Patagonia Eco-Design

Analysis of Eco-Design Pratice: Patagonia 1.

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Contents 1.0 Introduction

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1.1 Evolution of Eco-design

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2.0 Methodology

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3.0 Eco-design within the Fashion Industry

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4.0 Patagonia Eco-design Overview

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4.1 Application of LiDS Wheel

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4.2 Stage 1: Selection of Low impact Materials

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4.3 Stage 4: Optimisation of Distribution Systems

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4.4 Stage 6: Optimsation Initial Lifetime

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4.5 Stage 7: Optimisation of End-of-life Systems

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6.0 Conclusion

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7.0 References

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7.1 Image References

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7.3 Academic Integrity

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Word count: 2141

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1.0 Introduction This report will explore eco-design practice within the fashion industry and how fashion brands can establish and implement eco-design strategies within their products and processes, focusing on the outerwear brand Patagonia. Eco-design can be defined as the adoption of “the life-cycle approach, exploring and tackling all of the greatest impacts across the products life cycle”, aiming to reduce adverse negative impacts of manufactured products on the environment by considering a products whole life cycle move to a more sustainable future (Bhamra, 2004, p.579). Eco-design is therefore differentiated from “green design” and “sustainable design” as it focuses on the systematic integration of environmental considerations over the whole design process rather than to simply minimise waste and pollution (Bhamra, 2004). Environmental and sustainable consideration are thereby enforced through the material acquisition, manufacturing process, distribution of products, use and disposal, referred to as a “cradle to grave” approach (Bhamra, 2004, p.557).

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1.1 Eco-design Evolution The evolution of the design process can be stated to have shifted during the late 1880s, after the first industrial revolution, which saw innovations across industries such as mechanised productions in Britain’s textile factories and steam-powered trains and ships to transport goods both within and outside of the UK (History editors, 2020). By 1860 a minority of people, including eco-design pioneer William Morris, were concerned with the loss of craftsmanship and public taste as a result of the Industrial revolution; he attempted to reconnect materials and form which gave early guidance to environmentalist against the mass-production market (Brittanica, 2020). The evolution of eco-design during this period can be seen in the early example of the bicycle in the 1890s, as due to the high demand, a shift on focus on product innovations turned to process innovations (Roy, 1994). This is a concept utilised today within eco-design in order to increase performance and efficient of a product across its whole lifecycle.

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During second-wave environmentalism during the 1960s-80s Victor Papanek published “Design for the Real World: Human Ecology and Social Change (1971)” which influenced the perception of ecological design with a holistic design approach, considering both social and environmental purposes embracing total “design inclusivity” (Whitley, 1993 cited in Clarke, 2013, p.153).

Roy (1994, p.365) stated that eco-design evolutions during this time were in the exploration phase; green-design modifications of existing products. It was implied that eco-design products should be in the mature phase of their development in widespread conventional use to have significant effect on reducing negative environmental impacts (Roy, 1994, p.365).

Although Roy stated that eco-designs widespread acceptance is extremely complex, Ceschin et al. (2016 p.111) fount that the understanding of eco-design and sustainability concepts have evolved from the view to achieve a “static goal”, to one that is a dynamic and moving target, responding to our ever-increasing understanding of interdependencies between social and ecological systems.

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2.0 Methodology Research Method

Justification

Primary

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Primary in-Store experience

Secondary

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Secondary Research through the brand’s Website and Company Reports Academic Journals and Research Papers B Impact Assessment and Good on You Sources Industry Specific Source: Business of Fashion, McKinsey & Company.

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Primary research would have been conducted for this report to investigate how the brand promotes and communicates their sustainability and eco-design efforts through their in-store shopping experience to the customers and their staff. However, due to current pandemic circumstances this was not a viable research method.

Table 1. Methodology, This Study, 2020.

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Secondary research will be most suitable in order to research the brands practice and investments into their eco-design efforts. This is a reliable and credible source as they produce up-to-date reports into the company’s supply-chain as they are regarded as a highly transparent B-corporation.

Academic Journals will provide insights and knowledge to the theories of eco-design practice; providing frameworks such as the Life-Cycle Assessment (LCA) and LiDS wheel.

Furthermore, previous research papers in a similar field about this brand will provide a reliable source of knowledge about the brand.

