit and its environmental consequences; 2. the social ramifications of what we do and our activities in the world and 3. what it means from a personal point of view in terms of inner values and spirituality. <..> Also economy is pushed at the back as economic means, a way to achieve those other things. <..> So we go from a modernity mantra - form follows function, to a sustainability saying - form follows meaning. <..> Going in this direction we move from a knowledge economy based on what we can do, to a wisdom economy based

on what we should do.4 Taking into account these ideas described by Stuart Walker they fit perfectly in the context of clothing. Cloth is pervasive - we are almost literally constantly wrapped in it. Arguably the form cloth takes around our bodies (and in our lives) frames our understanding of the world. The interest in clothing which only expands to ‘made and bought’ eliminates so much about the experience that culture around clothing actually provides. And this is the attitude that I aim to approach in this project.

Figure 2

utility, en

vir

alues, spirituality, er v c on n n i sc ie n t i s c e u j , l e a i q uit soc y

bility

Figure 1

me on

STEP Research

Taking care of your clothes Most businesses are not concerned at all what happens to their clothes after they are purchased. In general, there is a lack general understanding how to take care of the items from your wardrobe.

The Dawn of the Mending Culture?

Culture of Care and Mending

Motivations and #5 Customer’s Qualities of Attachment

Social Media told me to buy it

Recycling - an excuse to consume more?

Shopping Binge and Consumer Crisis

Social media marketing is marking a new era of advertising, with more brands and agencies using celebrities, in uencers and so called micro in uencers to target their audiences with their consumption incentives wrapped in real social connections.

Both recycling your clothes and buying clothes made from recycling materials gives an opportunity to actually continue consuming as much as one wants. Although advantegous in a number of scenarios, recycling alone is not a one-stop solution to sustainable production and consumption. It only represents a small part of a far wider picture.

Many people are not shopping because they need something new - their motivation is the longing for excitement, satisfaction and

It was very useful to translate all of my desk research findings into STEP cards. But at the same time it made me realise that my research is very broad and it is vital to narrow down. Thus I’ve extracted four key themes from the cards gathered that seemed to be the reason of the issues or certain eﬀects:

1. Sense of Responsibility 2. Habits/culture, influences of consumption Future Experiences

Shopping as socially and a plore/discove

In the linear business model once a garment is sold it is customer is responsible to what happens to it afterwards? What care is taken? is it discarded or used?

Ownership

tions/2017-05-08-greenpeace-konsum-umfrage-mode.pdf

Alternativ

to release stress, kill time and relieve boredom. Around 50% report that their shopping excitement wears of within a day and some say

tions/2017-05-08-greenpeace-konsum-umfrage-mode.pdf

Customer’s Perspective

C Con

Sus

Sharing the responsibili

Personal

How much are influenc sonal style? based on o

Trend vs. Style

Declutter/Capsule Wardrobe

Finding your style

3. Level of Awareness and Knowledge 4. Perceptions towards sustainability

The inability to establish your own fash style usually leads to consuming in tren Consuming in this way most of your wa is already obsolete once there is a new However, buying pieces for your style a to wear them as long as you like.

ve shopping

an experience which is very rich also allows the customer to exer on a personal level.

An extreme abundance of choice might seem like a positive retail aspect, but actually more choice means harder decisions and most likely even after long searching ‘for the right one’ you

Business Perspective

Depop and VInted (and in a similar way on Ebay) is bringing back the experience of trade. Giving the members the ability to sell. swap or gift their wardrobe pieces they also allow the creation of more relationships around your clothing.

The Return of Vintage - Curated Reuse Vintage, thrift, retro shops are providing the

Limitations and usually low price of charity shops give an exciting thrill of bargain-hunting eyond the hard cash, charity shops have human value. They’re often community hubs and service centres. They provide skills, social contact volunteering opportunities.

The Return of the Trade Online Depop and VInted (and in a similar way on Ebay) is bringing back the experience of trade. Giving the members the ability to sell. swap or gift their wardrobe pieces they also allow the creation of more relationships around your clothing.

potentially add something special to your wardrobe.

Business Models

Encourage mindful consumption of clothing from the perspective of the consumer and the seller

l Style & Values

No Protection over the Design

Distant Reality of Cheap Fashion

Major fast-fashion brands, especially, ZARA several times has been accused of stealing artist’s designs. Unfortunately, there is now copyright law towards clothing and accessories design, so small artists can hardly stand against corporations.

