Fast fashion- Dissertation by HANNAH THOMAS

fa st fash ion how fast fashion and mass consumerism are affecting society; exploring the way our identity is defined through our possessions and the sustainability of this lifestyle.

hannah thomas.

“How Fast Fashion and Mass Consumerism Are Affecting Society; Exploring the Way Our Identity Is Defined By Our Possessions And The Sustainability Of This Lifestyle.”

Word Count excluding quotes: 7, 515

HANNAH THOMAS N0250721 FASH30001 fashion communication and promotion

fcp3

School of Art & Design ba

Declaration Form 2012/13 Module: Negotiated Project Stage 1 Module Leader: Tim Rundle Ref. no: FASH30001

I confirm that this work has gained ethical approval and that I have faithfully observed the terms of the approval in the conduct of this project. This submission is the result of my own work. All help and advice other than that received from tutors has been acknowledged and primary and secondary sources of information have been properly attributed. Should this statement prove to be untrue I recognise the right and duty of the board of examiners to recommend what action should be taken in line with the Universityâ&#x20AC;&#x2122;s regulations on assessment contained in its handbook.

signed .................................................................................................................... date .......................................................................................................................

123 MODERN FASHION IDENTITIES

16-25

SOCIAL STATUS & THE MEDIA

26-31

THE FAST FASHION COMPROMISE

32-49

CONTENTS INTRODUCTION...13-15

4 56 SUSTAINABILITY VS. STYLE

50-55

THE CHANGING FACE OF RETAIL

FUTURE FASHIONS

56-61

62-71

CONTENTS

LIST OF REFERENCES...72-75 LIST OF ILLUSTRATIONS...76-77 BIBLIOGRAPHY...78-83 APPENDICES...84-99

0. introduction.

“Our primary identity has become that of consumers, not of mothers, teachers of farmers but of consumers. We shop and shop and shop.” (Leonard, 2008: Online) The extremity of this statement may cause exclamation and denial. However, it would seem that throughout the past century we have indeed become defined by the way we shop. The exchange of money for ‘things’ has become so integral to our lives, that without thinking, entirely sub-consciously we consume beyond our capacity. We are exhausting the earth’s resources and not to mention exploiting human rights without a second thought, in the name of fashion. Fast fashion, the frequent purchasing of high street fashion, inherently encourages disposability and is a craze that has enveloped our society. “Buying so much clothing and treating it as though its disposable, is putting a huge added weight on the environment and is simply not sustainable” (Cline, `2012. p.3)

This leads to the question that if indeed this lifestyle is unsustainable how can we as a society proceed? What will our attitudes to consumption and indeed fashion develop into? There are several key factors to this phenomenon. What has this development done to us as a society, how has this changed our behaviour and overall can it be true that our possessions have begun to define us?

I was initially inspired by the work of Michael Landy. After selling a fictitious piece of art work to the Tate Modern, the artist realised that if something that didn’t even exist could be sold as a commodity and even seen as a piece of art work it highlighted the extent consumerism has taken over our lives,

“You know exactly that consumerism is the number one ideology of our time. In western society you can’t avoid it. You end up with stuff, as we call it, no matter what really.” (Landy, (2012) in Inci, 2012. P.57) Landy then decided to illustrate this by creating an exhibition of every possession he owned, totalling 7,000 items. He boxed them up on conveyer belts; factory style, making a parody of everything he had accumulated over the years. Landy then went on to destroy every item. He showed no discretion or sentimentality showing that he didn’t need any of it. However after this bold exhibition of anti-consumerism, Landy knew he would have to return to the material world, “So even though obviously I destroyed all of my 7,227 personal possessions, I knew I would have to re-emerge myself within that system. I knew it was inescapable.”(Landy, (2012) in Inci, 2012. P.57)

There are also many knock on effects to this level of consumption that I would like to further consider. For instance the effects of fast fashion on the industry itself, how this has changed the way the industry works and the effect on designers and their craft. There are vast environmental effects and the pressure being placed on our resources to consider. This begs the question can we sustain this lifestyle?

FIG. 1 Michael Landy 2001

Landy illustrated publicly the needlessness of the ‘stuff’ we hoard in our lives. As the review by Leo Walford points out, “Seeing all his possessions travelling around in front of us seemed to say virtually nothing about him, except that he had the same sort of stuff that other people had.” (Walford, 2001: Online) This led me to consider the way we feel about our possessions and whether as we consume more and more they begin to transform how we define ourselves. Particularly within the realm of fashion how we dress is an outward expression of our personalities to the world. Does this mean if we are constantly shopping and changing our look that we no longer define ourselves through our personalities but through our ever expanding wardrobes?

1. modern fashion identities.

he way we consume has grown to be increasingly more important in the way we live our lives. It is a process that has developed through socio-cultural changes to be increasingly dominant, “The primary way that our value is measured and demonstrated is through consuming.”(Leonard, 2008: Online) In particular when applied to fashion as a society we have shopped greedily, “Almost overnight we have become used to consuming fashion with reckless, addicted abandon, buying more clothes than ever before.” (Siegle, 2011. p.91) Fast fashion is a phenomenon that has entirely reshaped the way we consume fashion, both in what we are willing to spend money on and the frequency of this. Fashion is undoubtedly the industry that has embraced mass consumerism with the most gusto, allowing this to become the defining factor of the creative industry, and the levels of consumption have spiralled out of control. As Siegle (2011) continues to highlight, as consumers we now demand four times the number of clothes than those in 1980. “In one year you’ll accumulate in the region of twenty eight kilograms of clothing (again, this is the average) – adding up to an estimated 1.72 million tonnes of brand new fashion being consumed on an annual basis in the UK.” (Siegle, 2011. p.25) These statistics illustrate the shocking amount of fashion that is designed, made, bought, worn and then thrown away in the UK at an increasingly greater rate. As consumers we are demanding more and more.

What has led to this increase in consumption relates to social and cultural factors influenced heavily by the revolutionary changes brought about in technology. The speed at which information can now be accessed has changed the way we consume; the internet is now a commodity that society cannot live without. According to the Office for National Statistics (ONS) â&#x20AC;&#x153;30.1 million adults use the Internet every day or nearly every dayâ&#x20AC;? (ONS (2010) in Hunt, 2010: Online) Further over a quarter of adults and half of teenagers in the UK now own a smartphone (Ofcom, 2011: Online). With access to constant streaming society has become increasingly more demanding in the way we consume at all levels. These developments have filtered down into the way we consume in all aspects of our lives. With developments such as e-commerce we can now shop 24 hours a day if we have the desire.

We are all consumers. Our lives are driven by our need to consume. And we are in a constant stream of information. (Lindstrom, 2009) This constant stream of information means we are constantly hunting for new things to occupy our lives and thoughts. Therefore we are increasingly demanding new, fresh ideas, particularly in fashion.

FIG. 2 Wildfox Campaign 2013

â&#x20AC;&#x153;Mass society is orientated towards continuous change and progress.â&#x20AC;? (Barnes, Lea-Greenwood, 2006)

This has changed the way consumers demand fashion. Consumers now have access to more ‘live’ inspiration than ever before, both through the internet and the rise of the celebrity. Images of celebrities inspire consumers to want to dress a particular way and they don’t want to wait for the high street to catch up. They want to be able to buy it instantly therefore forcing the high street to develop trends at an ever increasing rate. Barnes and Greenwood continue to assert the speed at which consumers change their minds.

“These shifts in culture can occur at anytime, anywhere and cannot be predicted or planned for.” (Barnes, Lea-Greenwood, 2006)

This rise in popularity of trends such as street style, normal women being celebrated for their fashion credentials in magazines and online, means the high street must constantly be interpreting trends. Stretching far beyond the traditional buying cycles in order to meet consumer demand and remain relevant within the UK high street. However there is also reason to argue that fast fashion is not entirely a consumer driven phenomenon and that is largely due to the level of advertisements designed to make people spend. As argued by Annie Leonard in her video ‘The Story of Stuff’, “In the U.S we are targeted by up to 3,000 ads a day.”(Leonard, 2008: Online) Leonard argues that our level of consumption, that the economy now so heavily relies on, has been engineered by corporations and businesses to make us buy things we know are of low quality to encourage a continuous rate of consumption.

This is implemented through two theories ‘Planned Obsolescence’, which translates as the creation of products that are ‘planned for the dump’ therefore incredibly cheap and seen as disposable. The second theory put forward by Leonard (2008) is ‘Perceived Obsolescence’, which entails the consumer being encouraged to want to throw the things they consume away in order to consume more. This relates back to the idea that we as a society want to be ‘on trend’ and up to speed with the level at which ideas are developing. This is all encouraged through the media and places a certain amount of pressure on consumers to keep up.

“Television beams into our living rooms, the handiwork of entire networks devoted to feeding the frenzy of more for less. The internet bristles with bargains. And why not? Isn’t the bargaining instinct branded into society’s DNA.” (Ruppel Shell, 2010. p.31) As clearly argued by Ellen Ruppel Shell we are encouraged by the media to consume beyond our means in terms of volume but also at increasingly low prices without consideration of the repercussions. She goes on to argue, “The global economy challenges us to do more with less every day, a challenge both bracing and daunting.” (Ruppel Shell, 2010. p.23)

Arguably the generation that is truly fuelling fast fashion is the younger consumer. Due to the increasingly influential factors such as celebrity, music and advertising, as previously mentioned, the younger consumer is the most susceptible to ever changing ideas and continuously changing their look. “With access to the media young consumers are so into the latest looks these days, much more so than before.” (Barnes, Lea-Greenwood, 2006) As argued here young consumers have been brought up in a digital era. One where it is normal to consume information greedily and constantly, and therefore are subjected to more influential factors when looking to fashion to create their identity. A product of being brought up in a post-modern society. “In a postmodern lifestyle the idea of “identity” can lead to ambivalence and unsettledness- this ambivalence allows individuals to continually reinvent themselves, multiple evolving selves are built on constantly evolving fashion styles created by fast fashion.” (Joy, et al. 2012)

This argues that the constant changing of fast fashion encourages ever changing identities. As the younger generation struggles to represent themselves it is easy to see how rapidly changing trends can form an appealing outlook, constantly being a new character or person whilst trying to find your ‘true self’. “We are also searching to construct our identity and our ‘real selves’ through various consumer activities” (Solomon, et al. 2010. p.6) As supported here fashion encourages the consumer to display their outward personality through the way they

“People see themselves as they imagine others might see them. Since what others see includes a person’s clothing or jewellery and so on it stands to reason that these products also help to determine the perceived self.” (Solomon, et al. 2010. p.150)

dress.

FIG. 3 VOLT Magazine 2013 23

FIG.4 & 5 Consumption primary research 2013 Own Photograph

This is further evidence that we do indeed use our possessions to define ourselves. This was further highlighted to me when conducting primary research into young consumer’s volume of consumption. By photographing the huge quantity of clothing consumers keep in their wardrobes I was able to see the full extent to which consumers buy beyond the necessary capacity. All the participants were aged 20-22 therefore illustrating how young consumers feel the need to buy constantly without considering the amount they already possess.

Not only is the media and the celebrity making the younger generation more favourable towards fast fashion, but also the very nature of fast fashion is incredibly appealing to young consumers in the sense that it is incredibly cheap. Fast fashion encourages disposability, “Young consumer’s desire for fast fashion is coupled with disposable income, fast fashion exploits this, offering of the moment design and immediate gratification of continually evolving temporary identities- a postmodern phenomenon.” (Joy, et al. 2012) Therefore it can be argued that the generation fuelling fast fashion is those with a disposable income, seeking to create an outward appearance of being consistently on trend, the younger generation. In summary the media, the desire to create new identities and a disposable income all contribute to the younger generation’s love of fast fashion.

