Abstract
This study aims to investigate the important subject of sustainability, the lack of it in the fashion industry and the destructive side effects of the fast fashion epidemic on society and the environment. It will also explore the shift in consumer behaviour over the decades and its wider effects.
Furthermore, this case study will aim to investigate the social and environmental effects of fast fashion and the solutions that are beginning to gain traction such as minimalist fashion, sustainable textile innovations, garment production alternatives and sustainable business models.
This study is significant because sustainability impacts not only commerce but society and ecology. The findings from the study aim to provide a solution for fast fashion by suggesting an economic model that is better for the environment and with sustainability at its core. Also, how to encourage consumers to consumer consciously as opposed to conspicuous, mindless consumption.
The approach to research will include a variety of extensive secondary sources including specialist books, journals, magazine/newspaper extracts, documentaries and web articles.
Key Terms
Sustainability
Circular Economy
Conscious Consumerism
Minimalism (As a lifestyle concept)
Slow Fashion
Introduction
This case study will focus on the key issues that arise from fast fashion which will include; the destructive effects on the environment caused by garment production, a shift in consumer behaviour caused by the rise of fast fashion, the historical roots of the ready-made garment industry and the consequent movement opposing it, slow-fashion. Furthermore, reflect on social and psychological reasons for the over consumption of fashion.
Consumers in today’s age are buying more than they need to and to make a purchase provides them “novel experiences” (Fletcher, K, 2014) rather than a useful commodity in their daily lives. It seems the consumer of today has fallen victim to the economic goals of big companies rather than making conscious decisions about their purchases. This is where minimalism comes into play as a way of living which encourages the consumer to think about consumerism in a sustainable way. By limiting possessions in order to be content with less and be free from materialistic desire, which fuels fast fashion and gives us “a false sense of satisfying our psychological needs” (Fletcher, K, 2014).
The author will also aim to explore reasons why the current supply chain model for fast fashion is unsustainable and the solutions to try to amend it. This includes a new model for manufacturing, the circular economy, a slower approach to consumption as well as considering how consumers can make better choices.
Chapter 1 – Fast fashion, where it began?
(1) Industrial Revolution
The roots of the ready-made fashion industry can be traced back to the Industrial Revolution period (1760-1820). Prior to this era, ready-made clothing did not exist, and most garments were hand made to suit the individual’s requirements and it was still prevalent until standardised production of clothing after World War II. Garments were rarely thrown instead mended and repaired and sustainability was more of a necessity and a way of life for people, “even the wealthy saved fabric” remodelled and altered pieces to prolong their lifespan.
This sustainable lifestyle is closely associated with a slow way of life, farming was the livelihood of many before the migration to city centres on the onset of industrialisation. Therefore, the time taken for raw materials to grow combined with processes that it took to transform them into functional garments and products was ‘slow’. Manual labour and hand crafting skills were crucial and thus the time and effort taken to materialise these products added to their value and hence the appreciation for possessions and their careful maintenance.
Consequently, this pace of life had positive connotations regarding sustainability. When individuals were invested in the process of producing a garment, they were more likely to take care of it and appreciate its value as opposed to treating clothes as a disposable item. This is reflected in modern day movements such as ‘Slow fashion’ that supports this assumption which is a topic explored further in ‘Chapter 4: Solutions to unsustainable apparel production’.
The concept of ‘fast’ was introduced during the industrial revolution with new inventions in mechanisation of fabric production such as the Spinning Mule. This meant the output of fabric from raw material significantly increased compared to that of traditional spinning and weaving methods done manually, leading to an exponential rate of producing fabric. This was combined with the affordability of raw cotton which was cheaply imported from slave labour driven American cotton plantations. This resulted in an ideal scenario for the rapid turnover of garments in what was manufacturing capital: Britain. This is evident from figures from the nineteenth century showing Britain’s clothing exports soar (Chapman, S. 2004).
The standard of living increased after 1840 so there was “something of a revolution in clothing production and retailing during the 19th century” which “reduced the price of new clothes” and allowed convenient access (Richmond, V. 2013).
Figure 1 Table showing British exports increasing exponentially (Chapman, S, 2004).
One of the market leaders of the time were a tailoring firm E Moses & Son who were “early adopters of the sweating system” with their forte in retailing, in similar vain to fast fashion retailers today, they “produced large quantities of cheap clothing that they then sold quickly at their retail store to price conscious consumers” (Mendelsohn, A. 2015). They catered to male office workers and offered a range of “bespoke goods, shirts, accessories and ready-made suits” (Breward, C. 2003).