The dreadful reality of workers conditions in sweatshops has been a widely discussed issue for a while now. However, another serious concern of this problem is the fact how distant the truth is from the consumer buying cheap clothes. In addition, for most workers their lifestyle seems normal as they lived in these conditions their whole life.

http://shoparttheft.com

Free Returns - Praise to Convenience

The Online Abundance

Many fashion companies are giving up any ethical concerns for the convenience of the buyer to consume as much as they can. Free shipping or free returns are usually a catchy strategy to get people buy, but what is actually concerning is the amount of energy wasted.

Online Shopping in most cases provides an extreme quantities of items available to buy. Yet it also means that all of these items are made, stored somewhere and big part of it will be discarded after the new season.

https://inhabitat.com/ecouterre/reality-show-sends-fashion-bloggers-to-work-in-cambodian-sweatshop/

#2 Online shopping

Online space provides a lot of flexibility for retails, but how to ensure that the ‘quality’ of the experience which is so tangible (tangible rituals such as browsing, touching fabrics, trying on etc.)

our decisions about what we buy ced by our understanding of per? What influences it? Is it mostly our values?

hion taste/ nds. ardrobe w trend. allows you

Charity Shop Style & Lifestyle

The Return of the Trade Online

http://www2.hm.com/en_gb/life/culture/inside-h-m/everything-youneed-to-know-about-conscious-exclusive.html

Clothing nsumption X stainability

e ity

Paradox of Choice

Fashion Brands Exploiting Social Issues

Conscious is the new black?

Buy to be beautiful

Many fashion trends recently have been formed by ‘hot’ topics emerging in the society, for instance, political views (Trump election), social views (supporting feminism movement), diet preferences (vegan) etc. This seems to be another marketing strategy to get consumer’s attention and affection.

Many fashion brands are now introducing conscious/environmentally-friendly/recycled lines which proves that sustainable approach to fashion is also becoming a trend and is used as a marketing strategy. However, does this prove that the brand is actually sustainable even though the whole business strategy proves it is not?

Billions of advertising dollars19 are spent by the fashion industry alone each year to drive consumers and especially women into believing that we need their products in order to be beautiful,

http://www2.hm.com/en_gb/life/culture/inside-h-m/everything-youneed-to-know-about-conscious-exclusive.html

STEP cards map

g in os sp di

ng ni ow

iri

When planning my field research I have decided to approach it from the moment when the relationship between the consumer and the piece of clothing is mostly intertwined. I have started by observing several ways people acquire clothing.

My research framework

My research question

Field Research

User observations in high street shops * - key insights from the observations

The experience of browsing Many people would come in to the shop and walk for almost like an hour just browsing through clothes, sometimes taking numerous items to try on, but eventually not buying anything.

Future Experiences

Engaging with the members of Vinted - online platform to resell or swap your clothes

Embracing the experience of trade Some rituals involved in the process of buying or swapping was negotiating the price, suggesting oﬀers as well as advising your buyers or getting to know the person you are buying from.

Swapping - thrilling or disappointing However sometimes you would be disappointed with your swap if the item wasn;t as described or the item you gave away was much better than the one you’ve received.

Swapping - perfect way to update your wardrobe Many members identified swapping as an exciting experience and an eﬃcient way to get rid of something you don’t like yet at the same time refresh their wardrobe with something ‘new’.

Volunteering

Volunteering in a charity shop Observations and chats with the customers at the charity shop was very useful as it allowed me to build some personas and reveal their motivations in regards to their shopping. It was interesting to see the relationship between the price and amount people would buy (all clothes in that shop was 99p).

Future Experiences

For some people the aspect of â&#x20AC;&#x2DC;cheapâ&#x20AC;&#x2122; would be the governing factor but at the end they would also buy more in comparison to those people who look for something special or unique to their style not focusing on the aspect of the price.

â&#x20AC;&#x153;

Angela, 67

When I come to the charity shop, I want to have a chat with someone and browse for something so I could go out of the house! I rarely buy anything!

Buying power:

Motivations: sense of community, locality, price

â&#x20AC;&#x153;

Peter, 55 Motivations: sprice, quality, specific pieces

I donâ&#x20AC;&#x2122;t really like charity shops but in this one I sometimes find good quality work wear and only for 99p.

Buying power:

Key Insights

“

In this shop I am able to find cheap and trendy pieces from the brands I usually shop like Zara or Topshop. It’s a good way to stock up and if something doesn’t fit you can just get rid of it, because it’s only 99p.

Buying power:

Ada, 33 Motivations: price, trendy pieces

“

When I shop here I look for unique pieces. It’s a good way to express myself but also be smart with my finances. I don’t buy much, one or twothe most interesting findings even though it’s cheap.

