| 1. |
- Preiholt, Håkan, 1950-, et al.
(författare)
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In Pursuit of Sustainability : Challenges of Swedish Fashion Companies
- 2016
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Konferensbidrag (refereegranskat)abstract
- Problem – With this study the authors wish to start the debate of moving away from the two existing extreme categories, fast and slow fashion, as described in the current literature. First, the authors argue that because of Swedish fashion companies are increasingly focusing and working with sustainability, a new category of fashion in terms of sustainability should be introduced to the existing literature on fast and slow fashion, namely transitional fashion. Second, the authors examine which communication strategies the Swedish fashion industry adopt in terms of communicating their corporate sustainability and which challenges different types of sustainable fashion companies are facing in terms of communication.Design/methodology/approach – By way of interviews and secondary data analysis Swedish fashion companies are analyzed and categorized as slow, transitional or fast fashion companies. Categorization is based on extant literature whereby concept, product and production processes are analysed. Each category thus represents a specific type of sustainable fashion company. In addition, each category is analyzed in terms of its main focus when communicating its sustainability efforts and its major challenges.Findings – The findings showed that the two existing categories, fast and slow fashion, are describing two extreme ways of working with sustainability, not providing room for many of the sustainability efforts that fashion companies are working with today. As a consequence, it can create difficulties for both the company and consumer to position a certain brand in terms of sustainability. The findings showed that this confusing positioning of corporate sustainability can create problems for a company’s marketing communication. It was found that fashion companies within all three categories - fast, transitional and slow fashion – experience more or less difficulties in communication of their corporate sustainability, especially in terms of informing consumers about sustainable production processes and product materials.Originality/value – The paper contributes to the literature by introducing a new term, transitional fashion, which is necessary in today’s understanding and mapping of the fashion industry. The findings contribute by gaining an understanding of sustainability strategies adopted by the fashion industry of countries belonging to one of the most sustainable countries in the world, Sweden. The findings point out top Swedish fashion companies’ focus and challenges when communicating their sustainability efforts to the market. As such, the findings contribute to the literature of fashion marketing and management.
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| 2. |
- Pal, Rudrajeet
(författare)
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Sustainable Value Generation Through Post-retail Initiatives : An Exploratory Study of Slow and Fast Fashion Businesses
- 2016
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Ingår i: Green Fashion. - Singapore : Springer Science+Business Media B.V.. - 9789811001093 - 9789811001116 ; , s. 127-158
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Bokkapitel (refereegranskat)abstract
- The dialogue between slow and fast fashion has gained great prominence in recent years particularly in terms of sustainability. In the forward value chain, fast fashion companies are most often considered to be unsustainable whereas the slow fashion brands are comparatively more planet-friendly. However, the discussionon the trade-off between sustainability and “speed of fashion” (classified into slow and fast fashions) in the post-retail segment is still limited. A deeper understanding, however, would not only contribute towards conceptualizing the post-retail initiatives, but would also shed light on how these are differentially undertaken by various types of fashion businesses in terms of generating sustainable value. This study proposes sustainable value generation in terms of closing the material and responsibility loops. It further reveals that the trade-off in post-retail is not as rigid as itis in the forward value chain. However, fast fashion offers the lowest potential todisplace the purchase of new clothes to close the material loop whereas the redesign brands offer the highest; moreover fast fashion is less liable to take extended responsibilities compared to the slow fashion brands. It can be concluded that fast fashion is somewhat “stuck in the middle” in comparison to the slow and redesign brands in terms of generating value through closing the loop activities.
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| 3. |
- Goldsmith, David
(författare)
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Local Fashionalities : Växbo Lin and WomenWeave
- 2014
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Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Global Fashion, via the logic of high-speed, large-scale industrial production and anachronistic high-volume consumption habits, causes significant social and environmental damage. Local Fashion is understood as part of the Slow Fashion movement that aims to change the functions of fashion so that they support or lead the quest to flourish within known human and planetary boundaries. This Licentiate thesis examines, through an exploratory narrative based on new and existing research, two Local Fashionalities. Växbo Lin is a small linen manufacturer/brand in Hälsingland, Sweden, producing new heritage home textiles. WomenWeave is a handloom social enterprise in Madhya Pradesh, India, making naya khadi. Their approaches and practices are presented and discussed vis-à-vis notions of “globality”, “locality”, design management, and the quest for sustainability. The narrative aims to improve understandings of what Local Fashion is, and contribute to the effort to design new fashion systems grounded in logic relevant to contemporary human needs and aspirations.