2. social status & the media.

he idea of mass consumerism creating a world in which our possessions define us also leads on to the idea of what these possessions say about us, and what message this is sending to the world. The way we dress is certainly a vehicle with which we express our personality, and create our identity as the media encourages us to. However, such rampant consumerism has given way to using fashion as a way to express your social status. This has created conspicuous consumption, a relatively high culture theory within the realms of lower culture fast fashion.

FIG. 6 Wildfox Campaign 2013 The theory of conspicuous consumption is a term to describe the acquisition of goods to indicate a certain level of social status to your peers. (Amaldoss, Jain, 2005). This is further specified in terms of fashion by Yuniya Kawamura in ‘Fashion-ology: An Introduction To Fashion Studies’,

“In order for consumption to serve symbolically, it must be visible to others. Material objects intentionally adopted for this purpose must be observable or noticeable. Fashion involves overt consumption behaviour that makes ones taste or values accessible to the awareness of others.” (Kawamura, 2004. p.94) This translated into the domain of fast fashion can be defined as consuming the latest trends constantly, in order to promote an outward appearance of being constantly up to the minute and wearing the newest and freshest designs. “We are all involved in a communication system through our consumption activities, whereby we communicate our roles and statuses.” (Solomon, et al. 2010. p.16) The way fashion has begun to operate at high street level has resulted in conspicuous consumption; in this case meaning the consumption of fast fashion to remain on top of the many trends presented and present this level of social status to your peers.

This is illustrated in modern terms with the recent ‘YouTube’ craze of shopping ‘hauls’. One of the fastest growing ‘YouTube’ categories in 2010 (Cline 2012). The videos are normal girls usually in the 16-24 age bracket who film themselves presenting their shopping ‘hauls’, sharing via video the large volume of clothing they have purchased. These videos gain thousands of hits and are a global phenomenon. For young people watching these hauls is a way to emulate the fashionable, popular girls at school and the things they are buying are influential in the way young girls shop. “To the average teen a haulers seal of approval might carry even more weight than Anna Wintours.” (Meltzer, 2010: Online) They will typically buy from cheap high street retailers buying as much as they can for as little as they can. This form of conspicuous consumption illustrates the way in which young people define themselves through the possessions they accumulate and then broadcast to strangers. The motives for doing so are not entirely known. This is perhaps to assert their fashion credentials and personal style. Or perhaps to assert their social status as fashionable, wealthy and desirable as commented by ‘hauler’ Lee Councell “A lot of people look at hauls as a way of showing off how much money you’ve spent.” (Councell (2010) in Ruppel Shell, 2010. p.42)

As previously mentioned the developments in technology have revolutionised the way we exchange and communicate information. Not only ‘YouTube’ but other social media has entirely changed the way we communicate. Now we can view online profiles of people we hardly know and it has changed the way we engage with each other entirely. With so many portals with which to access copious amounts of information about people we now see crazes where normal people, like the ‘haulers’ become celebrity like. We engage through ‘Twitter’, ‘Facebook’, ‘YouTube’, ‘Instagram’ and so on exchanging images and words that we engineer to illustrate our identities for public viewing. “Media changes the quality and quantity of information exchanged, influences personal behaviours and attitudes and shapes an individual’s self-image.” (Papacharissi, 2011. p.20)

FIG. 7 DKNY Campaign spring 2013 29

These portals are simply new ways of expressing your identity as encouraged by fast fashion. Social media has made it easy to become a commentator on fashion simply by expressing that view through a social media site. Fashion has never been as accessible as it is now, “While the fashion industry has always been known as one that generally shunned outsider, the information age has brought countless new fans, critics and commentators.” (Smarty, 2012: Online) This point is further evidenced in Mintel’s report on Youth Fashion, “Almost 48% of facebook users aged 16-24 have expressed their opinions on clothing brands or designers using facebook and just under 1 in 5 (17%) of young twitter users has.” (Sender, 2012: Mintel (A) This fashion commentary has not only changed the way the industry functions, removing some of the mystique and elitism formerly attached. It has also created numerous ways to illustrate your fashion knowledge and show off that status to others. This is seen again in ‘Mintel’, “Over a third (36%) of 16-24’s who have discussed fashion brands wanted their friends to know they liked the brand.” (Sender, 2012: Mintel (A). These public declarations form identities online, in terms of your fashion knowledge, dislikes, likes and how up to date you are. These can be implemented to create the identity of a fashion commentator very easily, “Public interaction with others including posts about offline events and social interaction with other practitioners, contributes to building an identity as an entrenched professional.” (Papacharissi, 2011. p.246)

However, some would argue this is not a positive development in the industry, or in society itself. As argued by blogger Tiffany Squared, “With the help of social media, our literal picture of greatness is amplified and flaunted in our face every moment of every day.” (Squared, 2012: Online) She goes on to comment on the effects of constantly seeing images of these publicised lives.

“Suddenly every pretty young thing with a camera phone is in the position to make us crazy. There is always a tinge of disappointment in myself for not being like that blogger running through the streets in sequinned stilettos.” (Squared, 2012: Online)

With the help of social media, not only are young consumers using fast fashion as a vehicle for multiple identities, they have adopted conspicuous and invidious consumption. Invidious consumption is the acquisition of goods to invoke envy in others. This surely is not a healthy or attractive way of portraying such a creative industry. This also begs the question should fashion regain its elitism, with the return of true craftsmanship, quality and detail, and this leads onto how the industry, and indeed our attitude towards it, has changed.

Not only has a change in media and identity occurred, the way in which we interact with clothing, and in turn fashion, has changed over the past few decades. This is affected by our attitudes, ideals and traditions. As these have developed it can clearly be seen the importance placed upon image and fashion has grown. In the current climate for fast, cheap fashion our outlook has been changed. We now treat fashion as something entirely disposable and take for granted the ease with which we access it. As discussed by Elizabeth L. Cline in her book ‘Overdressed: The shockingly high cost of fashion’, “Well into the twentieth century, clothes were pricey and precious enough that they were mended and cared for and reimagined countless times and most people had a few outfits that they wore until they wore them out.” (Cline, 2012. p.14) This is indicative of how attitudes have developed in the past few years when it comes to fashion. It was once a craft that was revered and treasured whereas now it is so readily available consumers are overwhelmed by the ease with which they can shop. We consume for the sake of it.

The report goes on to highlight the social reasoning behind this generation difference, “Women in this age group (under 25’s) are still buying new garments far more frequently than older shoppers. This reflects the important role fashion plays for youths and it forms an important weapon in their armoury to fit in with their peers, impress others and look attractive to the opposite sex.” (Sender, 2011: Mintel (B) It can be inferred from this information that the social reasoning for fast fashion is that young women have more time for fashion, a more disposable income and greater need to impress their peers. Older shoppers perhaps maintain some ideals of only buying when they need things. This is supported by a comment from interviewee and over 55 shopper Jane “I believe there is a different attitude to fashion in generations. Young people are interested in trends. The older generation don’t appreciate those things.” (Thomas, 2012, Appendix B) This level of consumption is so recent that the ideals we hold in terms of fashion are entirely different between generations. This asks the question as a society would we be happier without the pressure to consume so much, would a return to slow fashion create a level of admiration in fashion again that the older generation still seem to appreciate?

This continues to support the fact that younger people are encouraging fast fashion, as they are the ones most influenced by social media and changing identity. “Twice as many 18-24 year olds buy clothes monthly than the over 60’s.” (YouGov, 2012: Online (A) It seems that the more mature the consumer the more mature their fashion choices. According to ‘Mintel’, “The importance of longevity is higher among women in the more mature lifestyles than younger women. This reflects the popularity of fast, disposable fashion among youths and the greater emphasis on durability and quality among older women.” (Sender, 2011: Mintel (B).

3. the fast fashion compromise.

ot only have we changed as consumers, the industry itself has changed. Whether this is down to the way we have developed as consumers, or whether it was orchestrated around us by those in the industry for their own gain varies according to different sources.

This is illustrated in the case of retail guru Jane Shepherdson, the woman who made Topshop the industry player that it is today and is widely accredited for the invention of fast fashion (Vernon 2008 online). However Shepherdson firmly refuses to take responsibility for creating fast fashion,

â&#x20AC;&#x153;I know some people think that I am responsible for it, that some people think I invented it. This is nonsense. Fast fashion has been around for years.â&#x20AC;? (Shepherdson (2008) in Vernon, 2008: Online)

FIG. 8 Topshop Editorial 2012 34

In fact far from accepting responsibility for creating the template that every other British high street retailer has since followed, Shepherdson is of the school of thought that it is indeed the consumer and their level of demand that created fast fashion. “I don’t think it’s going to

go away, because I think that, more and more, as people see things, they want them immediately. I don’t see instant gratification waning at all.” (Shepherdson (2012) in Amed, 2012: Online)

However the ethical fashion forum appears to argue otherwise when discussing the

â&#x20AC;&#x153;Brands began competing against each other for market share by introducing more lines per year at lower costs, culminating in a situation where fashion houses now offer up to 18 collections a year, and the low cost, so called value end is booming, doubling in size in just 5 years. This naturally has led to pressure on the supply chain.â&#x20AC;? (ANON (A), 2008: Online) development of fast fashion

ast fashion revolutionised the way we create, design, manufacture sell and consume fashion. It changed the business model of the industry itself, as defined here. “Fast fashion is a business strategy which aims to reduce the processes involved in the buying cycle and lead times for getting new fashion products into store, in order to satisfy consumer demand.” (Barnes, Lea- Greenwood, 2006) The changes brought about by mass consumption led to outsourcing and the business of fashion changed. Supply chains and lead times were transformed to keep up with the pace of manufacture; Hong Kong became the hub of fast fashion manufacture with ‘Li & Fung’ becoming the largest outsourcing firm in the world linked to 83,000 supplier’s worldwide (Mihm 2010) Again it would appear that technology has played a vital role in these shifts, “The rise of technology enabled globalism, a shift in power away from manufacturers and workers and onto giant retailers and stockholders.” (Ruppel Shell, 2010. P.31) This business model of enhanced design and rapid production (Moeng, 2011: Online)

Huge levels of success have been achieved by providing consumers with of the moment design without having to wait, an irresistible combination. “Cheaper prices coupled with marketing that promotes the desire for new designs push us to choose quantity over quality.” (Yan, 2012: Online) This is resulting in individuals owning huge volumes of clothing that amounts to a very small amount of worth in terms of quality. “Fast fashion induces people to continuously replace discount wardrobes. As a result we tend to get less use out of each purchase. It may seem counterintuitive, but only by looking for cheap and fast do we spend more and benefit less.” (Yan, 2012: Online) Of course this is immensely beneficial for large retailers who reap the rewards such as ‘H&M’, ‘New look’ and ‘Topshop’, because they have to spend very little to make a vast margin, an equation that

“Fashion basic products yield scale and scope efficiencies of product design and development because product differentiation can be achieved through modest changes in colours, trims, finishes and silhouettes, rather than through more creative changes.” (Doeringer, Crean, 2005: Online) has now been perfected.