Mia, 26 Motivations: unique pieces, personal style, the experience of looking Future Experiences

Buying power:

The few weeks of volunteering was also a very good way to observe behind the scenes of the charity shop.

Business for charity However, all of the ‘behind the scenes’ proved that the way charity shop operates is very much like business. Coloured tags on the hangers help to manage stock. So clothes that are unsold for a long time are replaced by new stock. Sometimes that clothing is put back to the stock room and later put for sale again, but usually...

Your unwanted clothes finding new owners

... it all end ups in black bin bags which are then sold for textile recycling company. One bag is sold for around £1 and contains about 20-30 pieces of clothing.

Finally, when volunteering in the shop I brought quite a few donations myself and put them straight for sale. It was very exciting when people would actually buy my old clothes. The moment when my clothes found new owners was very fulfilling.

Users recreating their personas and explaining aspects of their clothing cultures

User engagement In order to figure out more about the individual perspective of each part of my research framework I conducted a series of interviews as well as was shadowing three diﬀerent people and later organised a small co-designing workshop. Most of the participants within this part of the research was people that I knew which, from my perspective, allowed them to be more honest and open about their rituals, choices or habits. I aimed for a wide age range (18 to 65) in order to see if there are any specific features of diﬀerent generations. The following pages present the most important findings of my research thus far.

Shadowing Simon’s trip to Primark

Research question

At this point I have realised that by focusing my research only on acquiring clothing I miss a lot of important aspects. Therefore I established a diﬀerent research question. Following this I have realised that this is influencing the aims that I have established in my brief. This was a tricky part of my research, but reflecting on it now I’m happy that I have expanded my focus.

Insight Cards

“

I have 20 pairs of trousers, maybe about 15 tops, another 15 shirts and definitely about 10 pairs of shoes - I love shoes! I know it’s a lot, but I wear and take care of everything!

“

I don’t have and wouldn’t want to have loads of clothes. But for me it’s important that they are all mine - my clothes are an expression of my Independence and identity. Future Experiences

Our personal cultures around clothing Interviews and co-designing clearly revealed that every one of us built very specific cultures around our clothing. Because there are so many diďŹ&#x20AC;erent rituals (f. i. matching clothes, picking an outfit) and activities (buying, washing, getting dressed) involved in relation to our clothing we develop certain habits as well as pick up on certain influences towards our choices (media, society, culture, tradition)

Personal cultures around clothing influenced by upbringing An aspect which was mentioned a few times through interviews was the influence of parents. They would pass on their shopping habits as well as the way clothes were taken care or even worn.

“

My mum taught me what is good quality, how to buy clothes and how to take care of them. She would never let me just get whatever I wanted or just bin things.

My parents taught me to be grateful for everything I own. That’s why I can hardly ever bin any of my clothes.

Insight Cards

“

I know colours that I like. My garments are the base for my style and then I experiment with the accessories.

I know very well what suits me and fits my body.

“ Future Experiences

I wouldn’t say I have a style. Clothes I buy naturally fall under my personal style.

Intuitive Style

People would not identify that they follow a specific style but instead should say that they simply â&#x20AC;&#x2DC;knowâ&#x20AC;&#x2122; (intuitively) what clothes suit, fit their bodies, what garments they prefer for they skin, and even what colours or cuts they like. Most importantly, people who could be categorised as having an intuitive style were also much more sustainably conscious about their clothing decisions - they would not buy to excess, take a great care of their clothing, wear all of their clothing regularly.

Sharing similar approach to clothing Observing people from the local art school proved that people influence one another and peopleâ&#x20AC;&#x2122;s approach to clothing is similar. Furthermore, approach to clothing was seemingly influenced by finances. Students who could not spend a lot of money on clothing would search charity shops for an unique outfit, while people with higher income would usually aďŹ&#x20AC;ord to buy more in season or trendy clothing.

“

We both love bargain hunting and browsing on endless clothes in charity shops.

“ “

We share a lot of our clothes.

I love my boyfriend’s shirts! Not for pyjamas, but actually wearing them!

Insight Cards

“

I think this is equally about the people and the clothing. It’s about value (ability to pay the price you can), excitement (finding a beautiful piece), need (ability to get something when you can’t aﬀord it). I think it really brings diﬀerent people together - from fashionistas to the homeless. And I think that’s the power of it.

“ Future Experiences

You get a lot of people who come here just for a chat. Sometimes about clothes, sometimes not, but it makes them feel part of something.

Clothing being a social, cultural and even idealogical mediator encouraging to build a community and bring people together The fact that clothing is relevant to every single person inspires various community initiatives - giving free clothes away, swap shops in public places, collecting clothes for homeless people etc.