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3.0 Eco-design within the Fashion Industry The need for eco-design in the fashion industry is significant as in 2019 the industry alone annually accounted for 10% of global carbon emissions, 93 billion cubic metres of water, 500,000 tonnes of plastic microfibres into the oceans according to the United Nations Environment Programme (2020) and Ella Macarthur Foundation (2020). Eco-design practice have become increasingly relevant within the fashion industry as consumers, due to their increasing awareness of the environmental impact, demand for more sustainable eco-products and processes (Shen & Wong, 2017). Brands such as Adidas, Nike, The North face and Patagonia have implemented ecodesign strategies into their supply chain; however, there are many internal and external factors such as new market opportunities from innovation, competitors, legislation, suppliers, increased profitability and cost saving posing barriers and drivers to eco-design adoption (Bhamra, 2004).

Clark et al. (2009) proposed four key approaches to eco-design in the real world of fashion: (1) new product design, (2) redesign, (3) incremental design, and (4) radical design; which various fashion brands increasingly are utilising. For example, H&M Conscious has introduced product redesign through the selection of low impact materials for their products. Fashion brands such as Patagonia and Stella McCartney are utilising eco-design through new product design, redesign, incremental and radical whilst engaging with consumers to change their buying behaviours and consumption habits to reduce demand through marketing campaigns such as “Don’t Buy This Jacket” 2011, and “Agents of Change” 2019.

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Brand Eco-design Goal: “To be carbon neutral across our entire business inlcuding supply chain by 2025” (Patagonia, 2020).

Brand Core Values 1. Build the best product 2. Cause no Unecessary harm 3. Use Business to protect nature 4. Not Bound by Convention (Bcorporation, 2020).

“We’re in the Business to Save the Planet” Patagonia, 2020

4.0 Patagonia Eco-Design Evolution Outdoor sportswear brand Patagonia has had sustainable credentials since 1985 when the company pledged to donate 1% of sales to the preservation and restoration to the natural environment; awarding a total of US$89 million to international and local communities to date (Patagonia, 2020). Patagonia’s ever-evolving process to improve their eco-design practice through constant investigation and adaption of their supply-chain is effective in implementing environmentally conscious products and processes that consider all aspects of the triple bottom line; people, profit and planet (Shen & Wong, 2017).

The company has been recognised as a “B-Corp” since 2012, a certification awarded to businesses which meet “the highest standards of social and environmental performance, public transparency, and legal accountability to balance profit and purpose” (Bcorporation, 2020). Patagonia has launched “1% for the Planet”, “Worn Wear” and “Footprint chronicles” to reduce its negative environmental impacts (Patagonia, 2020). These initiatives display Patagonia’s eco-design efforts from a whole life-cycle cradle-to-grave and cradle-to-cradle approach as “Worn wear” sells repaired and up-cycled clothes and “Footprint chronicles” seeks to reduce the negative adverse environmental and social impacts throughout the supply chain (Shen & Wang, 2017, p.4). Eco-design throughout Patagonia’s supply chain will be assessed against the LiDS wheel (figure) stages in order to analyse their current practice and create recommendations for the brand.

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4.1 Application of LiDS wheel

Figure 7: LiDS Wheel Cramer & Hemel, 2002

4.2 Stage 1: Selection of Low-Impact Materials Patagonia’s selection of low impact materials range between organic materials, recycled materials and traceable materials (table 2). The selection of ‘eco-materials’ supports the reduction of environmental impact from the design and manufacture stage of the product life cycle assessment (appendix A). The brand aims to use only renewable and recycled materials by 2025 which was in 69% usage in 2019 (Patagonia, 2020).

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Material Organic materials

Analysis of Patagonia’s Current Strategy • •

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Brand Suggestions

Organic cotton accounts for 34.6% of total ecomaterials used by Patagonia in 2017 (Shen & Wong, 2018).

Organic cotton is cultivated without harmful substances such as pesticides and chemicals which harm the surrounding eco-systems; therefore the ‘organic’ farming technique supports biodiversity and soil quality which can help reduce water usage in other agricultural activity (Shen & Wong, 2017).

Production requires substantial water usage, more than conventional cotton due to the slower time process of its growth (Appendix B).

Organic cotton has a lower yield than conventional cotton and therefore requires more land as a higher quantity needs to be planted to achieve an equivalent yield; requiring more water and resources in its production (Frank & Oak, 2020).

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Recycled Materials

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Recycled materials such as recycled polyester share a 48.5% of eco-materials used by the brand in its Spring/summer 2017 collection of 496 products according to Shen and Wong’s research (2017).