They were renowned in their time for the use of extensive marketing. Their “most effective discovery was the power of advertising” (Chapman, S. 2004). Compared to other Victorian competitors they clearly understood their consumer and concocted ‘convincing’ and ‘fashionable’ advertisements to draw in sales. This has in some regard, paved the way for its integral use in retail and the fashion industry overall today.
(2)
Early 20th Century
During the early 20th century, the ready-made clothing industry for womenswear started to establish itself and “by 1910, every item in a woman’s wardrobe was available ready-made. The transition of women’s silhouettes from voluptuous, heavily adorned gowns to simple, ‘tubular’ designs had an influence on the speed of manufacturing garments due to its ease of replication” (Farley, J, & Hill, C, 2015).
In this period, trends were primarily influenced by Parisian couturiers, the creative talent of high fashion houses and visionaries such as Paul Poiret and Coco Chanel. The spread of new ideas and ways of thinking unified and consequently there were characteristic aesthetics and centralised ideas of what is deemed stylish, which meant mass producers could now capitalise on womenswear. Prior to this period, according to Christopher Breward, author of Fashion, mass producers were “faced with a diversified and fragmented market where taste could fluctuate in a terrifying manner”. Now there were fashion seasons where fluctuations in trend were predictable and therefore entrepreneurs could pre-plan what to ‘give’ the consumers. It was also the matter of mass producers “coming to accept the logic of ‘fashion’ and ‘dynamic obsolescence” [the deliberate redesign of goods and services to render goods obsolete] as a valuable tool’ in the standardisation of garments (Breward, C, 2003).
More influential were the department stores that were established in the late 19th century but gained traction and popularity in the early 20th century. Stores such as Selfridges and Lewis’s offered a new way to shop for young affluent women, giving them incentives to leave the home where consumerism became a form of liberation from social constructs and a place to congregate. This “novel market” that marketers and stores targeted were described by historian and author, Erin Blakemore as “the prosperous woman” (Blakemore, E, 2017). This is reflected in modern day consumerism as, “up to 80 percent of all consumer purchasing decisions are made by women”. (Brennan, B, 2015). They had the buying power and were the predominant driver of purchases of the vast array of products made available to them by the speed of industrialisation in the previous century as well as the exploitation of cheap labour that made it possible. One could compare the trans-Atlantic slave trade back in the 19th century to the exploitation of cheap manufacturing and labour in third world countries today, both in the realms of immorality, unethicality and capitalism but in varying extremities.
One example of a sustainable alternative was the ‘Make do and mend’ rationale. This was brought about during World War II as an incentive to preserve resources in a time of scarcity and economic hardship. Once again this was brought out of necessity, as mentioned earlier when describing the period before industrialisation. Manufacturers were then met with a conundrum as they had to develop efficient production methods in order to align with government restrictions. This was a
historic moment where the middle-class consumer became “receptive to the value and quality represented in mass produced clothes”. This acceptance lead to an expansion of factories supplying branded household names such as, Marks and Spencer, British Home Stores and Woolworth to meet this new-found demand (Breward, C, 2003).
This association of sustainability with poverty and economic depression still exists in the consciousness of consumers today. This idea can be inferred from common remarks such as, ‘Why spend time fixing something when I can instantly replace it?’ or ‘It is not that expensive so I can afford to replace it?’. The wider picture of the environmental cost of such things is largely omitted either subconsciously or consciously in favour of convenience.
‘Make do and mending’ was born out of necessity during difficult war times but as soon as prosperity returned, consumers returned to their usual spending. The notion that the amount of possessions one has reflects their position in the social hierarchy. In current times it is more cost efficient to dispose and replace an item. It can be argued that the saturation of the market today allows for such transactions to happen. The choice the consumer has today is far more than anything of the past.
(3) Present Day
Today fast fashion leads the market and is highly profitable due to a business model set up to maximise profit at the cost of construction quality and garment lifespan. Consumer demand is soaring because of the proliferation of trends, and the heavy influence of social media, impacting the spread of fashion fads and constant new updates. Fast fashion could therefore be seen as the answer to the demand placed by consumers for newness.
Chapter 2 – Consumer Behaviour and Conspicuous Consumerism – What drives us to buy?