The experience of acquiring clothing The experience of buying or acquiring clothing is no longer only object orientated. Consumers clearly seek for intriguing ways - personalisation, unusual setting, exciting atmosphere. Then this leaves a footprint of a memory with the piece of clothing as well.

“

I keep finding beautiful clothing in random places! I found this scarf in a cafe and waitress just said I can keep it.

“ “

I love charity shops. You can find anything you may need or want, you just have to invest time!

I recently got a jacket tailored for me. That was a fantastic experience. That jacket now really feels like a second skin and we became good friends with the tailor.

Insight Cards

“

I feel excited when I get something new, but then when I don’t like it anymore I feel bad to bin it. So I just keep everything. I think that’s why I have so much clothes.

“ “

I would like to buy ethically produced clothing or made of organic garments, but the price is just too high.

I feel guilty about waste therefore I just keep the clothes I don’t wear.

Future Experiences

Guilt and Clothing Everybody aspires to be a conscious shopper, but it is usually a sacrificed for price Owning and disposing - an emotional rollercoaster

Quality associated with natural fibres

“ “

For me quality is very much related to natural materials - like cotton, wool, silk.

For me quality is first of all how you actually feel with that clothing and how it feels on your skin. Then goes the material and the way it is made.

“

Quality for me is firslty the garment - as little synthetic fibres as possible and well manufactured.

Inability or lack of knowledge how to take care of your garments

“ “

I just wash all of my clothes together.

I think I know how to take care of my shoes, but not so much of my clothes, especially when it comes to materials like silk or wool.

“

My grandma taught me how to take stains oﬀ - she knows a lot about it and always says that they had less clothes but knew how to appreciate it.

Initial Opportunities

Initial Opportunities At this stage of my research and when presenting my project for the studio staﬀ during the Interim Review the design direction which seemed to be most relevant in terms of clothing and sustainability was find the way to extend the lifetime of clothing. One of the key tensions that was very apparent through my research was the idea that clothing are static objects, while people are constantly changing. This idea was greatly described by Jonathan Chapman:

“Most-products within the current model of design are static, possessing nonevolutionary souls; we as users, on the other hand, are anything but static and exist within a restless state of continual adaptation and growth.” This also seemed to be one of the key factors why people would get rid of their clothing so easily and crave more. In terms of sustainability such behaviour is devastating - because the production of clothing requires a lot of material, human and time resources and is not able to keep up with the pace set by the society which constantly wants new.

Linen Fox - a brand only working with linen and encouraging not to iron their linen clothes in order to celebrate it’s natural qualities and elongate it’s lifetime Future Experiences

Evolving Clothing Opportunity nr. 1 suggested to encourage the alterity of clothing by engaging with them practically - mending, updating, embracing their natural shape. This opportunity also seemed to be backed up by numerous of existing examples and practises. (Examples in the pictures) New Owner Opportunity nr. 2 suggested to celebrate the idea of similar approach to clothing by encouraging people with similar styles swap their clothing in this way updating their clothing and also by old clothing finding new owners for their next life.

Nudie Jeans - encouraging wash less and wear longer

47 Boro- traditional Japanese mending technique which makes mending very visible in this way celebrating the practise

Persona Cards

Personas The opportunities that I have established were interesting and relevant but they seemed to lack depth. It was also mentioned during the feedback of my presentation that these opportunities do not reflect the depth of my research and are potentially too practical.

This was extremely helpful as it helped me to realise that the behaviours of my research participants were mostly influenced by certain sets of values. Also, following these values people would pursue certain sustainable practises.

Taking this into account I developed set of personas where each of them would reflect certain aspects of my research.

Personas motivated by values which have positive eďŹ&#x20AC;ect

Key value: Knowledge Sustainable practise: Choosing sustainable brands, Optimising wardrobe, Only buying new when old is no longer wearable Reasons: Wanting to be informed and aware

Samuel, 25

Characteristics: Intuition, EďŹ&#x192;ciency, Investment, Honesty, Vanilla-Plain Future Experiences

Key value: Selflessness Sustainable practise: Finding a reason to keep, Gifting, selling or sharing unused clothing, taking very good care of clothing to maintain their quality Reasons: Valuing material and human resources

Salvija, 19

Characteristics: Practicality and Need, Independence, Care, Gratefulness, Balance between inside and outside

Key value: Family Sustainable practise: Taking very good care of her clothes, Wearing and appreciating all of her wardrobe Reasons: Clothing reminds of loved ones, nice memories, experiences

Jana, 22

Characteristics: Wanting to learn, Wants to look diďŹ&#x20AC;erent than others, Hates consumerism, Uniqueness and self expression

Persona Cards

Key value: Gratitude Sustainable practise: Avoids waste, Wearing whatâ&#x20AC;&#x2122;s available Reasons: Gratefulness for owned things; Sentiments about clothing

Dan, 26

Characteristics: Practicality, Quality and price relationship, No brands, Semantics of clothing very important

Some personas also presented two mostly mentioned tensions in terms of the motivation of clothing consumption.