Recycled nylon, recycled down, traceable down and recycled cotton make up 16.7% of materials used in Patagonia’s products.

72% of their current line uses recycled materials (Patagonia, 2020). Due to the percentage of use of these materials, the brand significantly embraces eco-design concepts from the selection of low-impact materials. The recycled synthetic materials are being given a second product-life thus prolonging landfill life and reducing toxic emissions from incineration in its end-of-life (Shen & Wong, 2017).

A 31% reduction in CO2 emissions per kilogram is obtained through the adoption of recycled down as opposed to virgin duck down (Patagonia, 2020). By re-cycling down Patagonia helps to reduce discards in landfill and aids to add value to the recycling stream (Patagonia, 2020).

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Adopt alternative less impact materials in terms of production such as hemp and lyocell Differentiate from competitors such as Nike, The North Face and Adidas who also use organic cotton (Appendix C).

Renewable and biodegradable materials would be a suitable replacement in order to reach the brands sustainable goals of to significantly reduce the negative adverse impacts on the environment.

Lyocell would be a more sustainable option to as it is derived from the cellulose made from wood, meaning it is biodegradable and will not pollute in its end of use in landfill. It can also be re-used in a closedloop manufacturing process and doesn’t require much watering (Bamingo, 2020).

However, it is a man-made fibre and requires a lot of energy in its production.

Replace organic cotton to reduce water consumption with hemp materials in order to reach their goal of using 100% of cotton and hemp fibre that is regenerative organic certified by 2030 (Patagonia, 2020).

Although the share of recycled polyester of eco-materials is high, the brand could adopt replaced all polyester with recycled polyester in order to reach its goal to be completely plastic free by 2020 (Patagonia, 2020).

Table 2. Stage 1 Strategies, This Study, 2020.

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Barriers & Drivers for Future Strategies Hemel & Cramer (2002) suggest that internal stimuli to eco-design such as market opportunity and increased product quality, are more influential than external stimuli. The brands core sustainable 2025 development goals aim to produce all garments from 100% recycled, reclaimed or renewable resources (Patagonia, 2020). Therefore, this internal stimuli to the company is a key driver to the adoption rate of low-impact materials in order to reach these timely goals. However, as Patagonia’s main goal is to provide high-quality performance outerwear, the adoption of new materials will need to perform just as well to their current materials, in order to meet consumer expectations of the brand.

The rate of the adoption of these materials is dependent on availability and supply. As Patagonia is a large enterprise with a complex global sales channels, the rate of adoption may be slower to implement low-impact materials throughout all products in all supply chains. Although it may be expensive to increase the adoption of recycled and organic products, the rate of widespread adoption is likely to not be adversely affected due to the brand size and global establishment. Therefore, although there may complex and time consuming to implement and source alternative low-impact materials such as hemp and Lyocell, the company’s persistence to evolve in favour of better strategies alongside consumer demand for sustainable products will allow for better material selection Patagonia, 2020).

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Figure 8: Curbside Recycling, Davis, 2020.

Figure 9: Pacific Garbade Patch, Bureo, 2020

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4.3 Stage 4: Optimisation of Distribution Systems

Method Plastic Packaging

Increasing EnergyEfficiency

Analysis of Current Strategy • Patagonia currently use polybags to individually wrap products to safely distribute products from their factories.

• “Polybags are made from polyethylene film (plastic film or LPDE film), a type of plastic not commonly recycled in curbside recycling systems throughout the United States” (Patagonia, 2020).

• Patagonia has found a supplier who can recycle this plastic and have pledged to make packaging products from 100% recycled content which will be Global Recycle Standard (GRS) certified.

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Patagonia recognises that everything they do as a company generates greenhouse gas emission, waste and pollution (Patagonia, 2014).

The company practices energy-efficiency by partnering with bluesign® technologies to improve resource efficiency and avoid toxicity in the supply chain (Patagonia, 2014) They favour renewable energy where possible (Patagonia, 2014).

Pay voluntary earth tax to offset carbon emission from transportation (Patagonia, 2014).

Suggestions • As well as using 100% recycled materials, they could reduce the number of products that are wrapped individually i.e. wrapping the same products in groups of 5 rather than 1 to decrease plastic use.

• Could adopt biodegradable plastics as well as recycled plastics along the distribution chain • Increase the percentage of 20% compostable plastic in packaging reducing single use plastics within the company.