lthough the retailers are benefitting, it would seem that consumers are ultimately paying a much higher price than they realise. The poor quality of the clothing manufactured by fast fashion retailer’s results in disposal clothing that is contributing to landfill. The compromise in quality of these clothes was further highlighted first hand whilst I was assisting to conduct an experiment on why clothes were being thrown away at TRAID’s warehouse. TRAID work to reduce the amount of clothing that ends up in landfill by re-using, recycling and donating to countries such as Africa. The clothes used in the sample of this experiment were those that were classified as ‘reject’ i.e. they could not be reused or recycled. The sample size of 523 garments was largely from retailers that employ the business model of fast fashion ‘H&M’, ‘New Look’, ‘Primark’, ‘M&S’ and ‘Next’ to name a few. The majority of the clothing was classed as casual, (63%) and largely made of ‘jersey’ fabric (44%). The results show that for the most part the clothing was not defective in terms of trim failures, only 8% (43 items) of the clothing was thrown away for this reason; therefore the majority of the clothing was thrown away due to poor quality fabrics. 56% of the clothing had pilling issues, 14% had holes in the seams, while 32% suffered from ‘fabric breakdown’. 40% of this was fraying and 24% thinning of fabric. Another reason for clothing being thrown away was poor quality dying or logos, 74% of the items had colour issues. 41% of this was faded colouring (97% faded all over), 18% of items had discolouration while 17% had faded, cracked or peeling logos. The result of this experiment clearly highlights the poor manufacture and the sacrifice in quality made when creating these products. Consumers are ultimately paying over the odds when choosing these clothes as their disposable quality results in a much shorter life span. Therefore consumers are buying more bad quality clothing more frequently as opposed to good quality less frequently. This has resulted an estimated £140 million worth (350,000 tonnes) of used clothing goes to landfill in the UK every year (WRAP, 2012: Online). This contributes to alarming environmental issues such as harmful emissions.

FIG. 9 & 10 TRAID Primary Research 2012. Own Photograph

FIG. 11&12 TRAID Primary Research 2012. Own photograph

Fashion being environmentally unsustainable is not the only effect of fast fashion on consumers. When considering the question of whether our possessions define us it would seem fast fashion is removing any sense of individualism as our tastes and clothing choices have become homogenised. “Global chains are trying to take the risk out of fashion by selling the same carefully orchestrated trends, which are repeated on the racks of virtually every retailer, making our store bought looks feel homogeneous and generic.” (Cline, 2012. p.7) This view is supported by the centre of sustainable of fashion at London College of fashion. Dilys Williams and Nina Stevenson comment on the lack of ‘human’ in fashion these days. “Current definitions of fashion around price, speed and volume have propagated an industry that has severed the links between designer and maker in creating short lived homogenised products.”(Williams, Stevenson, 2011: Online).

Fashion is supposed to be about identity, individualism and creativity however fast fashion has created a school of people who all look the same. Defining themselves by the fact that they are wearing the latest trends regardless of whether they look the same as everyone else.

FIG. 13 Topshop Leather Jacket 2013

Designer Vivienne Westwood shared her disenchantment with modern fashion, “There’s something really awful about the way people dress now. Everyone looks the same.” (Westwood (2007) in Thomas, 2007: Online) The designer is renowned for her outspoken, entirely individual stance so it comes as no surprise that she finds no inspiration in the army of ‘well dressed’ followers of fast fashion. “There’s this idea that somehow you’ve got to keep changing things, and as often as possible. Maybe if people just decided not to buy anything for a while, they’d get a chance to think about what they wanted; what they really liked.” (Westwood (2007) in Thomas, 2007: Online) It would seem that we are allowing fast fashion to become a vehicle that defines us, but one that defines us as part of a mass. An ideal that seems to fly in the face of what true fashion means.

FIG. 14 Szostak, S. 2012 Twins 45

This led me to consider how these developments have altered the way fashion is viewed as an art form and an outlet of creativity. Furthermore how have designers who still advocate the craft, artistic nature and ingenuity of the industry reacted to the way fast fashion has changed.

nthony Symonds is among these designers. He represents the opposite of what high street fashion embodies, and no longer buys into the idea that a designer must continuously churn out collections in order

“I had a very successful business. I was one of those tragic British designers. By the end of it I was producing such terrible collections- the machine just needs feeding.” (Symonds (2012) in Fury, 2012. P.182) Despite

to stay relevant.

enjoying success under the pressure of the industry, Symonds felt completely dissatisfied with his work and the fact that such pressures meant he was creating garments he was not proud of. His response was to lock up his spring/summer 2009 collection and refuse to show it. When interviewing Symonds Alex Fury comments on the boldness of this move in the current climate of the fashion industry. “In an age of hyper-hyped fashion consumption where a designer is only as good as their last collection, there’s something quite wonderful about dropping out, banging your collection up for two years, then showing it as though nothing had happened.” (Fury, 2012. P.182) This move was a bold statement and was Symonds, “Thumbing his nose, joyously, at the conventions of the fashion industry.” (Fury, 2012. P.182) This highlighted the fact that designers do not need to bow to this unbelievable pressure from the media to show something inspired and completely new every six months. When commenting on the high streets effect on fashion Symonds is scathing, “Viva elitism. I’m glad if you don’t get it. Go to Zara. If you like it great. You want to go shopping in a crutch less jumpsuit? Good for you.”(Symonds (2012) in Fury, 2012 p.183) Symonds clearly illustrates in this comment of ‘viva elitism’ he believes fashion has become too accessible, by reaching the masses it has lost its complexity.

FIG. 15 Anthony Symonds Sportswear 2009

Another example of a designer who jars with mass consumption is Miguel Adrover. Adrover is a designer who believes fashion is a vehicle for artistic statements, a way in which to provoke thought and represent a social commentary. His work is the opposite of everything fast fashion represents. His collections are one offs and generally speaking ‘found’ items reworked in order to express his aesthetic. Perhaps most infamously Adrover sent a Burberry mac simply turned inside out down the runway resulting in a hefty law suit. This kind of outspoken design attracted both positive and negative press and Adrover was ‘exiled’ for 10 years from the fashion world.

“Even his most ardent fans back in the day had wondered how long a designer whose ways of working and thinking are so antithetical to the glamorous, aspirational conventions of the industry could survive.”(Healy, 2012. P.196)

FIG. 16 Miguel Adrover 2012

His return in 2011 was however celebrated and welcomed by the industry. Adrover was also keen to slam the negative effects of fast fashion on the creativity of the industry. “I think people in the fashion industry are trying to find a way out. The industry is lacking a lot on the creative side. H&M and Zara have killed the soul of fashion. Everyone can get it now. But fashion used to be about being an avant-garde person, about getting into trouble.”(Adrover (2012) in Healy, 2012. p.197) In fact Adrover believes that “Capitalism is going down the sink.” (Adrover (2012) in Healy, 2012. p. 196) He believes our rate of consumption is entirely unsustainable; fashion is not all about selling clothes and making money and that the industry has lost its true meaning. “We have so much stuff in our closets, so many things to play with, but we lack imagination.”(Adrover (2012) in Healy, 2012. p.197)These examples illustrate the disenchantment felt by designers with the direction fashion has been forced down. However it is also designers who represent multi-faceted and globally renowned brands that have expressed how the pace of the industry affects the creativity and exclusivity of fashion. Tom Ford commented in interview with Alexandra Shulman that modern fashion moves at an unsustainable pace, “Fashion has become a giant snowball running down a hill.” (Ford (2012) In Bubble, 2012: Online) Ford goes on to state “Fashion doesn’t need to change as often as it does.” (Ford (2012) In Bubble, 2012: Online) Part of the success of Ford is the mystery and exclusivity he has maintained around his brand shunning media coverage by holding intimate ‘presentations’ of his collections, an obvious snub to the

As part of this research I felt it essential to gain the perspective of a high street designer. I interviewed Romilly Mullen, a designer for ‘Next’, to gain her perspective as a vital contributor to the way we consume fashion now. Mullen, as a part of the fast fashion system understandably argues that fast fashion is a good thing. “From a purely high street retail perspective, I think the speed of which fast fashion changes is exciting and expected by the consumer. The UK is world renowned for its high street fashion and we do it better than any other country.” (Mullen 2013, Appendix C) She goes onto to confirm the reasoning earlier outlined for why fast fashion has become such a phenomenon, “Over the past 10 years the evolution of technology has made the world a much smaller place, people are more aware of fashion, music, art and popular culture. This has had a direct result on the demands consumers make. Our tastes have become more sophisticated and we have a greater knowledge of other cultures. This combined with the celebrity phenomenon has resulted in an increased demand for newness.”(Mullen 2013 Appendix C) Mullen confirms what all research indicates that fast fashion is consumer led and that it is, for the time, being the defining factor of fashion. However with so many factors influencing the sustainability of this lifestyle it is important to ask ourselves, is this the way we want to continue to live our lives? Overall fast fashion and mass consumerism is affecting the industry, consumers and designers and is having a number of knock on effects.

nature of the industry in modern times.

4. sustainability vs. style

ot only does fast fashion and mass consumerism have an effect on consumers and designers, there is also an unavoidable factor to the system of fast fashion. The sheer unsustainability of the production and manufacturing methods implemented cannot be maintained by our planet for an indefinite amount of time. This means we as consumers will, at some point, have to change the way we use fashion. The current business model of high street fashion creates many ethical problems both socially and environmentally due to the many stages of production, “The difficulty in the fashion industry is to see how all the suppliers of the individual components can be ethically secured and accounted for, together with the labour used to manufacture the garment, its transport from factory to retail outfit and ultimately the garments after care and disposal.” (Joy, et al. 2012) The way fast fashion is made is something consumers do not appear to consider, or so some evidence suggests. Whether this is due to a lack of knowledge or frankly indifference is debateable. But certainly it would appear many consumers are unaware of the knock on effect of the lifestyle we have carved. This is supported by Paul Hawken, “Hyperawareness of style, cut, fabric, colour and design is intense and universal, but it has not included the world behind the rack, the technology behind the cut, the fibre behind the fabric, the land behind the fibre, or the person on the land. In short the true impact of our clothing choices is barely examined or noticed.” (Hawken (2012) in Fletcher, Grose 2012)

This indifference evidenced in certain cases cannot continue. Consumers simply cannot maintain the idea of clothing being disposable whilst fashion operates the way it does. The sustainability issues are far reaching. Garment material production alone poses a catalogue of issues including climate change, adverse effects on water and its cycles, chemical pollution, loss of biodiversity, overuse and misuse of non-renewable resources, waste production, negative impacts on health and damaging social effects on producer communities. (Fletcher, Grose 2012) The fact is our planet simply cannot maintain the levels of consumption we are demanding. Furthermore this disposable lifestyle is creating huge issues in terms of waste and the dangerous chemicals linked to this. According to the department for the environment, food and rural affairs (DEFRA) the clothing sector in the UK alone produces 3.1 million tonnes of carbon dioxide, 2 million tonnes of waste and 70 million tonnes of waste water per year. (DEFRA in Awdas, 2012: Online) The department continues to indicate the alarming damage clothing contributing to landfill creates, “Gases such as carbon dioxide, emitted from fossil fuel burning, and methane, released from landfill sites, are widely believed to be contributing to global warming.” (DEFRA in Awdas, 2012: Online) Projected figures for water consumption alone paint a worrying picture of the future, according to Fiona Beenie “Around 40% of the world’s population will be living in areas of water stress by 2050.”(Beenie, 2012: Online) This dramatic prediction of change in the way we live our lives is a direct result of consumption as Beenie continues “Global water demand is set to rise by 55% due to a 400% increase in consumption for manufacturing.”(Beenie, 2012: Online)

Other than the environmental impact making fast fashion unsustainable, consumers are treating fashion as disposable because that is the business model they have been presented with. As consumers we have adapted to treat fashion as a bottomless pit and this will never be a sustainable option. Therefore in order to address the issues consumers must address their shopping habits themselves. The level of disposability in clothing is at an all-time high, as can be seen in statistics from YouGov survey ‘Bored with your clothes?’ 16% of consumers say they have worn something once before throwing it away. Whilst 22% said the reason for throwing clothes away is due to boredom, equally 20% said they were concerned it was no longer fashionable. (YouGov, 2012: Online (B) These statistics clearly illustrate our attitudes towards disposable fashion have now become the norm and in order to address the ethical issues around fashion the consumers ideals must be changed.