Personas driven by motivations which have negative eďŹ&#x20AC;ect

Future Experiences

Key motivation: Buying as reinforcement of identity Unsustainable practises: Buying to excess, only wearing what satisfies the self image

John, 39

Characteristics: Looking good, achieving status/public image, investment into self through clothing, clothing as concealer

Key motivation: Shopping as therapy Unsustainable practise: Buying for the sake of buying and without any need, excessive amount of clothing, rarely wearing most of items

Armanda, 28

Characteristics: Value of comfort, Importance of materiality and tangibility, Clothing serves as highly context specific

Comparing the patterns By comparing the personas and their habits and motivations one of the key insights was the fact that people who are driven by deeper values behind their clothing cultures have much more active engagement

with their clothing. From my perspective, this interest and interactions become what fosters the relationship between them and their clothing. Furthermore, users more actively engaging with their clothing

Mapping and comparing clothing cultures

would seem to extend their care to not only the process of owning the clothing but also to what happens before and after.

THE OWNING OF CLOTHING IS ACTIVE

Garment and skin contact

Valuing your body

Value of the memory

Time and eďŹ&#x20AC;ort investment

Comfort

Valuing clothing as part of your identity

Optimal wardrobe - enough to rotate but not too much to burden FInding a new way to wear/ style clothing

All of the pieces in the wardrobe going together

WARDROBE MANAGEMENT

QUALITIES OF ATTACHMENT OWNING

IMP

E ENC U L NF

OR TAN

ACQUIRING

Process of Production

Future Experiences

DISPOSING

When we no longer own it

In contrast, wearers driven by the practicality and clothing as fulfilment of social meaning or symbolic value would also engage with their clothing much less. Also, they would not attempt to create any deeper

meaning or value. Thus mostly focusing on the act of owning and not caring much about what happens before and after.

THE OWNING OF CLOTHING IS PASSIVE Fulfilling the desired image

Wear - Get rid Get new

Practicality

WARDROBE MANAGEMENT

QUALITIES OF ATTACHMENT OWNING

ACQUIRING

Process of Production

MA SO TTER ME TIM S ES

DISPOSING

When we no longer own it

Concept Development

Concept I Was based on the idea of Intuitive Style and developing a starter kit to help people discover their style. Future Experiences

Concept II Developing a system where mending would be celebrated as an act of mindfulness in terms of yourself and your clothing. Reflecting on this stage, I should have developed more concepts and explored diďŹ&#x20AC;erent opportunities better. I was slightly overwhelmed with all the research at this stage therefore I was struggling to translate it to a meaningful direction. Thus I decided to look into relevant examples.

Concept Development

Concept III Developing a system of community which would be united by a set of principles. By becoming a member of the community you would receive and engagement magazine to foster your appreciation to clothing. Future Experiences

Beginners guide to Slow Fashion

Know your body

Know your colors and your garments

Learn about your clothing

Find new ways and styles

Take care of your garments

Create stories together

Slow down

At the same time when developing my concepts I decided to summarise my research so far, therefore developed this small booklet of key statements. Furthermore I felt that it related nicely with my III concept. However, I felt that in order to define it better it is important to ask and find answers to some key questions.

Refining the concept

What is the most efficient way to engage people with sustainable practises? Search

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Garments are used in many satisfying and resourceful ways influenced by a fusion of body, mind, habit, technique, stories and the piece itself. Local Wisdom has been gathering tales of how people use their garments since 2009 and taking portrait shots of the owners in their pieces. We are applying these use practices to inspire alternative ways to create, wear and think about fashion in an interdependent world.

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Never Washed

Intensive Use

Mixed Use

Of Value

Mending

Garment Co-operation

Limits to Action

Material resourcefulness

Transfer of Ownership

Local Wisdom website page Future Experiences

Local Wisdom project was a great find as it showed the potential of the community and that by engaging people it can actually grow very big. It was very interesting to experience some community engagement myself. By going to an event organised by a local charity group, it was extremely evident that shared interest has huge impact. During the event people had an opportunity to take some free clothes which were previously donated and collected from others. It was interesting to see peopleâ&#x20AC;&#x2122;s excitement and realise that youâ&#x20AC;&#x2122;re not the only one that cares and wants to consume in a more sustainable way. As this event proved, the best way to foster this was indeed by bringing people together. Pictures from Free Clothes event - there was a lot of people!