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| 4. |
- Nyfeler, Judith Katharina, 1987-
(författare)
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The Three Pillars of Sustainability : Juxtaposing two Swedish fashion companies and their corporate sustainability concepts
- 2013
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Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The fashion system has increasingly been imbued by ecology and sustainability. While in the recent years a lot on approaches to more sustainable consumption behaviour from the con- sumers’ side have been suggested, this study focuses on the very practice of how sustainabil- ity - in an applied matter - is realised within a fashion company. In this dissertation, two Swe- dish fashion brands, Nudie Jeans co and Filippa K, are being investigated and analysed due to their brand philosophies and concepts dealing with sustainability. If Nudie Jeans co’s first all- organic denim collection launched in Autumn 2012 or Filippa K’s emphasis to the longevity of clothing by classic shapes and plain colours; both ideas foster a slow fashion movement. One of this thesis’ implications is the fact, that the term sustainability is much more far- reaching and expansive as commonly defined. Also timelessness and tradition could be sus- tainable, if still taking care of environment and society. Finally, concepts of sustainability which are commonly not highlighted shall be identified and fill the yet existing gap.
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| 5. |
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| 6. |
- Ericsson, Amanda, et al.
(författare)
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The Life of a Dress : Mozambique
- 2014
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- The Life of a Dress explores possible ways to use, improve and reconfigure the current system of fashion through reclaiming what the system itself is creating and wasting. The concept of sustainable design is explored as an approach which is here defined as being sensitive to the local and global context. The exhibition and workshop has since 2009 visited different continents and countries to share its content and learn from local projects and people about ways of how to rethink the use of materials. It is exploring how second-hand dresses found in local markets and streets may be used as assets for further transformation. Craft workshops and prototyping labs are created around the collected materials and people are invited to join in. During these workshops participants are encouraged to challenge current structures and ways of thinking around materials and making. The BIG MAMA, a mini-dress similar to an oversized t-shirt is one example of a product which is made in most of the workshops. It is a catalyst element normally brought in to the making process to see how the participants interact with the given materials and each other and how this may vary between different countries. The exhibitions are normally built up around the map dress which rests like a symbol for the global nature of textiles, clothing and fashion. Imagination is used and regarded as the main renewable resource in and outside this project. Creativity and its various forms of expressions is further explored and used to drive to project forward.
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| 7. |
- Ericsson, Amanda, et al.
(författare)
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The Life of a Dress. An introduction
- 2014
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- The Life of a Dress is a travelling exhibition and series of workshops. In the light of the global trade of second-hand clothing the project aims to investigate how value-adding activities in participatory handicraft workshops in local communities may engage a population from different generations and nationalities in an exercise in reappropriating these materials. It is a further aim of the project to observe and induce aspects of developing, influencing and reconstructing sustainable patterns of consumption and production. The project explores models for fashion remanufacturing and creates opportunities for further development. The exhibition features collaborations with celebrated photographers and presents a world of dresses and artworks that have been produced or found along the way. In its centre, an open workshop developing shared ideas and skills from its participants takes place.