Kate Fletcher is noted for her work towards promoting change in the way we shop and confirms that consumers may have become despondent to these issues as a product of the industry, Noting that the market dominates our views of fashion and sustainability from an economic point of view, stressing the importance of positive returns and gross sales. (Fletcher, 2012) By looking at the industry this way, “Alternatives, really genuine alternatives, they’re not even seen. They’re squeezed out. What they seem is impossible.”(Fletcher, 2012: Online) Changing this idea of consumerism being a key factor in fashion is a monumental task, as Dr Johnathon Chapman points out, “The sustainability context, it forces us to question, I mean really question, some of our earliest and fundamental beliefs about how the world works, and why things are the way they are.”(Chapman, 2012: Online) However surely consumers would be willing to make changes were they made publicly aware of the personal effects fast fashion can have upon their lives and health? The most alarming case I have found evidence of is within GreenPeace’s ‘Toxic Threads: The Big Fashion Stitch Up’ report published in 2012. It highlights some of the health risks that have now been uncovered in the development and manufacture of some of the world’s largest fast fashion retailers. GreenPeace tested 141 items from 20 fashion brands including ‘Zara’, ‘H&M’ and ‘Calvin Klein’ looking for evidence of harmful chemicals. Toxics campaigner John Deans noted, “We found that 20 of the world’s favourite brands are making and selling clothes containing hazardous chemicals, which contribute to toxic water pollution where the clothes are made and washed.” (Deans (2012) in Krupnick, 2012: Online) ‘Calvin Klein’ samples tested as 88% containing harmful chemicals such as Nonylphenol Ethoxylates (NPE’S). While perhaps most shocking fast fashion titan ‘Zara’ samples tested at 60% containing NPE’s, and two of their samples tested positive for cancer causing chemicals found in certain Azo-Dyes. The report continues to illustrate how fast fashion is creating damage both environmentally and to us personally, “Even the apparently small, quantities of a hazardous chemical such as NPEs, which are legally allowed in clothing, cumulatively amount to the widespread dispersal of damaging chemicals across the planet.”(GreenPeace, 2012: Online (A) The solution GreenPeace are striving for is total commitment from these brands to clean up their production and supply chains. Also to offer total transparency to consumers about the risks they have been taking with consumers and the environments health, in terms of hazardous chemical usage. “While these brands continue to use our public waterways like their own private sewers, threatening people’s livelihoods and health, we have a right to know which chemicals they are releasing.”(GreenPeace, 2012: Online (A)

Consumers have been seen to change their behaviour in terms of environmental and ethical issues. For instance the way ethically sourced food is now consumed has changed entirely, “The market observed year on year increases between 2007 and 2011, with market value rising 39.2% during the five year period.” (Keynote, 2012: Online) The market success is further illustrated by statistics from ‘Mintel’ stating that six out of ten consumers shopped organically in 2012.(Clifford, 2012: Mintel (C) Attitudes towards food were changed by numerous factors, one of which being they were offered more information on the topic. Advertising was increased by brands such as ‘Rachel’s’ Dairy - a brand with eight ethical production commitments including reduced water waste and landfill contribution, ‘Green & Blacks’, ‘Abel & Cole’ and ‘Organix’ to communicate to consumers more effectively, organic ad-spend increasing by 12% in 2011. (Clifford, 2012: Mintel (C) Ethical food production was brought to the forefront of consumer’s attention in order to effect change within the market.

“During the last four decades a progressive increase in environmental consciousness has emerged as the environment moved from a fringe to a main stream issue.”(Grant, 2007)

Perhaps the most dominant reason for this increased concern was due to consumers raised awareness of their health. “Consumers perceive organic food as a means of achieving individual and social values, of which the most important is centred around the health factor for either themselves or their families.”(Makatouni, 2002) It would seem behavioural change can only really make differences to consumption when the consumer themselves is benefiting. “Consumers were worried about the impact of the environment on their health and safety. Their anxiety compelled marketers to incorporate environment issues in their decision making.” (Coddington (1993) in Paul, Rana. 2012) In the case of changing consumer behaviour to consider their purchases ethical effects, personal benefit and information are essential factors. Were fashion brands to adopt ethical standpoints and promote these to their consumers this may have an extremely positive effect on shopping habits. “Interpretation of ecological awareness means the understanding of environmental related problems. These factors have great impact on the behaviour of human beings. These actions are motivated with the understanding of these factors.” (Paul, Rana. 2012)

5. the changing face of retail.

ith these developments in terms of making fashion more sustainable, attitudes are slowly beginning to change as information on the topic is becoming more main stream. GreenPeace’s ‘Detox Campaign’ highlighted the need for retail brands to clean up their supply chains and vocalised the issues to consumers. The campaign has gained a lot of attention, “Around the world a growing movement of people are calling on clothing brands to make fashion that doesn’t cost the earth. More than 400,000 people have joined the campaign since November.” (GreenPeace, 2012: Online (B) This public outing of the toxic waste produced by retailers has led to fourteen global fashion leaders committing to GreenPeace’s ‘Detox Campaign’ to clean up. These include ‘Nike’, ‘Puma’, ‘H&M’ and ‘Zara’. This shows that the key to change is information. Fashion brands will be forced to address the sustainability issues they face if consumers demand so.

uma is one example of a global retailer leading the way when addressing sustainability issues. They have set up a division within their business known as the ‘Sustainable Design Collective’. This included creating ‘50 ways of working sustainability’ which included a number of talks on sustainable issues, led by industry professionals, this created a dialogue between retailers and sustainable experts on how to create and effect change. ‘Puma’ believe design and sustainability are inextricably linked and one should not be sacrificed to incorporate the other.

“Designers and developers are key to sustainable products. What they create instigates the processes that follow.” (Brzeski, 2012: Online)

FIG. 17 The Puma ECO Table 2011

They believe sustainable issues can be tackled through innovative design, “Puma London is one of our most creative locations, it felt right to pursue the discourse on sustainability through the angle of design.”(Brzeski, 2012: Online) ‘Puma’ are making advances in sustainability, they hope to launch biodegradable shoes and clothing in stores later in 2013 (Jobling, 2012: WGSN (A) and their environmental profit and loss account places, “A monetary value on supply chain activities, measures the company’s environmental impact across the entire supply chain including operations, manufacturing, outsourcing, processing and raw materials.” (Jobling, 2012: WGSN (A)

FIG. 18 H&M Concious Collection 2013

FIG 19. Topshop Reclaim To Wear Range 2012

Further examples of brands taking action on sustainable issues highlights the future of fashion, “Fast fashion retailers and brands are incorporating a broader range of sustainable fibres and materials into their collections, as sustainability rises up the global agenda.”(Plank, 2012: WGSN (B) Two key examples of this are ‘H&M’s Conscious Collection 2013’, and ‘Topshop’s 2012 Reclaim To Wear Collection’. Both collections offer fashion forward alternatives whilst highlighting to consumers the brands sustainable values. ‘H&M’ have chosen Vanessa Paradis as the face of the collection and created a film to promote the collection; this gives the collection the same fashion credentials as others launched by the brand highlighting their commitment to sustainability remaining fashionable. ‘H&M’ are the clear market leader in fast fashion sustainability as the number one user of organic cotton globally. (Plank, 2012: WGSN (B). Topshop’s collection promotes re-using waste fabric and further cements sustainable ideals by encouraging consumers to value second hand, and vintage, two key trends for the future of fashion.

‘Fashioning Change’ is an online brand committed to providing consumers with environmentally and socially ethical alternatives to fast fashion. The website clearly illustrates that fast fashion clothes can be made ethically. Whilst a website like this is available were consumers made aware of the developments in eco fashion they would see that eco does not necessarily mean a compromise on style. “Fashioning change is dedicated to creating shopping experiences that give you a fashionable eco-friendly and ethical alternatives to popular name brands.” (ANON (B), 2012: Online) Fashioning Change also encourages ‘Changeanomics’ a concept described as, “The concept of leveraging the fiscal power of everyday purchases to drive bottom-up systemic social change in the practices of companies.”(ANON (B), 2012: Online)

The ‘Sustainable Clothing Action Plan’ in 2009 aimed to draw attention to the environmental impact of cheap, throwaway clothes. The initiative outlined commitments for fashion brands to become more sustainable from manufacture to disposal. Despite ‘M&S’, ‘Tesco’ and ‘Sainsbury’s’ signing up the initiative has remained fairly quiet and has not received marked press coverage. Barring ‘M&S’ launching their ‘Shwopping Initiative’ encouraging consumers to recycle their clothes and reduce consumption. With Puma and H&M leading the way, other brands now need to commit to larger scale projects, with more coverage, in order to convince consumers that eco fashion is the future of fashion.

6. future fashion.

he research I have undertaken indicates that in order to affect change within the current unsustainable context of fast fashion, information and connecting to the consumer are essential. More and more it would appear that consumers are leaning towards brands that address ethical issues. Edelman carried out a survey in 2012 using 8,000 consumers and 16 markets. The survey was indicative of consumers changing attitudes to brands ethical standpoints. 49% believe companies should be creating a product or service that helps address a societal issue. (Clone, 2012: Online) 73% of consumers asked would switch brands if a different brand of similar quality supported a good cause, a 9% increase since 2009. (Clone, 2012: Online)These statistics are extremely positive as when addressing the future of fashion ultimately the consumer is supporting sustainable issues. This indicates that the modern consumer is susceptible to changes in the system. â&#x20AC;&#x153;Ultimately only paying consumers can truly slow down the fast fashion cycles.â&#x20AC;? (Ridley, 2012: Online)

However these changing attitudes must be addressed in the correct manner by brands. As a society we are most likely to remain behaving the same until there is a surge or trend in the opposite direction. It would be highly advisable for retail brands to seize this opportunity to slow down their rate of manufacture and refocus their attention to quality, design and longevity. Slow fashion is the antidote, fashion brands must remove the ideals of fast paced, ever evolving clothing and instead focus their efforts on creating clothing we are proud to wear again and again. Clothing that lasts and has design attributes indicative of the creative industry. Slow fashion is defined as “A philosophy of attentiveness which is mindful of its various ‘stakeholders’ respective needs (with ‘stakeholders’ referring to designers, buyers, retailers and consumers) and the impact producing fashion has on workers and eco-systems.” (Pookulangara, Shepherd, 2013) It represents a process that is considerate of every aspect of the industry alongside encouraging a consumer who is conscientious and considers their shopping choices in a way that is socially and environmentally beneficial. (Henly (2010) in Pookulangara, Shepherd, 2013) Slow culture is a trend that has been seen before in the realms of food. As discussed earlier, food is an area that has effectively changed consumer’s behaviour as they began to consider the impact on the environment whilst benefitting from higher quality, healthy food. This is seen as a way of supporting ethically made food. As well as embracing lost ideals of community promoting the use of locally grown food and smaller businesses. It can be seen as an antidote to large corporations churning out unhealthy, bad quality foods and has boundless social and environmental benefits. “Slow food began as the defence of the quiet material pleasures of cooking and eating and has since grown into a vehicle for reconnecting people to their communities and bioregions through the food on their plate.” (Fletcher, 2010)