Refining the Concept

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A page from Craft of Use by K. Fletcher

What are the values that needs to be addressed? Respect to materiality Works by Kate Fletcher, an excellent fashion activist, was also very beneficial to my research. Her ideas about the appreciation of material culture, true materialism and interest in your clothing became key values I wanted to address. Later this page (on the left) from her book Craft of Use inspired me to write the manifesto of my final design preposition.

Refining the Concept

Page from Worn Stories,Emily Spivack

We create our own value and embody our values Personal responsibility The book Worn Stories which is a collection of images of clothing accompanied by the stories behind them was a great example of the fact that clothing are mute object and it is very much the agency of the wearer what they make of it.

Future Experiences

Fashion Revolution oďŹ&#x192;cial website

Fashion Revolution is a fantastic movement which set a great example of the power of knowledge. At the same time it proved that more and more people care about their clothing and want to make sure they are made ethically. I liked the feeling and tone of voice set by this movement.

Wanting to know your clothing

Refining the Concept

“Nowadays everyone is a stylist. By having basic fashion knowledge, resources and putting some time and eﬀort each of us can create our independent and unique approach to what we wear.”

Trusting your intuition A talk by Ted Polhemus a famous fashion anthropologist really inspired me. His ideas about independent style really related to my findings about Intuitive style and proved the importance of intuition when it comes to choosing what you wear.

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What kind of relationship should we aim to create? Readings by Johnathan Chapman benefited a lot in terms of understanding what relationship should be encouraged in terms of sustainability.

“Thinking beyond the conventional slave to master relationship - division between responsibility, eﬀort and reward must be shared.

“Coexistence and co-sustainability.

“Sophisticated physical experiences such as houseplants somehow transcend the day-to-day trivia of material life and thus hold a sacred place in the hearts and minds of users.

Mend more Jumper, work from 2015

Find a way to keep = Respect

“When I mend, I seek to explore and move the object forward. <..> The disruption comes from going against cultural norms or expectations – it’s environmentally conscious and an anti-consumption statement, and it also constitutes a visual disruption – a visible mend interrupts what we expect to see. By looking at repair as part of the ongoing life of an object, we opened it up and included the process of repair as part of making.” Bridget Harvey, artist who focuses on mending and fixing in her practice

Key Aspects

Personal knowledge

What if by developing an intuitive style we would value our material possessions more?

Theoretical knowledge

What if by being more interested in the aspects our clothing we would foster the relationship with them?

Tacit knowledge

What if by engaging with our clothing more we would learn how to maintain and respect it?

Future Experiences

Opportunities: Reflection Documentation

Engaging, intriguing ways â&#x20AC;&#x2DC;Attention catchersâ&#x20AC;&#x2122;

Learning together Community Sharing

My current focus

A service which fosters relationship with your clothing with the aim to encourage to consume less but better

Group workshops

Engagement magazine - a tool to create a moment when the user can reflect, discover and evaluate their own culture of clothing - documenting the process of step by step engagement with the contents

Digital platform

- an opportunity for the user to build tacit knowledge by learning mending and alteration techniques - a way to build the community where you can share, learn together and spread the ideas

- introduction to the service and management tool - resource of information and inspiration

Service preposition At this point I have started to put all elements together in apotential service.

1 Subscription service

4 Magazine is based on three key values-sections

2 First issue is a starter pack

5 By subscribing you receive access to the workshop and various practical and inspirational material to build your knowledge

3 To receive more issues and become part of the community - subscribe

6 Money received from subscriptions goes towards organising the workshops

Concept I I have started developing my concept by experimenting with the first part of the service engagement magazine. The first magazine I have designed was based on three key values which identified three key sections of the issue and provided the reader with some engagement material.

User Testing went really well, however, as I have later realised I was guiding the User Testing. So it was more of a workshop where participants were explained what to do at each step, while the real purpose of the magazine was supposed to be a private engagement tool.

â&#x20AC;&#x153; â&#x20AC;&#x153;

I think the fact that this is a part of the wider community is very important. When you are making something you always want to share it with someone else.

I like that all of this is tangible. I love the fact that I could take it with me somewhere and have my material as a reference.