As touched upon in the previous chapter, consumer behaviour has adapted with time due to changes in society and modern manufacturing methods. Fast fashion may not be the source of excessive consumption but a catalyst. As economies and wages grew exponentially from the 18th century so did consumption. Expenditure on material goods played an essential role in creating a prosperous economy.
“All those embroidered lace handkerchiefs, jewel snuff boxes and miniature temples made of cream for dessert they were flippant, he conceded, but they encouraged trade, created employment and generated immense wealth…”(The School of Life on the history of consumerism quoting Adam Smith, 18th Century economist, 2016, October 7)
Conspicuous consumption is an economics term used to describe “consumers using goods of a higher quality or in greater quantity than might be considered necessary” (Ronnie J. Phillips, 2019). The term was first coined by economist and sociologist, Thorstein Veblen, in his book ‘The Theory of the Leisure Class’ (1899). It is what drives a person to buy an expensive luxury product instead of an affordable high street despite both fulfilling the same purpose. Fast fashion encourages some consumers to continuously purchase the latest, on trend jacket every winter despite the one in their wardrobe being in perfect condition. Acquiring the latest products or luxury goods can be used to display a person’s wealth and social status. The reason for this disparity may be explained with ‘Maslow’s hierarchy of needs’ which outlines what a person needs in order to feel satisfied and secure. The foundation of this model consists of the physiological need, as seen in Figure 2, for
protection from the outside world which is served by the basic purpose of clothing. The higher up the pyramid one goes the more complex the relationship with clothing becomes. The top tiers according to ‘Maslow’s hierarchy’ is self-actualisation and esteem, which both clothing and fashion caters to. It could be argued that clothing has a much more complex role in one’s life than what meets the eye.
A writer in a 1930 issue of Printers’ Ink, a now obsolete American trade magazine, commented that “advertising helps to keep the masses dissatisfied with their mode of life, discontented with ugly things around them. Satisfied customers are not as profitable as discontented ones” (Ewen, S, 1988).
Tim Kasser, psychology professor at Knox College talks of consumption in the modern age on the documentary “The True Cost” by Andrew Morgan. He suggests peoples focus on materialistic values and consumption has a negative impact on their psychological wellbeing. People are constantly bombarded by advertisements suggesting “materialism and pursuit of possessions is what is going to make us happy”. (Ross, M. Morgan, A, 2015). Spending on items that make them happy is almost a form of therapy and escape from daily life, as pointed out by the music group, Foster the People, in their recent single ‘Style’, “Consumption is our medicine”. On the other hand, not all forms of consumption are inherently bad, as suggested by philosophical educators from ‘The School of Life’, in their short film “Are we too materialistic?”. However, it depends on what that ‘material object’ is. Material possessions, they explain, can have a positive “psychological and spiritual role”. It can help someone achieve “positive ideals” in order to “get closer to our better selves” (The School of Life, 2017, January 25). Excess in any form is destructive to the self and its surroundings but material acquisition is part of what makes us human This is supported by Maslow’s hierarchy theory on selfactualisation and esteem, as shown in Figure 2.
To eradicate a consumer’s material pursuit and conspicuous consumption, as inferred by the quote above, is unsustainable as consumption is necessary for a functioning economy and selfdevelopment. On the other hand, material consumption at its current rate in todays’ society is thought to be excessive and overstepping the boundaries of positive consumerism. With a culture that nurtures this desire i.e. YouTube influencers “feeding that desire [for possessions] through
Figure 2 Maslow's hierarchy of needs. Simply Psychology, McLeod, S. (2018)clothing hauls” (Morgan, A, 2015), paid sponsorship/advertisements and product placements plastered across social media. A culture that has become increasingly reliant on material possession rather than other forms of self-improvement could have negative repercussions. Early 18th century philosopher stated in his book ‘The Fable of the Bees’ (1723) that “a nation could either be very high-minded, spiritually elevated, intellectually refined and dirt poor or a slave to luxury and idle consumption and very rich” (The School of Life, 2016, October 7).