This idea of slowing down production and a return to quality not quantity is precisely the ideals that fashion must adopt, in order to become more satisfying to us as consumers and indeed to slow down the damage of mass consumption. There is an ever-growing backlash against the fast fashion movement, “Against a backdrop of growth based activity, a movement promoting slow culture and values in fashion has emerged.” (Fletcher, 2010) The idea of slowing down fashion would encourage creativity and design being paramount, ideals that have been lost within the fast fashion model. I would recommend high street retailers viewing fashion in this more traditional way, in order to promote quality clothing and encourage consumers to spend more but buy less. We need to make deep social and ethical changes to how we view fashion as a vehicle for our individualism to stop it being lost. This would encourage consumers to build relationships with their clothes once more as pointed out by Kate Fletcher and Mathilda Tham in their ‘Lifetimes Project’. “For too long the fashion sector has been indifferent to what happens to a garment beyond the point of purchase. We think that transforming people’s relationships with their clothes can empower them, fuel personal creativity and reduce environmental impact.” (Fletcher, Tham, 2004: Online) While creating attachment to our clothes in order to regain individuality, we also need to consider the impact we have on our planet as issues such as global warming continue to scale the political agenda. James Dion comments, “If clothes last longer, ultimately consumers will learn the age old lesson about the difference between cost and price: price is what you pay today, cost is what you spend over time.” (Dion, 2008, p.40) A return to appreciating our clothes and making our wardrobes precious will create more meaningful connections to fashion, “The concept of investing in ones wardrobes is something we’re starting to see.” (Dion, 2008, p.40)

The ideals slow fashion promotes not only benefit and repair the environmental damage but also promotes a healthier relationship with clothing. The future of slower fashion encourages buying for longer periods of time, therefore purchases are seriously thought through. Second hand and hand-made clothing will see a resurgence encouraging true individualism with greatly reduced homogenized looks once again. This is predicted by ‘Forum for The Future’ in their report ‘Fashion Futures for 2025’, in association with Levi’s. One scenario predicted is ‘Slow is Beautiful’. This backs up the idea of returning to a slower pace of consumption and manufacture and gaining more well-being from our clothes. They predict, “For variety many turn to vintage clothes they find online and elsewhere. Hand crafted clothes from around the world are also popular.” (Forum for the Future, 2010: Online) The report goes on to predict, “Luxury now means stuff that is good for

people and the planet.” (Forum for the Future, 2010: Online)

Suggested recommendations are slower lead times, clean supply chains and totally transparent goods. Consumers will begin to demand that they know exactly what the cost of their fashion entails, both economically and ethically. Consumers will become conscientious and generally will buy less by 2025, Forum for the Future predict. High street brands must now adapt themselves to these predictions. In order to take a strong standing point and compete with each other as leaders in sustainability, therefore appealing to this new breed of savvy, consciously aware consumer.

Not only designers and manufacturers but retailers must also adapt to creating slow trends. Interpreting high fashion into creative, durable and long wearing design led items. Brands must adapt the initial ideas of Puma and H&M into larger concepts including slow fashion for it to have the desired impact. In order to achieve this, my recommendations would include retailers embracing the idea of ‘projects not campaigns’. This is an idea that has seen a lot of popularity emerging in the market, as brands use it to differentiate themselves within an overcrowded sector. In terms of the modern era this is the way forward for brands,

“As a decade of digital interaction gives way to socially collaboratively organised initiatives, brands and marketers have been less inclined to accept the traditional campaign as their default strategy for the consumers’ hearts and minds.” (Contagious Communications LTD, 2011: Online)

As this clearly illustrates, projects not campaigns is an extremely effective way for brands to communicate openly with their consumer. They are creating a bond in a landscape where information is key and encourage a deeper connection between consumer and brand. In terms of sustainability issues, brands can use this to communicate to their consumer that they are ethically and environmentally sound which is an ideal that as I have said before is growing in importance to consumers. 73% of consumers would switch brands if a different brand of similar quality supported a good cause. (Clone, 2012: Online) Projects not campaigns allow the brand to, “Nail their colours to a particular mast and show what they stand for by effecting change in the real world.” (Contagious Communications LTD, 2011: Online)

Examples of how this has been introduced, in terms of fashion retailers promoting sustainability, are the case of ‘Patagonia’ who teamed up with ‘Ebay’. They created ‘The Common Threads Initiative’ described as, “An extraordinary mission to reduce excess consumption, creating a re-sale website where people can buy pre-owned Patagonia outdoor clothing and kit.” (Contagious Communications LTD, 2011: Online) Patagonia created a project where-by they engage their consumer by offering them a cheaper alternative whilst adopting a sustainable stand point. In turn their consumers pledge to buy only what they need, repair what breaks, reuse what they no longer need and recycle everything else.

FIG. 20 Patagonia & Ebay, Common Threads Intiative 2011 67

Another example is Levi’s jeans. Their ‘WaterLess’ campaign is affecting real change and leading the way for the future of manufacturing jeans. Levi’s committed to reducing their water usage and wastage. By using developing technologies they are at the forefront for the future of sustainable, accessible fashion. They achieve the same quality of product proving that solutions are at our fingertips. They communicate a message to the consumer that it is time to demand more from our retailers, to ask for a return of innovation, “It’s really going back to craftsmanship and how we manufacture our jeans.” (ANON (C), 2012: Online) The project promotes the ideals of sustainability without compromising design, telling the consumer that it is out there and we do not need to compromise one for the other any longer. “We’ve already saved 170 million litres of water.” (ANON (C), 2012: Online)

FIG 21. Levi’s WaterLess Shirt 2012

The key for retailers is to begin an open dialogue with their consumer about the origins of their clothing something that a project would enable. This will allow the buyer to make an informed and ethical decision about whether or not they need, or want to buy that item. The recommended route would be for retailers to adopt total transparency. If retailers were open about how, where and who manufactures their clothes, would we as consumers want to purchase that item? Lucy Siegle demonstrates the enormity of this issue with her idea of ‘Truth labels’. The fact is we as consumers are not given the necessary information about where our clothes come from. If we were I am sure we would demand higher levels of quality both in clothing and ethics. As Siegle demonstrates, “There is a huge effort to distance us from the people who make our clothes.”(Siegle, 2001. p.59) She argues that if we were to consider the true price of cheap, throw away clothes we may consider spending more. For this reason I recommend that honesty labels and total transparency should be adopted, benefitting the consumer both socially and environmentally. This would force retailers to clean up their supply chains, to ensure that their clothes are ethically made. Furthermore it would benefit the consumer. For instance, an item of clothing that was ethically made and said so on the label is more likely to appeal than one that is proven to be unethically made. Printing how many washes the item will last will encourage the consumer to make an informed decision that benefits themselves, the environment and slows down fashion. Dr Johnathon Chapman confirm that our clothing should be doing more for us than filling our wardrobes and landfills, “Objects

becoming educators and teachers, items that will inform people through use about the fundamental sustainability issues.” (Chapman, 2012: Online)

.J. Fogg highlights in his behavioural model that there are three factors required to affect change: Motivation, ability and triggers. In my opinion the fast fashion dilemma contains all three. The motivation for us to change is that we are damaging the environment via fast fashion, losing our individuality, being defined by our possessions and being left with poor quality, unsustainable clothing. The ability we have to change is that consumers are willing to alter their behaviour as seen in the case of food. Technology and the media now have such a great influence over us that we need to use them to change and inform the negative effects of fast fashion both environmentally and on our health in particular as this is what provokes a response from consumers. The trigger for change in my opinion should be the brands themselves. Brands have the power to adopt the ideals of slow fashion and produce more quality, long lasting products. By doing this consumers would be further encouraged to adapt their spending habits. Fashion should be about design, creativity and beauty and fast fashion has only made the process ugly and unmaintainable. â&#x20AC;&#x153;The challenge for us all is to model and influence the overall regulating fashion system to promote balance accompanied by richness across economic systems as a whole. To make use of vital social movements like slow culture as a lever for deep and lasting change in fashion.â&#x20AC;? (Fletcher, 2010) Overall I would recommend fashion adapt itself now. These changes would create a new breed of consumer. It would incorporate the disposable income and love of fresh fashion ideas the younger consumer represents, alongside the ideals of treasuring clothes and creating connections to fashion that the mature consumer still maintains. This would inevitably address both the sustainable issues represented by fast fashion and enable the consumer to create a long lasting, meaningful identity through the communication of fashion.

list of ref eren ces 72

Page13 (Leonard, 2008: Online) (Cline, 2012. p.3)

Page 15 (Landy, (2012) in Inci, 2012. P.57) (Landy, (2012) in Inci, 2012. P.57) (Walford, 2001: Online) Page 17 (Leonard, 2008: Online) (Siegle, 2011. p.91) (Siegle, 2011. p.25) Page 18 (ONS (2010) in Hunt, 2010: Online) (Ofcom, 2011: Online) Page 20 (Barnes, Lea-Greenwood, 2006) Page 21 (Barnes, Lea-Greenwood, 2006) (Leonard, 2008: Online) (Ruppel Shell, 2010. p.31) (Ruppel Shell, 2010. p.23) Page 22 (Barnes, Lea-Greenwood, 2006) (Joy, et al. 2012) Page 23 (Solomon, et al. 2010. p.6) (Solomon, et al. 2010. p.150) Page 25 (Joy, et al. 2012) Page 28 (Kawamura, 2004. p.94) (Solomon, et al. 2010. p.16) Page 29 (Meltzer, 2010: Online) (Councell (2010) in Ruppel Shell, 2010. p.42) (Papacharissi, 2011. p.20) Page 30 (Smarty, 2012: Online) (Sender, 2012: Mintel (A) (Sender, 2012: Mintel (A) (Papacharissi, 2011. p.246) (Squared, 2012: Online) (Squared, 2012: Online) Page 31 (Cline, 2012. p.14) (YouGov, 2012: Online (A) (Sender, 2011: Mintel (B) (Sender, 2011: Mintel (B) (Thomas, 2012, Appendix B)

Page 34 (Shepherdson (2008) in Vernon, 2008: Online) Page 35 (Shepherdson (2012) in Amed, 2012: Online) Page36 (ANON (A), 2008: Online) Page 37 (Barnes, Lea- Greenwood, 2006) (Ruppel Shell, 2010. P.31) (Yan, 2012: Online) (Yan, 2012: Online) (Doeringer, Crean, 2005: Online) Page 38 (WRAP, 2012: Online) Page 42 (Cline, 2012. p.7) (Williams, Stevenson, 2011: Online) Page 44 (Westwood (2007) in Thomas, 2007: Online) (Westwood (2007) in Thomas, 2007: Online) Page 46 (Symonds (2012) in Fury, 2012. P.182) (Symonds (2012) in Fury, 2012. P.182) (Fury, 2012. P.182) (Fury, 2012. P.182) Page 48 (Healy, 2012. P.196) Page 49 (Adrover (2012) in Healy, 2012. p.197) (Adrover (2012) in Healy, 2012. p. 196) (Adrover (2012) in Healy, 2012. p.197) (Ford (2012) In Bubble, 2012: Online) (Ford (2012) In Bubble, 2012: Online) (Mullen 2013, Appendix C) (Mullen 2013, Appendix C) Page 51 (Joy, et al. 2012) (Hawken (2012) in Fletcher, Grose 2012) Page 52 ( DEFRA in Awdas, 2012: Online) (DEFRA in Awdas, 2012: Online) (Beenie, 2012: Online) (Beenie, 2012: Online) (YouGov, 2012: Online (B) Page 53 (Fletcher, 2012: Online) (Chapman, 2012: Online) (Deans (2012) in Krupnick, 2012: Online) (GreenPeace, 2012: Online (A) (GreenPeace, 2012: Online (A)