Introduction

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Concept II The second issue was similar to the first one, but more refined and simplified. It was still based on three values yet this time another focus of the issue was inspirational visual material stories and quotes of others. And finally, instead of engaging with the magazine, the last page had an attached invitation to the workshop where the reader would learn clothes related skills. The idea behind the cover was to make it mirrored in order to establish connection with the person who picks this up. This inspired to call the magazine The Wearer.

Defining Aim and User

What if we encourage interest and appreciation?

What if we encourage workshop therapy rather than retail therapy? Future Experiences

Redefining goal and establishing target users After the tutorial with Lorenz I have realised that the user of my service is still not entirely clear. Furthermore, my previous magazines I developed were way to informative and educational while my research talked much more about values, connection, intuition, appreciation. Indeed knowledge is important but our values and interests always comes first. At this point I have decided that it is important to make the outcome engaging. Thatâ&#x20AC;&#x2122;s when I redefined the aim of my concept and by looking back to my research established some clearer target user groups: therapy shoppers and people struggling to establish value with their material possessions which would mostly be people in their 20s.

Social media is an excellent channel to influence young people. This is an example of a comment section under the video about sustainable fashion uploaded by a famous youtuber.

Encourage the interest into clothing beyond simple material possessions

Further Prototyping

w o n K r u o y y d o b

Kno w you r colo u and rs gar your men ts

Seven principles - summary of my desk and field research

Future Experiences

n r a Le t u o ab r u o y g n i h clot

Find way new Ta s and ca styl yo es ga

ake f o e r a our nts e m r a

Cre ate stor ies tog ethe

w Slo n Dow

Both with my project tutor, Lorenz, agreed that a simple booklet of principles that I have produced earlier was much more intriguing and engaging. Therefore I started developing this idea further by producing a set of large flash cards with catchy and provoking statement. However later decided to make them smaller almost like a deck of cards.

Prototyping with the format

Final Prototype

Prototyping with contents

In terms of content I have decided to keep the seven principles as the base and develop both written and visual content accordingly to each section. In this way the content could be diďŹ&#x20AC;erent every time, but also would keep the consistency.

Future Experiences

Adding some physical artefacts to the pages

People seemed to like a smaller size of pages (as it would fit in a hand) and the idea that you flick through it.

Defining the service mechanism

The making mechanism could be based on collective creativity and learning through making

When designing how the service should work I felt like it is really important to make it a circular system where the new booklets would be produced as a result of learning and engagement process.

Making it accessible and simple, but still engaging

My design criteria

Finding the issue of The Wearer

Deciding to become a part of the community and the movement

Attending the booklet making workshop where next booklet issues are produced

Reflecting on your clothing culture and preparing for the workshop at home Attending the content making workhsop

We talk about the new ownership and true materialism. We no longer look only for social meaning and symbolic value in what we wear. We aim to foster a deeper appreciation and respect for our material world. We no longer only care about the usefulness of things. Driven by knowledge, we exchange selfishness for care. But knowledge is not always easy or attractive and we have to overcome fear when seeking for answers. Let your intuition and judgement guide you. March bravely. Discover your values and your reasons. Aim to become interested and find out more about the clothes that you wear. Become truly materialistic by knowing, enjoying, being charmed or frustrated, loving, changing, understanding them.

is a cultural movement which aims to encourage interest into clothing based on appreciation, values and care.

The Wearer

By reflecting on our own clothing cultures, getting other people interested and learning together we aim to gather a community and foster our ideas in an accessible way.

Future Experiences

Booklet Small, pocket size booklets would be the main artefact to draw attention. They would be located in transient places, where people have a few moments of spare time - waiting for a coďŹ&#x20AC;ee, sitting in subway, bus, waiting at the library. The design of the booklet aims to be intriguing in order to get people interested and look through it at least for a few seconds. Small size allows to put it in your pocket and check it later.

A booklet located in a cafe and a person looking through it with their coďŹ&#x20AC;ee.

Elements of the service

Main screens of the mobile app Future Experiences

Mobile app

er.co r a e w he www.t

The key functions of the app would be to introduce a person with the movement and allow them to sign up. After signing up they would receive notifications before every workshop and could join it if wanted.

Elements of the service

Future Experiences

Welcome Pack The welcome pack would become a joining step between the booklet which is the first engagement artefact and the workshop which happens later. The Welcome pack would not only introduce people with the movement but would also provide them with some material that they can reflect on personally in their individual environment before sharing it with others in the workshop.

Workshop Topic To make workshops more structured and easier to guide all of them would have a focus topic which would be introduced for the person with their Welcome Pack when they join for the first time. Later, this would be done through notification.