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Table 3. Stage 4 Strategies, This Study, 2020.

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Increase energy-efficiency in more of their distribution centres much like their “Reno-distribution centre” which was designed to decrease demand (Trebilcock, 2011). This system incorporates a “run on demand” capability that can reduce power consumption by 30% (Trebilcock, 2011).

Create carbon neutral operations and offset carbon emissions which luxury fashion group Kering is aiming to do (Imms, 2019) Reduce weight of materials to increase efficiency through decreased weight therefore emitting less greenhouse gases (Shen & Wong, 2017).

Switch to electric delivery vehicles in city centre locations. ASOS switched to electric delivery vans in central London reducing their GHG emissions by 10% (British Fashion Council, 2019).

Barriers & Drivers for Future Strategies The need for energy efficient operations within the fashion system has assumed paramount importance due to rising demand and processes which result in high energy consumption within the textiles operations (Prince, 2008). Therefore, the global energy crisis alongside high fuel costs are key drivers for the brand to increase their energy efficiency across packaging and distribution logistics. Furthermore, there is increased pressure to adopt more renewable energy sources as the most used energy sources come from finite resources such as coal and fuel (Prince, 2008). Industry action and pressures for example from the British Fashion Council encourages fashion businesses to “SWITCH” to 100% renewable electricity as 1.7 billion tonnes of greenhouse gas emissions were emitted by textile production in 2015 (British Fashion Council, 2019). However, switching to renewable energy incurs many costs and environmental issues related to solar, wind and hydro-electric energy which Patagonia recognises (Patagonia, 2020).

Although it is suggested that the brand could adopt “biodegradable” and “compostable” plastics in the packaging system, it would be complex process due to the differing methods of waste disposal between the US and Europe. As the US generally sends waste to landfill and Europe generally incinerates waste, the packaging material is rarely given the chance to decompose as the decomposition must occur relatively quickly (Patagonia, 2020). However, the key internal driver to eliminate non-recycled plastic use alongside increasing consumer demand and awareness are significant to the brands 2025 goals to eliminate non-recyclable plastic (Patagonia, 2020).

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4.4 Stage 6: Optimise Initial Lifetime Optimising initial lifetime refers to the role in which designers can influence more sustainable consumption habits (Cramer & Nes, 2005). This does not always refer to lifetime extension, but to achieve better practice in design, focusing on enhancing a purposeful lifetime (Cramer & Nes, 2005). This can sometimes lead to decreased product lifetime if a new product which Is more energy and eco-efficient is to be adopted to in replacement (Cramer & Nes, 2005). Good eco-design aims to avoid obsolescence in order to impact consumption habits that have a more of a positive impact on the environment. To avoid obsolescence Patagonia can design for durability to ensure a good-quality long-lasting product and to optimise emotional durability to the product to “Create and sustain emotionally durable relationships between products and people” (Chapman, 2005).

Method Design for reliability and robustness (Cramer & Nes, 2005)

Repairability and Upgradability

Analysis of Current Strategy • Patagonia intends to build the best possible product whilst causing no unnecessary harm through “designing and fabricating the highest quality products as defined by durability, multifunctionalism and non-obsolescence” (Patagonia Works, 2020, p.6) • They design for functional use to create an optimal product using low-impact materials

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Avoid Emotional Obsolescence

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In 2015 they launched the “Worn Wear Wagon” a mobile repair shop travelling the country to mend the brand’s garments and educate consumers on how to fix their own products. This can help with not only providing a free repair service for their products, optimising their lifetime but to offer the education service teaching consumers how to repair garments which can be used on all types of clothing.

They also offer the service to mail used Patagonia clothing to be repaired or donated in return for store credit.

The brand creates emotional attachment to the brand through its core sustainable values to do better for people and the planet.

Communicating all their social and environmental responsibility programmes can create emotional durability for consumers to connect with the core values and involvement of the brand in these programmes.

Uses eco-labels to communicate with the consumer

Suggestions • The current strategy to provide a good quality product is effective in optimising initial lifetime, however, Patagonia could improve on reducing frequency of new products brought to the market with may increase demand for new garments introducing a more slowfashion cycle.

• Design to avoid “new desires” thereby producing designs for high-quality well-made products that can be interchangeable to decrease demand for new products (Cramer & Nes, 2005).