Page 54 (Keynote, 2012: Online) (Clifford, 2012: Mintel (C) (Clifford, 2012: Mintel (C) (Grant, 2007) Page 55 (Makatouni, 2002) (Coddington (1993) in Paul, Rana. 2012) (Paul, Rana. 2012) Page 57 (GreenPeace, 2012: Online (B) Page 59 (Brzeski, 2012: Online) (Brzeski, 2012: Online) (Jobling, 2012: WGSN (A) (Jobling, 2012: WGSN (A) Page 61 (Plank, 2012: WGSN (B) (Plank, 2012: WGSN (B) (ANON (B), 2012: Online) (ANON (B), 2012: Online) Page 63 (Clone, 2012: Online) (Clone, 2012: Online) (Ridley, 2012: Online) Page 64 (Pookulangara, Shepherd, 2013) (Henly (2010) in Pookulangara, Shepherd, 2013) (Fletcher, 2010) (Fletcher, 2010) (Fletcher, Tham, 2004: Online) (Dion, 2008, p.40) (Dion, 2008, p.40) Page 65 (Forum for the Future, 2010: Online) (Forum for the Future, 2010: Online) Page 66 (Contagious Communications LTD, 2011: Online) (Clone, 2012: Online) (Contagious Communications LTD, 2011: Online) Page 67 (Contagious Communications LTD, 2011: Online) Page 68 (ANON (C), 2012: Online) (ANON (C), 2012: Online) Page 69 (Siegle, 2001. p.59) (Chapman, 2012: Online) Page70 (Fletcher, 2010)

list of illus trat ions 76

Figure 1- Landy, M., 2001, This and That, Esther Marcia Blog, available at: http://esthermarcia.tumblr.com/post/1526222825/michaellandy Figure 2Wildfox Campaign, 2013, Wildfox Channels 90’s Classic “Clueless” for S/S 2013 Collection, Fashion Gone Rouge, available at: http:// fashiongonerogue.com/wildfox-channels-90s-classic-clueless-for-ss-2013-collection/ Figure 3Rutherford, C., 2013, Sunglasses, Opaque Glitter, VOLT Magazine, available at: http://opaqueglitter.com/post/39831784904/publication-volt-magazine-yadi-yadi-yadi Figure 4Consumption Primary Research 1, 2013, Own Photograph Figure 5Consumption Primary Research 2, 2013, Own Photograph Figure 6Wildfox Campaign, 2013, Wildfox Channels 90’s Classic “Clueless” for S/S 2013 Collection, Fashion Gone Rouge, available at: http:// fashiongonerogue.com/wildfox-channels-90s-classic-clueless-for-ss-2013-collection/2/ Figure 7DKNY Spring 2013 Campaign, 2013, Cara Delevingne Is Techno Chic for DKNY Spring 2013 Campaign by Patrick Demarchelier, Fashion Gone Rogue, available at: http://fashiongonerogue.com/cara-delevingne-is-techno-chic-for-dkny-spring-2013-campaign-bypatrick-demarchelier/ Figure 8Topshop Editorial, 2012, GPS Styles, available at: http://styles.fashiongps.com/arcadia/?d=Topshop%20UK Figure 9 12TRAID Primary Research 1, 2012, Own Photograph Figure 13Topshop Leather Jacket, 2013, available at: http://us.topshop.com/webapp/wcs/stores/servlet/TopCategoriesDisplay?storeId=13052& catalogId=33060&geoip=noshipdefault Figure 14Szostak, S., 2012, Tantalizing Twin Shoots, Trend Hunter, available at: http://www.trendhunter.com/trends/sonia-szostak#!/photos/147217/1 Figure 15Anthony Symonds Sportswear, 2009, We Love: Functional Sportswear, Love Magazine, available at: http://www.thelovemagazine. co.uk/share.php?id=8325 Figure 16Israel, S., 2012, Miguel Adrover Design for New York Fashion Week Fall 2012, Susan Tabak, Fashion and Style, available at: http:// susantabak.com/articles/new-york-fashion-weekfall-2012-collections-miguel-adrover Figure 17The Puma Eco-Table, 2011, Puma’s Sustainable Collections, available at: http://www.ppr.com/en/magazine/issue/53/pumas-sustainable-collections Figure 18Garment Collection Campaign, 2013, Vanessa Paradis is the Face of Conscious as H&M Launches Garment Collecting Worldwide, Marienela, available at: http://www.marienela.net/vanessa-paradis-is-the-face-of-conscious-as-hm-launches-garment-collecting-worldwide/ Figure 19Topshop Reclaim To Wear Range, 2012, The Green Style Blog, Vogue Blogs, available at: http://www.vogue.co.uk/blogs/the-greenstyle-blog/2012/06/topshop-reclaim-to-wear-collaboration Figure 20Patagonia + Ebay, 2011, Common Threads Initiative, available at http://blog.stylesight.com/active/patagonia-x-ebay-common-threadsinitiative Figure 21Levi’s Shirt, 2012, Death By Platforms Blog, available at: http://deathbyplatforms.blogspot.com.au/2012/03/waterless.html#. URD2AY4oz_M

bib lio graphy

ADROVER, M. in HEALY, M., (2012) “Miguel Adrover.” Love Magazine, Issue No. 8, Autumn/Winter 2012, PP.196-197 AMALDOSS, W. and JAIN, S., 2005, Conspicuous Consumption and Sophisticated Thinking. Management Science. 51 (10) PP. 14491466 ANON (A), 2008. Fast Fashion Is Like Fast Food. [Online] Ethical Fashion Forum. Available at: http://www.ethicalfashionforum.com/theissues/fast-fashion-cheap-fashion [Accessed on 23 November] ANON (B), 2012. Fashioning Change ‘Changeanomics’. [Online] Fashioning Change. Available at: http://fashioningchange.com/about/changeanomics [Accessed on 05 January 2013] ANON (B), 2012. Fashioning Change Mission Statement. [Online] Fashioning Change. Available at: http://fashioningchange.com/about [Accessed on 05 January 2013] ANON (C), 2012. Levi’s WaterLess Jeans- Heavy on Style, Light on Water. [Online] Levi’s. Available at: http://eu.levi.com/en_GB/waterless [Accessed on 08 January 2013] BARNES, L. AND LEA-GREENWOOD, G., 2006. Fast Fashion. Journal of Fashion Marketing and Management, An International Journal. 10 (3), PP. 225-316 BEENIE, F., 2012. Puma Sustainable Design Collective: “50 Ways Of Working Sustainability” (movie) [online video] Vimeo. October 2012. Available at: http://vimeo.com/49756664 [Accessed on 23 January 2013] BLACK, S. and ALEXANDER, H., 2012. The Sustainable Fashion Handbook. Thames and Hudson BLACK, S., 2011. Eco-Chic: The Fashion Paradox. Black Dog Publishing BRAUNGART, M. and MCDONOUGH, W., 2009. Cradle to Cradle. Remaking the Way We Make Things. Vintage Printing BRITISH FASHION COUNCIL, 2011. Future of Fashion: Strategic Considerations For Growth. [Online] British Fashion Council. Available at: http://www.britishfashioncouncil.com/uploads/media/62/26140.pdf [Accessed on 30 January 2013] BRZESKI, P., 2012. The Only Way Forward. [Online] Puma Catch Up. Available at: http://www.puma-catchup.com/mag/2012/02/pdf/all. pdf [Accessed on 28 January 2013] CHAPMAN, DR. J., 2012. Puma Sustainable Design Collective: “50 Ways of Working Sustainability” (movie) [online video] Vimeo. October 2012. Available at: http://vimeo.com/49756664 [Accessed on 23 January 2013] CHERNIKOFF, L., 2013. H&M To Show During Paris Fashion Week. [Online] Fashionista. Available at: http://fashionista.com/2013/01/hmto-show-at-paris-fashion-week/ [Accessed on 29 January 2013] CLIFFORD, E., 2012. Organic Food and Drink UK 2012. Accessed via MINTEL (C). [Accessed on 17 November 2012] CLINE, E., 2012. Overdressed: Responsible Shopping In The Age Of Cheap Fashion. Penguin Books CLONE, L. C., 2012. 5 Years Of Purpose- The Reengineering of Brand Marketing. GoodPurpose 2012 Executive Summary. [Online] Edelman. Available at: http://www.scribd.com/doc/90411623/Executive-Summary-2012-Edelman-goodpurpose%C2%AE-Study [Accessed on 27 January 2013] CODDINGTON, W. in PAUL, J. and RANA, J., 2012. Consumer Behaviour and Purchase Intention For Organic Food, Journal of Consumer Marketing. 29 (6), PP. 412-422 CONTAGIOUS COMMUNICATIONS LTD., 2011. Projects Not Campaigns: Born To Live, Not Built To Die. [Online] Contaigious Magazine. Available at: http://www.mostcontagious.com/section.html?projects_not_campaigns [Accessed on 09 December 2012] DEANS, J. in KRUPNICK, E., 2012. Chemicals In Fast Fashion Revealed in GreenPeace’s ‘Toxic Threads: The Big Fashion Stitch Up’ (Updated). [Online] The Huffington Post. Available at: http://www.huffingtonpost.com/2012/11/20/chemicals-in-fast-fashion-greenpeace-toxicthread_n_2166189.html [Accessed on 14 January 2012] DEFRA in AWDAS, R., 2012. The Environmental Impact Of Fast Fashion. [Online] Ethical In Style. Available at: http://www.ethicalinstyle. com/what-is-ethical-fashion/ethical-issues-explained/the-environmental-impact-of-fast-fashion/ [Accessed on: 19 December 2012] DEFRA, 2011. Sustainable Clothing Plan. [Online] Department for the environment, food and rural affairs. Available at: http://www.defra.gov. uk/publications/files/pb13461-clothing-actionplan-110518.pdf [Accessed on 19 December 2012] DESIGN COUNCIL, 2011. The Future Of Fashon: Ethical, Sustainable, Online. [Online] Design Council. Available at: http://www.designcouncil.org.uk/about-design/types-of-design/fashion-and-textile-design/the-future-of-fashion/ [Accessed on 11 December 2012] DION, J., 2008. The Complete Idiot’s Guide To Starting And Running A Retail Store. Alpha Books DOERINGER, P. and CREAN, S., 2005. Can Fast Fashion Save The U.S. Apparel Industry? [Online] Available at: http://www.bostonfed. org/economic/nesg/papers/Doeringer.pdf [Accessed on 29 December 2012] 79