Topics of the workshops

Elements of the service

How d o garme you choose y nts? our

FREEST

QUEST

YLE CA

RDS

Linen

ASSO

CIATIO

ION - S

TATEM EN

T CAR

Alpac a

N CAR

Alpac a be inje sheep don’t c re antibi ted into the quire insec otic tr i ticides r fleece ea t and a re fair tments, don , don’t requ o ly self i r ’ t e them m e a t mu -suf u than a ch more en ficient (whic ch, vironm h mak lot of e t e wool i s also heir goat fri ntally frien s dly ends). very lo frame n A -resist ant, a g-lasting, w lpaca nd ext r i remely nkle/ durab le.

DID Y OU KN

OW C A

RDS

Workshop cards Future Experiences

Workshop Material / Content Making The first workshop that people would be invited to attend would focus on content making for the next issue. Furthermore this workshop would focus on discussion, conversation and sharing your perspective. At this workshop people could discuss their clothing cultures, share their rituals and habits (both potentially sustainable and not) and reflect on them. The workshop material designed for this step would be simple but aiming to engage rather than overwhelm people with a lot of information. Finally, workshop cards are designed to be versatile, so the format would stay the same but contents could be changed depending on the workshop topic.

Ca co rds fro nte wit wo m p nt h th e rks re ho vio p us

of ffer ga ent rm sa en m ts ple s

Su Sw stai at na ch bl es e F a

101

Workshop Material / Booklet Making The second workshop would focus on producing next issues of The Wearer. Material used would depend on the workshop topic, but again it would something engaging - samples, swatches, inspirational images, visual material. This material could be donated or provided from local manufacturers, makers or related specialists. As for example, the swatch of diďŹ&#x20AC;erent garment samples was made of scraps, donated by a local tailor.

103

Where and How? The workshops could be hosted in local cafes and bars, where such initiatives are welcomed and often hosted. For instance, in places like Glad Cafe, The Cane, Mono Bar, The Old Hairdresserâ&#x20AC;&#x2122;s, Tinderbox, Barrowlands design studios, Saramago cafe, etc. The movement could work on charity basis, where participants would also contribute by paying the price of workshop on donation basis (based on sliding price system). Finally, the movement would be initiated by a group of local makers and artists and they would be the facilitators of the workshops.

Potential workshop hosting places

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Aims to approach sustainability from the perspective of the individual and start from ourselves - looking into our clothing cultures, our habits and values. By making sustainability accessible people would be encouraged to connect, influence each other and make a difference by simple everyday decisions.

Value

By creating a community which is build on collaborative creativity, hands-on learning, reflection and sharing The Wearer aims to become a movement of influence and awareness. By talking about new ownership and true materialism The Wearer aims to foster deeper appreciation and respect for our clothing. Respect which is based on time investment and effort. And most importantly values like gratitude, selflessness and caring.

Future Experiences

Reflection

Reflection This project was a fantastic opportunity to work on something that you are truly passionate about. However, at the same time it was a serious challenge to manage the work completely on your own. I was struggling to structure my research well and I feel like I should have experimented more with the concept development. However, I am happy with the final outcome I have designed. I believe that it addresses my research and approaches sustainability in a way that I believe is meaningful and most influential. The guidance of my project tutor, Lorenz, was extremely helpful through the whole project. He helped me to keep on track with all the research I have conducted and encouraged to embrace my holistic approach towards the final design outcome. I definitely improved my skills as a researcher and enjoyed developing coherent design language and content for The Wearer.

Future Experiences

Sources 0. Emotionally Durable Design, Johnathan Chapman 1. Fashion Statistics, The New Classics, https://newclassics.ca/ pages/about 2. After the Binge the Hangover, Insights into the Minds of Clothing Consumers, 3. These African Countries Don’t Want Your Used Clothing Anymore, 4. Thackara, John, How to Thrive in the Next Economy, Clothing, Doing Less Harm, p.90 5. Your Roadmap for Sustainability, https://www.aiga.org/roadmap 6. Radical Design for Sustainability: Professor Stuart Walker, https://www.youtube.com/ watch?v=nYScnBExa1c 7. Kate Fletcher, Sustainable Fashion and Textiles Design Journeys, page 112 8. Sandy Black, Eco-chic the Fashion Paradox, Black Dog Publishing, London, 2008 9. Fletcher, Kate, Towards a Future Framework for Fashion, http://katefletcher.com/towardsa-future-framework-for-fashion/ 10. Artist that Mends, Bridgit

Harvey, https://www.axisweb. org/artist-of-the-month/2017/august-2017-bridget-harvey/