“If everyone did stop consuming, there'd be a global recession, and if they don’t, we're heading for a different kind of disaster”. (Raven, C, 2008)
Ernest Elmo Calkins coined a term, “Consumptionism”. There are two types of products; items you ‘use’ and items you ‘use up’. Consumptionism is the act of using the items you ‘use’ as items you ‘use up’. (Paterson, M, 2018). An example of this would be fast fashion where clothing is created to keep up with trends rather than as useful commodities that last. Kate Fletcher, author and founder of ‘Slow Fashion’, a sustainable design consultancy, describes this as a “flow of novelty”, a bombardment of new trends and ‘it-items to consume’, “i.e several new collections a year instead of a couple”(Fletcher, K, 2014). This is further supported by Avner Offer who in his book ‘The Challenge of Affluence’ (2006), suggests that the constant exposure to novelty undermines societies ability for personal and social commitment. Wellbeing is compromised in our modern world due to people’s increasing affluence due to capitalism. Trends supposedly allow consumers to express themselves with a vast array of styles available but this reliance on trendy items can be regarded as oppressive to individuality, as the autonomy to express oneself is lost to the retailers who keep stocks fresh with the newest trendiest merchandise enticing consumers to keep buying (Offer, 2006).
“The so-called problem of consumption is a convenient distraction from the hard work that needs to be done to overhaul the exploitative and destructive systems that currently concentrate a vast majority of the wealth and power in the hands of the very few. Such greed won’t dissipate by individual moralizing or using fewer plastic bags” (Wilt, J, August 2018).
Chapter 3 – Social and Environmental effects of Consumption – The Bigger Picture (Home + Abroad)
As touched upon by the previous chapter, fast fashion affects society significantly from the social structure to day-to-day interactions with the world and others. The environment is also affected hugely in negative ways. As the rate of consumption increases, demands for resources increase which is having an unprecedented effect on our natural environment.
The speed in which apparel is consumed and the need to keep consumers coming back with seasonal trends puts an increasing amount of stress on resources and labour which results in supply chains that prioritise profit over human welfare (Drew, D. January 2019). This is evident in sweat shops across third world countries, often made up of a work force who are payed minimal wages and made to work in unsafe conditions. Bangladesh being a prime example and a familiar name seen on many fast fashion labels. On April 23rd, 2013, of the Rana Plaza disaster, 1100 people died in a catastrophic multi-storey collapse. This shed a light on the unethical origins of developed countries’ fashion needs and put a spotlight on the brands that were responsible. On one hand this was a tragedy, but on the other it led to life-saving regulatory changes in law to protect Bangladeshi workers. “More than 200 apparel companies from 20 countries signed the Accord on Fire and Building Safety in Bangladesh to prevent similar tragedies from happening” (Nittle, N, April 2018). It
also led to supplier chain transparency being demanded by consumers and a greater number of brands pledging to be open about where their products are made. The relationship between consumer and brand shifted to be more conscious and honest.
Elizabeth Cline, author of Overdressed: The Shockingly High Cost of Cheap Fashion, says, garment workers in developing countries, like Bangladesh and many more, do not earn a living wage. So, it is unfair to argue that these factory jobs lift people out of poverty when workers can barely afford to live. Fast fashion chains have never been wealthier but still people on the lower end of the chain are not getting a fair wage for their work (Nittle, N, April 2018). On the other hand, there are positive impacts which may not outweigh the negative but nonetheless cannot be ignored. The clothing industry does generate employment with as much as “26 million jobs worldwide” (Fletcher, K, 2014). For the industry to be sustainable, there must be greater weight placed on protecting workers welfare and stricter regulations regarding working conditions, in order for the positive effects of economic prosperity to flourish.
Post-consumer waste as a result of consumption has a significant impact on the environment. Once discarded, it can remain in landfill taking thousands of years to decompose, specifically synthetic fibres which are prevalent in fashion. In the UK alone, consumers threw away “300,000 tonnes of textiles to be burned or dumped in landfill in 2018” (Laville, S, 2019). This means consumption is beginning to far outweigh Earth’s resources to accommodate the aftermath. It is much more difficult to process large quantities of waste than it is to produce them in the first place. This is further exacerbated by the speed in which fast fashion turns out products for profit rather than questioning what happens after its lifespan.
In the last few years there has been a greater incentive to recycle textiles, with brands such as H&M encouraging recycling textiles with their ‘close the loop’ initiative. Wrap UK, a recycling charity, says an “estimated £140 million worth of clothing goes into landfill each year” (Wrap UK, n.a). This suggests the inefficiency of current clothing recycling efforts. This could be due to the lack of awareness of available clothing recycling facilities and lack of it outside major cities.