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Patagonia’s strategy is efficient in reducing waste of products and optimising product lifecycle.

However, as there are only 2 stores in the UK for example, this means that fuel consumption for mailing products back is increased. They could introduce more online classes for consumers to learn how to repair their garments through “worn wear” website, so there are no carbon emissions released through increased transportation.

They could include repair kits within their products to increase longevity.

If consumers are emotionally attached to the brand and the products, they are more likely to keep them for a prolonged period of time. Therefore, by implementing high-quality at every stage of the design process will allow for a high-quality product which consumers are inclined to invest in.

Table 4. Stage 6 Strategies, This Study, 2020

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Figure 10

Barriers & Drivers for Future Strategies Chapman (2005, p.119) suggests that to avoid obsolescence that a company/brand must “transcend obsolescence by accumulating meaning”. This is currently being adopted by the brand with campaigns such as “Don’t buy this Jacket in 2011 and its UK environmental campaign (figure 8). However, conflict may arise as advocating to buy for quality and choosing Patagonia instead in the 2011 campaign, the company saw a 30% increase in revenue (Morin, 2020). This may be a barrier to future strategies as although it would be more sustainable to switch to Patagonia over a non-sustainable outerwear brand, there is no guarantee the consumer is not purchasing both and therefore increasing negative environmental impacts.

Furthermore, challenges arise between business development goals and their sustainable goals as producing new products brings new revenues and profits in order to invest in sustainable practice whereas if desire is decreased for new products, these products may not be sold and go to waste; conflicting the idea to optimise lifetime. However, Patagonia recognises that although prioritising quality can sometimes come with a cost to the planet, this is the best way to optimise lifetime and therefore reduce material and energy resource usage through increasing quality of the product (Patagonia works, 2020). The Waste and Resources Action programme (WRAP, 2012) found that “keeping clothing in sue for just 9 extra months can reduce the related carbon, water, waste footprints by 20-30%”; a barrier for Patagonia to alter the quality focused product.

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4.5 Stage 7: Optimisation of End-of-Life System Method Re-Use

Recycle

Remanufacturing & Refurbishing

Analysis of Current Strategy • “Worn Wear” seeks to re-use and repair Patagonia garments to “extend their useful life” (Patagonia, 2018).

• This strategy is implemented to avoid sending their products to incineration or landfill as although the amount of clothing sent to landfill is decreasing, 1 in 5 garments are still end up either here or in incinerators (Canning, 2019).

• Patagonia occasionally partners with companies to produce up-cycled products (Patagonia, 2019).

• Products that cannot be re-used and re-paired through “Worn Works” are recycled.

• They have a clear understanding for what the mainstream recycling systems require and therefore prepare their garments accordingly by for example removing trims (Patagonia, 2018).

• Recycle completely non-functional and nonrepairable products through: 1. Upcycling into a new product 2. Mechanical recycling for industrial use 3. Chemically recycled in a closed loop process • Recycling of products into Patagonia products • Partnerships with other companies for upcycling recycled materials with no logos or trademarks

Suggestions • Design garments to be interchangeable and adaptable to avoid style obsolescence so they can be easily re-used by the consumer.

• They could implement a swap scheme through their “worn works” so that extra labour is not required to adapt products.

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Patagonia could design their products for recycling which would still be beneficial even though recycling should be the last step taken after re-use and re-purpose (Patagonia, 2020).

Table 5. Stage 7 Strategies, This Study, 2020

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Figure 11

Barriers & Drivers for Future Strategies As Patagonia’s product composition is so durable with a complex mixture of sustainable materials, the products are difficult to recycle through mainstream recycling units, imposing challenges for postconsumer waste to be accepted in this process (Patagonia, 2018). Although they are continually searching for new strategies to implement better recycling techniques in aid of a closed-loop system, this is a costly and time-consuming activity and solutions to this may conflict with their diverse low-impact material composition.

There are also conflicts with Patagonia’s recycling scheme as the volume of products is so high that not everything can be recycled or repurposed. Therefore, they have chosen to either send it to landfill, send it to incineration or wait for better solutions in technology so they can be repurposed. Annie Leonard, Greenpeace USA executive director and creator states that we need to think beyond and before recycling putting emphasis on reducing consumption and then repairing (Patagonia, 2020). However, the idea of ‘reduced’ consumption may conflict with Patagonia’s sustainable development goals as due to the scale of operations to implement their goals, they will need sufficient capital to do so. In order to do this, they need significant sales enabling profitability to continue investments into their eco-design practice.