DUISTER, R., 2013. Vannessa Paradis for H&M collection 2013. [Online] Nolo Magazine. Available at: http://www.nolomagazine.com/vanessaparadis-for-hm-conscious-collection-2013/ [Accessed on 30 January 2013] FLETCHER, K. and GROSE, L., 2012. Fashion & Sustainability: Design For Change. Laurence King Publishing FLETCHER, K. and THAM, M., 2004. The Lifetimes Project. [Online] Kate Fletcher, Mathilda Tham. Available at: http://www.katefletcher.com/ lifetimes/ [Accessed on 17 January 2013] FLETCHER, K., 2004. The Ecology of Clothing, Fourth Door Review, No. 7, pp67-71. FLETCHER, K., 2010. Slow Fashion: An Invitation For Systems Change. Fashions Practise: The Journal of Design, Creative Processes & Fashion, 2 (2) PP. 259-266 FLETCHER, K., 2012. Durability, Fashion, Sustainability: The Processes and Practices of Use, Fashion Practice, 4 (2), pp221-238. FLETCHER, K., 2012. Puma Sustainable Design Collective: “50 Ways of Working Sustainability” (movie) [online video] Vimeo. October 2012. Available at: http://vimeo.com/49756664 [Accessed on 23 January 2013] FORD, T. in BUBBLE, S., 2012. Vogue Fest First. [Online] Style Bubble. Available at: http://www.stylebubble.co.uk/style_bubble/2012/04/voguefest-first.html [Accessed on 11 December 2012] FORUM FOR THE FUTURE, 2010. Fashion Futures 2025: Global Scenarios For a Sustainable Fashion Industry. [Online] Forum for the Future. Available at: http://www.forumforthefuture.org/project/fashion-futures-2025/overview [Accessed on 23 January 2013] FURY, A., (2012) “Anthony Symonds.” Love Magazine, Issue No. 8, Autumn/Winter 2012, PP. 182-183 GRANT. J., 2007. The Green Marketing Manifesto. John Wiley & Sons GRAVES, P., 2nd Edition 2013. Consumerology: The Truth About Consumers and The Psychology of Shopping. Nicholas Brealey Publishing GREENPEACE (A), 2012. Toxic Threads: The Big Fashion Stitch Up [Online] GreenPeace. Available at: http://www.greenpeace.org/international/ Global/international/publications/toxics/Water%202012/ToxicThreads01.pdf [Accessed on 15 January 2012] GREENPEACE (B), 2012. Detox Our Future [Online] GreenPeace. Availabale at: http://www.greenpeace.org/international/en/campaigns/toxics/ water/detox/ [Accessed on 15 January 2013] HAWKEN, P., in FLETCHER, K. and GROSE, L., 2012. Fashion & Sustainability: Design For Change. Laurence King Publishing HEALY, M., (2012) “Miguel Adrover.” Love Magazine, Issue No. 8, Autumn/Winter 2012, PP.196-197 HENLY, 2010 in POOKULANGARA, S. and SHEPHERD, A., 2013. Slow Fashion Movement: Understanding Consumer Perceptions- An Exploratory Study. Journal of Retailing and Consumer Services. HUNT, J., 2010. 30 Million Adults Use The Internet Nearly Every Day According To ONS [Online] Think Broadband. Available at: http://www. thinkbroadband.com/news/4360-30-million-adults-use-the-internet-nearly-every-day-according-to-the-ons.html [Accessed on 29 October 2012] JOBLING, A., 2012. Sourcing News Analysis November 2012. Available via WGSN (A). [Accessed on 03 December 2012] JOY, A., ET AL, 2012. Fast Fashion, Sustainability, And The Ethical Appeal Of Luxury Brands. Fashion Theory. 16 (3) PP. 273-296 KAWAMURA, Y., 2004. Fashion-ology: An Introduction to Fashion Studies. Berg Publishers KEYNOTE, 2012. Green and Ethical Consumer Market Assessment 2012. [Online] KeyNote. Available at: http://www.keynote.co.uk/marketintelligence/view/product/10537/green-and-ethical-consumer [Accessed on 01 January 2013] LANDY, M. in INCI, U., (2012) “Michael Landy”, I Love You, Issue Number 07, Winter 2012, PP.56-59 LEE-BERNERS, M., 2010. How Bad Are Bananas? The Carbon Footprint Of Everything. Profile Books. LEONARD, A., 2008, The story of stuff: Full Version (movie) [online video]. YouTube, 12 June. Available at: http://www.youtube.com/ watch?v=gLBE5QAYXp8 [Accessed on 04 September 2012]. LINDSTROM, M., 2009. Buyology: How Everything We Believe About Why We Buy Is Wrong. Random House Business MAKATOUNI, A., 2002. What motivates consumers to buy organic food in the UK: Results from a qualitative study, British Food Journal, 104 (3/4/5) PP.345 – 352

MELTZER, M., 2010. Thrill Of The Haul: The Secret Joy Of Displaying Your Shopping Sprees On YouTube. [Online] Slate Magazine. Available at: http://www.slate.com/articles/double_x/doublex/2010/03/thrill_of_the_haul.html [Accessed on 06 October 2012] MIHM, B., 2010. Fast Fashion In A Flat World: Global Sourcing Strategies. International Business and Economics Research Journal. 9(6)PP.55-64 MINNEY, S., 2011. Naked Fashion. New Internationalist MOENG, R., 2011. Fast Fashion Retail: A Consumer Perspective. MA Thesis, University of Pretoria OFCOM, 2011. A Nation Addicted To Smart Phones [Online] Ofcom. Available at: http://media.ofcom.org.uk/2011/08/04/a-nationaddicted-to-smartphones/ [Accessed on 01 November] PAPACHARISSI, Z., 2011. A Networked Self: Identity, Community and Culture On Social Network Sites. Oxon: Routledge PAUL, J. and RANA, J., 2012. Consumer Behaviour and Purchase Intention For Organic Food, Journal of Consumer Marketing. 29 (6), PP. 412-422 PLANK, M., 2012. Sustainability- Textiles- High Street Overview. Available via WGSN (B) [Accessed on 03 December 2012] POOKULANGARA, S. and SHEPHERD, A., 2013. Slow Fashion Movement: Understanding Consumer Perceptions- An Exploratory Study, Journal of Retailing and Consumer Services. RIDLEY, E., 2012. Slowing Down Fast Fashion. [Online] The Genteel. Available at: http://www.thegenteel.com/articles/culture/slowingdown-fast-fashion [Accessed on 30 October 2012] RUPPEL SHELL, E., 2010. Cheap: The High Cost of Discount Culture. USA: Penguin Books SAMUELS. G., 2012. Diverting Clothes From Landfill Could Save £140m. [Online] Let’s Recycle. Available at: http://www.letsrecycle. com/news/latest-news/textiles/diverting-clothes-from-landfill-2018could-save-ps140m2019 [Accessed on 05 January 2013] SENDER, T., 2011. Women’s Fashion Lifestyles. Available via MINTEL (B) [Accessed on 14 October 2012] SENDER, T., 2012. Youth Fashion. Available via MINTEL (A) [Accessed on 13 October 2012] SHEPHERDSON, J., in AMED, I., 2012. CEO Talk: Jane Shepherdson, Chief Executive Officer, Whistles. [Online] The Business Of Fashion. Available at: http://www.businessoffashion.com/2012/10/ceo-talk-jane-shepherdson-chief-executive-officer-whistles.html [Accessed on 08 December 2012] SHEPHERDSON, J., in VERNON, P., 2008. Jane Shepherdson. [Online] The Observer. Available at: http://www.guardian.co.uk/lifeandstyle/2008/mar/09/fashion.women2 [Accessed on 08 December 2012] SIEGLE, L., 2011. To Die For: Is Fashion Wearing Out The World? London: Harper Collins Publishers SMARTY, A., 2012. Social Media Strategies for Fashion Industry. [Online] Business To Community. Available at: http://www.business2community.com/social-media/social-media-strategies-for-fashion-industry-0271526 [Accessed on 21 November 2012] SOLOMON, R. M., ET AL, 2010. Consumer Behaviour: A European Perspective. 4th Edition. Edinburgh: Pearson Education SOWRAY, B., 2012. Topshop Launch Reclaim To Wear Collection. [Online] The Telegraph. Available at: http://fashion.telegraph.co.uk/ news-features/TMG9314583/Topshop-launch-Reclaim-To-Wear-collaboration.html [Accessed on 10 November 2012] SQUARED, T., 2012. It’s Enough to Drive You Mad. [Online] Wordpress.com. Available at: http://tiffanysquared.com/tag/self-identitybloggers-instagram-fashion-perfection-social-media/ [Accessed on 22 November 2012] SYMONDS, A., in FURY, A., (2012) “Anthony Symonds.” Love Magazine, Issue No. 8, Autumn/Winter 2012, PP. 182-183 TURNER, C., 2012. The Future Of Fashion Fabrics- Reducing Environmental Impact. [Online] The Ethical Fashion: Source Intelligence. Available at: http://source.ethicalfashionforum.com/article/the-future-of-fashion-fabrics-reducing-environmental-impact [Accessed on 20 December 2012] UNDERHILL, P., 2008. Why We Buy: The Science Of Shopping. Simon & Schuster WALFORD, L., 2001, Letter From London: Leo Walford On Breakdown, Michael Landy’s Recent Artangel Project [Online] Leo Walford. Available at: http://www.artcritical.com/blurbs/LWLandy.htm [Accessed on 01 September 2012] WESTWOOD, V. in THOMAS, L., 2007. People Must Stop Buying And Buying. [Online] The Telegraph. Available at: http://fashion. telegraph.co.uk/article/TMG3361412/People-must-stop-buying-and-buying.html [Accessed on 10 November 2012]

WILLIAMS, D., and STEVENSON, N., 2011. The Human Ingredient. [Online] Centre For Sustainable Fashion, London College of Fashion. Available at: http://www.sustainable-fashion.com/resources/sustainability-in-action/empathy/ [Accessed on 29 December 2012] WRAP, 2012. Valuing Our Clothes: The True Cost Of How We Design, Use And Dispose Of Clothing In The UK. [Online] WRAP. Available at: http://www.wrap.org.uk/sites/files/wrap/VoC%20FINAL%20online%202012%2007%2011.pdf [Accessed on 16 January 2013] YAN, B., 2012. Fast Fashion: Too Much Of A Good Thing. [Online] Arbitrage Magazine. Available at: http://www.arbitragemagazine.com/general/fast-fashion-good/ [Accessed on 04 January 2013] YOUGOV (A), 2012. Poll: Throwaway Fashion? [Online] YouGov. Available at: http://yougov.co.uk/news/2011/09/16/pollthrowaway-fashion/ [Accessed on 02 December 2012] YOUGOV (B), 2012. Bored With Your Clothes? [Online] YouGov. Available at: http://yougov.co.uk/news/2012/06/27/boredyour-clothes/ [Accessed on 02 December 2012]