The use of poor-quality materials and manufacturing methods of fast fashion leaves consumers no choice but to dispose of clothing. With ten washes being the benchmark, after this the item is no longer “expected to retain its original value” and the consumer will replace it with no real regret because of its affordability (Joy, A et al, 2012). The driving force for the constant buy-dispose cycle could be due to the routine sourcing of new trends in the fashion industry. This fuels a desire to experience novel items which consumers do not want to spend a fortune on. Therefore, fast fashion is an affordable solution to their desires. On the other hand, without new trends the fashion landscape would be non-inspiring and un-evolving which is the antithesis of fashion. Therefore, a balance of trend-led and sustainable design should be established. This is supported by recent statistics stating, “just 9% has been recycled, 12% incinerated and 79% has accumulated in landfills or the wider environment” (Siegle, L, 2018). While fashion needs a constant stream of creativity and innovation to feed customers demand for novelty, there should be some constrain. Young consumers especially need to embrace a new form of consumerism which does not consist of filling wardrobes with cheap fashion. A shift in consumer behaviour from impulsive purchasing to considered purchasing will allow people to think consciously of the long-term impacts (Joy, A et al, 2012).
Roian Atwood, the senior director of global sustainable business at Kontoor Brands, says, durability is the number one ‘tenet’ of sustainability. Having something that could last onwards of three decades speaks of the true testament to the quality and construction of the product. If consumers
keep needing to replace things every few months that means that the consumption cycle is stronger than ever. He advocated that changes must be made in the supply chain which is having too much of an impact on our world. A cotton t-shirt for example takes 2,700 litres of water to produce (Curiosity Staff, 2016). Although natural materials are thought to be better for the environment, they can still be as draining for the world’s resources. There are, however, newer innovative fibres and alternatives, for example hemp instead of cotton, pineapple leather, mushroom leather, yarn made of coffee ground waste. All these alternatives have a lower carbon footprint and are sustainable (Preuss, S, 2018).
An MP’s report, Fixing Fashion, says “textile production contributes more emissions to the climate crisis than international aviation and shipping combined, consumes lake-sized volumes of fresh water and creates chemical and microplastic pollution” (Carrington, D, 2019). If the industry continues, they could be responsible for “a quarter of the Earth’s carbon budged by 2050” (Carrington, D, 2019). Despite all of the shocking statistical research being done on the impact of fast fashion, the government has done little to mitigate it.
A recent survey by Drapers reported “85% of 370 brands, retailers and suppliers thought the government was not doing enough to help the fashion industry become more sustainable”. Interestingly, “60% said the main barrier to becoming more sustainable is that it drives up costs, with 36% saying shoppers are unwilling to pay for sustainable fashion” (Carrington, D, 2019). This research suggests that consumer attitudes to sustainable fashion is negative, meaning demand for cheaper, conventional fast fashion options remain high. Despite consumers being exposed to the reality of the environmental effects their investments have. On the other hand, the fault cannot be put on the consumer alone but also the brand supplying the products. Recently, there have been active attempts to appease the concern of consumers through ‘sustainably made’ labels from the likes of; H&M’s ‘Conscious’ line, Zara’s ‘Join Life’ and boohoo’s recent recycled clothing range ‘For the Future’. However, it is unclear what exactly makes these sub-brands sustainable, and oxymoronic when seen on the same platform that sells cheap, sub-standard fast fashion. Some would say the issue of sustainability has become more akin to a trend for fashion brands instead of a moral commitment.
Chapter 4 – Solutions to unsustainable apparel production
‘Slow fashion’, which is the counter movement to fast fashion, may be the solution to the negative effects discussed in Chapter 3. ‘Slow fashion’ is a term that is gaining traction as consumers become aware of fast fashion’s destructive practices and effects. Hazel Clark, a professor of Fashion and Design Studies, says, slow fashion is about identifying “sustainable fashion solutions based on the repositioning of strategies of design, production, consumption, use and reuse” (Clark, H, 2008).
“a process whereby everyday life . . . is approached with care and attention . . . an attempt to live in the present in a meaningful, sustainable, thoughtful and pleasurable way” (Parkins, W., & Craig, G, 2006).
Lucy Siegle says, Instagram influencers need to play a much bigger role with regards to sustainable fashion, rather than only posting the odd message about ‘vintage or recycled fibre’. She goes on to say they must become more like activists if they want to relay the message effectively to their viewers and brands that are “plundering the planet” (Siegle, L, 2018). It is about putting their position of high influential power to good use, to influence millennials to buy better and actively call out brands who are doing it wrong. This is to slow down conspicuous consumption, encouraging a
more conscious approach to shopping, as well as taking the time to appreciate quality and construction over price.