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Conclusion As a fashion brand, Patagonia can be highly regarded as a transparent, traceable and sustainable company. They have a wider vision than to just comply with socio-political pressures to become more sustainable by taking their own eco-design action since 1973 (Patagonia, 2020). THe brand has arguably pioneered an alternative fashion supply-chain regarding eco-design through each phase of the product lifecycle; sharing best-practice to aid other companies with their eco-design evolution (Patagonia, 2020). They continue to recognise the complexity and impacts of various sustainable solutions and that they contribute to greenhouse gas emissions. Yet through their extensive research and implementation, they have managed to establish a highly sustainable supply-chain; reflected in their high ranking as a B-corp. Although there are barriers to adoption of new techniques and practice within eco-design their current depth and breadth environmentally aware practice is considerable and something for other fashion brands to aspire.

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Figure 12

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Appendix A: Life Cycle Assessment (Vogtlander & Wever, 2014)

Appendix B: Conventional & Organic Cotton (Frank and Oak, 2020).

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Appendix C: Compteitor Case Study: The North Face (This Study, 2020).

Competitor The North Face

Eco-design Practice • Fleece innovations project called “Behind the Seams” creates 25% less energy, 50% less water usage and 50% less Chemicals (The North Face, 2020).

• Adopt the use of recycled materials such as recycled plastic and polyester (The North Face, 2020).

• A close the loop system for customers to donate any items of clothing no matter what brand, to be sent to their recycling unit to be made into raw materials to make products such as toys, carpet or fibres for new clothing (The North Face, 2020)

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References • • • • • • • • • • • • • • • • • • • • • • •

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List of figures • • • • • • • • • • • •

Figure 1. Patagonia. 2020. Patagonia Website [Online]. [Accessed 16th May 2020]. Available from: https://eu.patagonia.com/gb/en/home/ Figure 2. Patagonia. 2018. Patagonia Surf Catalogue. [Online]. [Accessed 16th May 2020]. Available from: https://issuu.com/thecleanestline/docs/patagonia_surf_2018_us Figure 3. National Trust Images. 2019. Embroidery by William Morris’ Daughter. [Online]. [Accessed 16th May 2020. Available from: https://www.bbc.com/culture/article/20190909-the-first-eco-warriorof-design?referer=https%3A%2F%2Fwww.google.com%2F Figure 4. H&M Group. 2020. H&M Conscious label. [Online]. [Accessed 16th May 2020. Available from: https://about.hm.com/sv_se/news/general-news-2018/hm-group-biggest-user-sustainable-cottonand-man-made-cellulosic-materials.html Figure 5. Stella McCartney. 2019. Agents for Change Campaign. [Online]. [Accessed 16th May 2020.

Available from: https://www.stellamccartney.com/experience/en/agents-of-change-the-winter-19campaign/ Figure 6. Patagonia. 2018. Brand Document Magazine. [Online]. [Accessed 16th May 2020. Available from: https://wellgosh.com/accessories Figure 7. Hemel, V. and Cramer, J. 2002. LiDS wheel. [Online]. [Accessed 20th May 2020]. Available from: https://www.researchgate.net/publication/223259908_Barriers_and_stimuli_for_ecodesign_ in_SMEs Figure 8. Davis, T. 2020. Patagonia Website. [Online]. [Accessed 20th May 2020]. Available from: https:// www.patagonia.com/stories/what-were-doing-about-our-plastic-problem/story-72799.html Figure 9. Bureo, C. 2020. Patagonia Website. [Online]. [Accessed 20th May 2020]. Available from: https://www.patagonia.com/stories/what-were-doing-about-our-plastic-problem/story-72799.html Figure 10. Patagonia. 2020. Patagonia Don’t Buy This Jacket. [Online]. [Accessed 20th May 2020].

Available from: https://eu.patagonia.com/gb/en/home/ Figure 11. James, M. 2019. Patagonia Worn Wear. [Online]. [Accessed 20th May 2020]. Available from: https://www.brilliantlymade.com/blog/apparel/patagonia-is-leading-the-re-commerce-evolutionwith-worn-wear Figure 12. Sustainable Fashion. 2020. Patagonia. [Online]. [Accessed 20th May 2020]. Available from: https://sumas.ch/sustainable-fashion-patagonia/

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