appen dices

A. METHODOLOGY

In order to gain further understanding of the context of the broader market and the consumers within this, I explored different routes of research so as to engage with every aspect. Various forms of primary research were undertaken to gain a clear insight into the consumer’s habits, also to highlight any differentiation between consumer age groups consumption habits. The primary research I chose to undertake into the younger consumer’s consumption levels was in visual form as I felt this would communicate the volume of clothing accumulated. Therefore I photographed the high volumes of clothing in young consumer’s wardrobes to illustrate their obsession with fast fashion in the modern era. In order to highlight the differences in volumes of consumption and values towards fashion I also undertook an interview with a ‘mature’ consumer Jane (See appendix B for full interview). The interview highlighted the changing values between the older generation and their ideals towards clothing and fashion. This helped to further illustrate how our lifestyles have developed due to the ever evolving speed of information and how this defines a more particular consumer of fast fashion. I also felt it was extremely important to investigate the personal opinions of an industry insider. When considering the effects of fast fashion on the creative side of the industry it was very important to question how a fast fashion designer considers the impact of the pace of the industry and several other factors. Therefore I conducted an email interview with designer of high street fashion retailer Next Romilly Mullen. The results of this interview gave a first-hand insight into how designers for fast fashion believe in the creativity and diversity of what they do, highlighting a rift between their ideals of creativity and those who design high fashion. (See appendix C for full interview.) The bulk of my primary research was conducted at TRAID’s warehouse. (See appendix D) This involved assisting on an experiment into the reasons for clothing being thrown away. The clothing consisted of a sample of 523 garments, for the most part high street fashion retailers. The results of this were incredibly insightful in terms of gauging why fast fashion clothing is not beneficial to the consumer. The results illustrated the low quality and compromise consumers are making when purchasing fast fashion clothing. This was highlighted mainly by the reasons for the clothing being thrown away. In general the clothing was not defective or broken merely suffering from fabric breakdown, pilling and twisted seams showing the clothing is not up to scratch in quality materials. This helped me to understand the concept of consumers paying less but spending more and helped inform my future recommendations in terms of benefitting the consumer. Secondary research included gaining understanding of the wider market context including levels of consumption via sources such as Mintel and YouGov. Ellen Ruppel Shell, Elizabeth L. Cline and Lucy Siegle all offered incredibly informative, eye opening information and thought provoking research in regards to the social, ethical and environmental effects of our fast fashion choices. These books feature throughout my research in order to understand the ways our lifestyles have changed and the sustainability. They aided answering the question both of our identity and of sustainability in the environment and ethical dilemmas presented by fast fashion. In regards to future trends and the antidote to fast fashion, the work of Kate Fletcher was extremely informative when considering the ideas around slow fashion and sustainability. The explanation her work offered helped to inform the decisions surrounding my future recommendations as she offers insightful and engaging works on the idea of slowing down consumption rates.

B. INTERVIEW WITH ‘MATURE’ CONSUMER JANE Copy of email interview

Written up copy of email interview:

Q1.How often do you go shopping for clothes or accessories? I have no set time for clothes shopping. If I am out and see something I like then I buy it.

Q2.How much money a month do you spend on clothes or accessories? I cannot say that I spend monthly. I could spend 50 or nothing depending on what I need or fancy. When I need to buy clothes or accessories I make a special effort to look. However unless I see something I really like I come home empty handed.

Q3.How important is it to you to follow trends in fashion? I like to follow fashion trends if appropriate to my age group. Unfortunately fashion trends for older people are not always appealing. I know what I like I also know what suits me and therefore whether itâ&#x20AC;&#x2122;s fashionable or not I tend to go for what I like.

Q4.If something was broken or damaged would you repair it or buy another one? This question about broken or damaged goods is difficult to answer. If the damaged article was of sentimental value I would certainly make every effort to repair the damage. However if it was something like a broken watch strap for example i would certainly buy another one.

Q5.Do you believe in make do and mend? No I do not believe in make do and mend in this age. The days when things were easily repaired have seemed to disappear.

Q6.Do you think there is a different attitude towards fashion in generations? I believe there is a different attitude towards fashion in generations. Young people follow different trends in fashion which the older generation fail to appreciate. I do not always feel that the older generation is well catered for in fashion. Just because you are older does not mean that you are not fashionable. Too many shops tend to provide the older generation of ladies with rather dowdy colours, plaid skirts and elasticated trousers. Fortunately I, despite my age, like to wear fashionable well cut trousers, attractive tops, fashionable scarves and trendy shoes!

C. INTERVIEW WITH ROMILLY MULLEN

COPY OF EMAIL INTERVIEW

WRITTEN UP COPY OF EMAIL INTERVIEW

Q1. Do you feel as a designer that the rate at which high street fashion changes is detrimental to the creative nature of the industry? From a purely high street retail perspective, I think the speed of which fast fashion changes is exciting and expected by the consumer. The UK is world renowned for its high street fashion and we do it better than any other country. I have work as a designer in both the UK and the States for various high street retailers and the irony is that as a designer for an American company you have so much more creativity than here in the UK. Yet the UK is far more fashionable and trend driven. Q2. Can you comment on the pressures of keeping up with this rate of turn over? Without a doubt the pressure is high but that has always been the nature of the fashion industry. From my experience you need to have energy and enthusiasm to be successful. Q3. Do you feel that this is an unsustainable rate and that high street stores should return to a more traditional season and buying cycle? It is sustainable because of the advances in technology and the relocation of production to under developed countries. So no I donâ&#x20AC;&#x2122;t think the high street should return to a more traditional buying cycle. Personally as a consumer and lover of fashion, our high street needs to keep up with popular culture. The consumer demands it. From my own experience, newness sells, the latest trends (not necessarily in their purest form) translated for the high street customer. Q4. Can you comment on how fast fashion has developed in recent years? Over the past 10years the evolution of technology has made the world a much smaller place, people are more aware of fashion, music, art and popular culture. This has had a direct result on the demands consumers make. Our tastes have become more sophisticated and we have a greater knowledge of other cultures. This combined with the celebrity phenomenon has resulted in an increased demand for newness. Q5. Do you feel that the increase in fast fashion is due to consumer demand or is it a product of the industry itself? I think they are equally to blame. As I outlined in Q4, due to the advances in technology the consumer now demands more. However this is combined with the industries use of more cost effective production and cheaper raw materials. For example the labour cost in Southern China has increased dramatically over the past 5 years, as a result suppliers and companies are setting up production in areas of the world not previously used for the manufacture of apparel.

D. TRAID PRIMARY RESEARCH.

TUTORIAL RECORD SHEETS

fcp3

School of Art & Design ba

Tutorial Record Sheet 2012/13 Module: Live Project Stage 1 Ref. no: FASH30001 Date: Tutorial 1 Name : Hannah Thomas

Learning outcomes  Produce a self determined body of work that demonstrates cultural and global discourses around theories and ideas in relation to fashion, communication and promotion  Use appropriate levels of research and methods of analysis relevant to the production of your proposal  Make informed selections and develop appropriate and creative solutions in relation to the application of visual communication  Question assumptions within the area of study through the ability to formulate independent judgment, contribute to discussions and articulate reasoned arguments Tutorial / Seminar Record Sheet Work to bring / prepare for session: Firm idea of what research project I would like to do after receiving feedback from initial presentation.

Learning issues to discuss in session: Felt unsure about topic as not sure if the subject is too broad. After feedback from presentation wanted to know if question was too big.

Feedback from session: Felt a lot more confident after discussing how to refine the topic. Think about generation gaps, conspicuous consumption. Look at Martin Lindstrom and Paco Underhill.

Tasks for next session: examples of research.

Please indicate progress to hand in (1 = Not ready / 5 = Ready and Prepared) 1 2 3 4 5 Signed (Tutor) Signed (student)

fcp3

School of Art & Design ba

Tutorial Record Sheet 2012/13 Module: Live Project Stage 1 Ref. no: FASH30001 Date: Tutorial 2 Name : Hannah Thomas

Learning outcomes  Produce a self determined body of work that demonstrates cultural and global discourses around theories and ideas in relation to fashion, communication and promotion  Use appropriate levels of research and methods of analysis relevant to the production of your proposal  Make informed selections and develop appropriate and creative solutions in relation to the application of visual communication  Question assumptions within the area of study through the ability to formulate independent judgment, contribute to discussions and articulate reasoned arguments Tutorial / Seminar Record Sheet Work to bring / prepare for session: Examples of writing styles that I like. Bring 2-3 examples

Learning issues to discuss in session: When reading about conspicuous consumption Thorstein Veblen is out of date. Need to read more current work.

Feedback from session: Look into shopping hauls more. Read up on Lucy Siegle and find the book Cheap.

Tasks for next session: chapter plan.

Please indicate progress to hand in (1 = Not ready / 5 = Ready and Prepared) 1 2 3 4 5 Signed (Tutor) Signed (student)

fcp3

School of Art & Design ba

Tutorial Record Sheet 2012/13 Module: Live Project Stage 1 Ref. no: FASH30001 Date: Tutorial 3 Name : Hannah Thomas

Learning issues to discuss in session: How to set out chapters, paragraphs. What order it would go best in. Rough lay out of chapter plan, try to narrow down.

Feedback from session: Too many chapters, condense down into 5 or 6.

Tasks for next session:

Please indicate progress to hand in (1 = Not ready / 5 = Ready and Prepared) 1 2 3 4 5 Signed (Tutor) Signed (student)

fcp3

School of Art & Design ba

Tutorial Record Sheet 2012/13 Module: Live Project Stage 1 Ref. no: FASH30001 Date: Tutorial 4 Name : Hannah Thomas

Learning issues to discuss in session: Concerns about primary research.

Feedback from session: TRAID opportunity discussed. Good source of primary research.

Tasks for next session:

Please indicate progress to hand in (1 = Not ready / 5 = Ready and Prepared) 1 2 3 4 5 Signed (Tutor) Signed (student)

fcp3

School of Art & Design ba

Tutorial Record Sheet 2012/13 Module: Live Project Stage 1 Ref. no: FASH30001 Date: Tutorial 5 Name : Hannah Thomas

Learning issues to discuss in session: All themes and ideas being considered including what research I have undertaken so far.

Feedback from session: Consider the idea of consumer driven process, was this true? Think about Jane Shepherdson and topshop. Look into Susie Bubble and Tom Ford. Get in contact with designer.

Tasks for next session:

Please indicate progress to hand in (1 = Not ready / 5 = Ready and Prepared) 1 2 3 4 5 Signed (Tutor) Signed (student)

fcp3

School of Art & Design ba

Tutorial Record Sheet 2012/13 Module: Live Project Stage 1 Ref. no: FASH30001 Date: Tutorial 6 Name : Hannah Thomas

Learning issues to discuss in session: Any issues with grammar, writing and spelling. Ensuring writing flows.

Feedback from session: Ensure sentence structure is correct when editing.

Tasks for next session:

Please indicate progress to hand in (1 = Not ready / 5 = Ready and Prepared) 1 2 3 4 5 Signed (Tutor) Signed (student)

fcp3

School of Art & Design ba

Tutorial Record Sheet 2012/13 Module: Live Project Stage 1 Ref. no: FASH30001 Date: Tutorial 7 Name : Hannah Thomas

Learning issues to discuss in session: Not sure about implementation.

Feedback from session: Look into the work of kate fletcher to inform ideas about slow fashion.

Tasks for next session:

Please indicate progress to hand in (1 = Not ready / 5 = Ready and Prepared) 1 2 3 4 5 Signed (Tutor) Signed (student)

fcp3

School of Art & Design ba

Tutorial Record Sheet 2012/13 Module: Live Project Stage 1 Ref. no: FASH30001 Date: Tutorial 8 Name : Hannah Thomas

Learning issues to discuss in session: Implementation. Should this be a nailed down idea or a number of recommendations that have potential to be developed?

Feedback from session: Future recommendations, can be numerous don’t have to have a nailed down idea.

Tasks for next session:

Please indicate progress to hand in (1 = Not ready / 5 = Ready and Prepared) 1 2 3 4 5 Signed (Tutor) Signed (student)