A lifestyle choice that has become popularised in recent years is minimalism, which is a movement focussing on simplifying aspects of everyday life. It is commonly associated with art and as an aesthetic choice, but it is relevant to sustainability because of its message of letting go of material acquisition and focussing attention on more important values.
“Minimalism is a tool to rid yourself of life’s excess in favor of focusing on what’s important—so you can find happiness, fulfilment, and freedom” (Millburn, F. J & Nicodemus, R., n/a).
One way this can be helpful to the cause of sustainability is that it encourages people to be more aware of their possessions and form a different kind of relationship with them. By limiting oneself to fewer items it automatically has a sustainable outcome, as conspicuous consumption of fast fashion is no longer part of the person’s values, therefore they buy less. On the other hand, minimalism can become a negative experience as people place more value on the few objects they have left, which could lead to anxiety. Lifestyle and minimalist blogger, June, from ‘The Simple Balance’ says, decluttering could have a negative side effect of increasing your attachment to the things you have left, especially if you do not have the disposable income to replace something when it breaks. As a result, another layer of stress is placed upon the individual, instead of freeing their mental space for other valuable experiences (June, 2017).
The previous chapter highlights the negative impact of manufacturing on the environment, mostly due to carbon dioxide emissions and the wastefulness of the industry. Technological advancements and scientific breakthroughs could be the solution the industry is waiting for, but it is still in its early stages. Scientists have warned that there will be a tipping point in the climate system, “thresholds that, if passed, could send the Earth into a spiral of runaway climate change” (Harvey, F, 2018).
Academics from the University of Huddersfield suggest, instead of focusing on designing to make more products, i.e. for profit, designers need to consider the needs of the customer to create garments that have a “second and third life”. Choosing fabrics that are high quality and can “sustain longevity”, both in aesthetic, robustness and preventing garments from being discarded. So, it is no longer about adding to the product pool by designing something trendy and eye catching but more important questions like, “where will this particular item be in the next thirty years?” (Moorhouse, D, & Moorhouse, D, 2017).
Designers have a key role in the journey to a fully sustainable model. Construction methods and using creative ways to utilise waste materials is a solution to help prevent post-consumer waste ending up in landfill. However, a downside is that not all materials thrown away can be reused - only those that are still in good condition. Birmingham City University fashion students have used methods in their collection such as; “embellishing cut off waste pieces into the design of the garment, weaving and knitting waste fabrics to form garments, zero waste pattern cutting, using ethical fabrics, up-cycling and embroidering pieces of waste fabric together to make whole pattern pieces” (Moorhouse, D., & Moorhouse, D, 2017).
Alternative and innovative ways to repair clothing can be found throughout history. Boro, a traditional Japanese technique of patching over worn, threadbare clothing was born out of necessity but today it is viewed as an artform that is beautiful as well as having rustic characteristics. This is shown in Figure 3. This also links to Wabi-Sabi, a philosophical concept of embracing imperfections in physical things and life. Boro and Wabi-Sabi, in essence, are sustainable concepts which
consumers could learn from to change their perspective on fast fashion consumption. Firstly, the notion of mending and repair rather than replacing. Secondly, of appreciating the flaws of everyday life and not to strive for perfection through the pursuit of material possessions.
An important step towards becoming sustainable in the future is a move towards a circular economy, where products are the responsibility of the manufacturer. In a circular economy, the final product is reclaimed and recycled and thus never leaves the loop, as illustrated in Figure 4. “The reprocessing of goods and materials generates jobs and saves energy while reducing resource consumption and waste”. This is opposed to a linear economy where “companies make money by selling high volumes of cheap and sexy goods”, whereby the owner decides what happens to the item, i.e. fast fashion (Walter R. Stahel, 2016).