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| 8. |
- Goldsmith, David
(författare)
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WomenWeave Daily : "Artisan Fashion" as "Slow and Sustainable Fashion"
- 2018
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- As awareness has grown of the detrimental, often lethal, aspects of fashion production and use, so too has a global movement to diminish its environmental harms and mediate its social exploitation. In all types of commercial, academic, and popular discourse about fashion, words such as eco-friendly, green, ethical, fair, and slow -- the last being a catch-all term for all things “not fast fashion”-- are ubiquitous. These terms are meant to represent an array of ways of producing and using that are said or hoped to be sustainable.This research is primarily concerned with the social sustainability, or human development aspects, of artisan fashion, in the context of textile management. Artisan fashion is defined here as both product (such as a handwoven shawl), and as an evolving contemporary fashion system that typically employs rural artisans in the “developing world” to make products that are generally sold to urban, “developed world” consumers. Artisan fashion, which attempts to bridge old ways of producing with new ways of consuming, is positioned in this research as it has come to be viewed in the fashion marketplace: a subset of so-called slow and sustainable fashion. Though artisan fashion is emblematic of many slow and sustainable ideals, there is little academic questioning or understanding of how “slow” and how “sustainable” the stuff and the system that makes it actually are.This case study centers on WomenWeave, a medium-sized handloomed- textile making social enterprise in a quickly-changing small town in rural India. This producer, employing about 200 individuals, mostly women with low-education and little privilege, specializes in naya khadi, a type of apparel or furnishings fabric whose antecedent, khadi, is an integral part of the grand narrative of India’s independence movement. Founded by a “social entrepreneur” with deep and privileged roots in the community, the case is idiosyncratic, yet representative of a common market-based ideological approach to human development.A narrative, ethnographic methodology was used that included multiple field visits, observations, interviews, and participatory interactions with the case’s leadership, management, artisans, product designers, partners and experts, among others. The empirical experiences are presented, analyzed, and discussed through the lenses of Activity Theory, and an adaptation of Osterwalder and Pingeur’s Business Model Canvas.While the nomenclature of “slow and sustainable fashion” is, at least for the time being, rejected, the research shows that with professional management, the adoption of “global design” sensibilities, and other fast modernisms, the system achieves its local mission of providing incomes and fostering social inclusion.
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| 9. |
- Lundstedt, Lotta
(författare)
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Repetition Recurrence Return
- 2021
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Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Repetition is part of our everyday lives: it is all around us, in patterns, art, and habits like having a cup of tea or getting dressed each morning. Repetition, recurrence, and return are also fundamental in nature – there are shifts in the seasons and regular, rhythmic elements, such as the weather, that occur over and over again. In order to repeat you have to remember what you did last time, and memories are intimate and can be associated with personal relationships with objects or clothes; they are not written down but preserved in memories of lived events, which over time become mythologised. In fashion, repetition is linked to imitation: we see how our friends, partners, and people on social media are dressed, and we want to look the same. This has created endless loops of trends, wherein we constantly strive for the new. When we consciously repeat or return there is the possibility to pay attention to our behaviour in relation to consumption and how we spend our time, wear our clothes, and relate to the natural world.This thesis has taken me on a journey which started with the world of repetition, where memories, habits, and nature are visited and revisited. The journey progressed through five destinations/projects at a slow pace: at each, textile art, craft and fashion were explored. Repetition, recurrence, and return were used as methods to explore time and timing in textile making with a focus on the tension and duality between the making and the made.
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| 10. |
- Lundstedt, Lotta
(författare)
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Seven shirts
- 2023
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Ingår i: Artistic research within creative studies. - Umeå : Umeå universitet. - 9789178559558 ; , s. 35-67
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- This text is a rewriting of the artistic research project Seven Shirts included in the licentiate dissertation Repetition Recur¬rence Return (Lundstedt 2021). In this text, I further describe the exploration of the project in which seven slowly made shirts were worn for 49 days as an everyday performance, to not get lost in the interesting and new, but to force the clothes to be kept in active use.The article and project explore the experience of time when making seven shirts by hand to put attention to the accelerating speed of fashion and expand the definition of the concept of Slow in fashion design. Handling waste as well as using natural dye in the process has been important to explore imperfection as a design possibility and then challenge the way we look at garments and fashion that often has a sterile and spotless expression. Wearing has been a part of the process and was intended to be slow and like a ritual with the expectation of creating a relationship with each garment. The purpose of wearing the same kind of garment for 49 days in a row was about paying attention to something, time and adaptation. There is a stigma around how often one can use the same garment which means that being able to wear the same item this many times requires strength. The social aspects of wearing were sometimes hard to challenge and thus wearing each of the seven shirts for seven days had to be performed. The time spent with the shirts by making and wearing them created a relationship and together with active noticing I could embrace boredom and that created new meanings and relief.
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