Figure 3 Boro Robe 1850-1900 FE.27-2015 V&A
Another solution which progresses from the circular economy model is the idea of a “performance economy”. This works by “selling goods as services through rent, lease and share business models”, so the consumer does not have full responsibility over the product (Walter R. Stahel, 2016). This leads manufacturers and designers to make quality and longevity a priority to extend the life of their products. The rental economy, or the ‘sharing economy’ as Ben Tarnoff from the Guardian describes, is said to be on the rise with more consumers opting to rent items instead of owning. Ownership can put a burden on people who like to change their style often or are not bound by a set location. Renting was limited to houses and transport in the past but recently an increasing number of industries, including fashion have entered this thriving market. This gives a positive prospect of how fashion is consumed sustainably in the future. “Clothes for rent are approached by communities as a way to curb the environmental damage caused by fashion” (Gable, J, 2019). However, there could be limitations, for example, the passing of clothes between many people would mean it will need cleaning more often and the frequency of delivering/retrieving said items could be costly.
Ikea could be leading the way in the rental market with their move towards a circular business model which aims to make sustainable life choices easy and affordable. This could lead to a snowball effect in other retailers, namely fashion superpowers, Asos, H&M, Zara and others.
Figure 4 Diagram showing the circular loop. Walter R. Stahel. (2016).
Ikea spokesperson speaking of upcoming rental furniture: "We see big potential in inspiring and enabling consumers to play an active role in making the circular economy a reality, and we can facilitate that by developing new business models in relation to how they acquire, care for and pass on products," (Pownall, A, 2019)
Education and community cohesion could also be a solution to tackle sustainability. Ikea’s Greenwich store in London, on top of being their most sustainable store in the UK, also has a learning lab which is "a dedicated space for customers, partners and the local community to explore prolonging the life of products, up-cycling, reducing waste and growing their own food" (Pownall, A, 2019). This is an important step towards educating consumers on ways to reuse and repair, bringing back the ‘make do and mend’ attitude to the modern-day consumer.
Crowdfunding is how a business can raise money from a larger audience which often uses social media in order to do so. This notion has been applied to traditional online fashion retail, like Born and Behind the Wardrobe. This could be one way in which the fashion industry could move towards a sustainable model. It works on the basis of bringing the decision-making back to the consumer, instead of brands trying to estimate the demand for a particular item. Predicting demand is not foolproof and in most cases results in stock that does not sell, and consequently disposed of, thus reflected in products with ‘inflated prices’ (Bates, E, 2014). Crowdfunding reduces the chances of waste and unsold stock accumulating in warehouses. This is due to the certainty of an item selling due to prior investment from the customer. This might mean the time for products to arrive to the consumer will lengthen but it means the cost of production is cheaper and less wastage, thus being a significantly more sustainable model for retail than the current one. Crowdfunding could change the current role of social media, whereby it becomes an important tool with “direct consequences for sustainability” where consumers play a key role in its operation (Bogers, M et al, 2017).
Stephen Powell, co-founder of Gustin, a premium menswear line from San Francisco, explains how consumers have been conditioned to rely on things to just ‘show up on our doorstep’, with the popularity of Amazon and Asos. This feeds peoples need for instant gratification, like how they feel a hit of dopamine after exercising or partaking in hobbies. He goes on to say that there is a new business model that could change the status quo of today for those who are willing to “trade a bit more time to get quality, at the same price point you were paying before” (Bates, E, 2014).
Conclusion
This case study has discussed the origins of the ready-made industry to its eventual transformation into fast fashion known today. The threat of the expansion of fast fashion chains poses an unsustainable future because of its destructive effects on the environment and the people within it. It is clear who the stakeholders in this are with manufacturers, brands and governments holding the most power to make a change in the industry. However, also discussed were important roles of the consumer with their power to insight change in the industry by making conscious purchase decisions and questioning the ethicality of products. The discussion has shown that it is not as simple as ‘pointing the finger’ at a single source, due to the complex nature of the problem with the number of processes and stages involved.
The study has identified business models, such as the ‘circular loop’, which considers the consumer as well as sustainable sourcing and manufacturing. Also discussed are practical applications, such as, renting fashion and the prospect of fast fashion adapting to a fully sustainable model through leasing quality clothing instead of mass-producing cheap fashion. Yet the rental model cannot be the only solution as it has its limitations. Other solutions for good practice still need to be explored which has not been discussed in this case study. As more individuals learn about how their choices affects the wider planet, pressure will inevitably be placed on authorities which will hopefully bring about change. Specifically, a revolution in the way goods are produced and sold in the modern world. Much like the industrial revolution that sped up and accelerated the world’s economy and transformed the landscape of manufacturing, an opposing change for the good of humanity and the world will be a near certainty.
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Image References
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