Ethical fashion : the human stories driving a fashion movement

This paper examines and compares two stories, the novel Helen Fleetwood (Elizabeth, 1841) and the film China Blue (Teddy Bear Films, 2005), in relation to the Ethical Fashion movement. In 2005, more than 50 designers from around the world took part in The Ethical Fashion Show in Paris. This movement dictates that designers ensure that their garments are produced in an ethical manner, rather than support the ‘sweatshop’ environments of some industrialists determined to make a profit at the expense of workers rights. The momentum of the Ethical Fashion movement suggests that it is possible for fashion to be ethical, desirable and profitable in the 21st century. In 1841, after extensive research, Charlotte Elizabeth Tonna (using the pseudonym Charlotte Elizabeth) began to write about the atrocities of the factory system in industrialised England. Her novel, Helen Fleetwood, is one of the earliest examples of this kind of work, providing the reader with an extensive insight into the life of English factory workers in the mid-19th century. The story is about the Widow Green and her orphan dependents who are led, through circumstance, to leave their rural home and take up employment in the cotton mills of Manchester, with the hope of having an independent existence. Instead they discover the realities of factory life – extremely long hours, unsafe conditions, poor wages and a steady decline into extreme poverty. In his film China Blue (Teddy Bear Films, 2005), director Micha X. Peled tells an alarmingly similar tale set in 21st century China. This ‘docu-drama’ (a recreation from actual interviews and diary entries) tells the story of ‘Little Jasmine’ who leaves her family’s farm to pursue an independent life in Southern China’s manufacturing district. It is not long before the realities of modern factory life are revealed to the teenage ‘heroine’ – crowded dormitories, long working hours, arbitrary fines and wages that do not compare with those of workers in the Western world. While much of the human story remains unchanged, there have been significant improvements in technology and safety in the last 165 years that result in the reality that not all clothing manufacture is performed in ‘sweatshop’ conditions. After a recent visit to a manufacturing plant in China, consultation with peers in the industry and having worked in the Australian fashion industry for many years, the author compares these stories with her own experiences.

Unravelling design : fashion, dressmaking, ethos

Discourses on ethical fashion are usually geared toward finding solutions—or right outcomes—to ethical problems, based on a teleological model of design and a positioning of the designer as an autonomous and isolated design authority. This practice-led project argues, however, that considerations of design ethics must take into account not only the outcome of a design, but also the ongoing, lived experience of designing as a making located in pre-existing social, historical and cultural conditions. Through an exploration of my own dressmaking practice and a reading of ethos as location, I argue for two things: one, for the designer as a located entity rather than an autonomous "author", and, two, against design-asplan and the original design object, and for the circular and conditioned character of design. Through a connection to ethos, understandings of design ethics shift from an end object focus to something situated, and invested in, everyday lived experience—and always in the making.

Akin Collection : curation of a collaboration between Indigenous artists and fashion designers to create a retail-ready luxury fashion label

The Akin collection is the outcome of a project to lead, guide and curate a luxury, retail-ready fashion collection from a collaboration between five emerging fashion designers and five established Indigenous artists. Research background There is a history of Indigenous artists in Australia being treated unethically; by misappropriation and misrepresentation of their work, inequity of payment for their creativity and little acknowledgement of their cultural contribution to collaborative fashion product sold globally. This has created an atmosphere of bad press for fashion, as well as a fear for emerging designers to include/collaborate with Indigenous artists for textile prints. This fear has been so intense that many emerging Australian designers are now seeking collaboration with other countries’ Indigenous communities, thus missing out on a rich cultural and diverse aesthetic that could brand a truly unique Australian label in the international marketplace. The fashion brands that have collaborated with Indigenous Australian artists have traditionally been a ONE designer label incorporating Indigenous prints, for collections that have little acknowledgement of the artist’s contribution and strong branding for the label and/or fashion designer. This collection seeks to create an equitable and profitable fashion collection under one brand where all artists and designers receive equal payment, equal promotion/credibility, as well as equal royalties for any garments ordered by retailers. Research question Is it possible to curate an ethical, luxury, retail-ready, international fashion brand with a collaboration of five (5) emerging designers and five (5) Indigenous artists? Research contribution In the fashion industry, existing collaborations for Australian Indigenous artists have been with ONE fashion designer or one existing fashion label. This is the first fashion collection created under one brand name with equal credibility and profits for both artists and designers. The process involved presenting workshops ranging from understanding the logistics and timing of the fashion supply chain, costing of garments, the process of ‘ranging’ fashion product for a collection and creating repeat prints from a specific artwork, ready for digital printing. A workshop was also facilitated so both designer and artist could work together to create (and co-own) unique t shirt prints. Lawyers were consulted and ethical contracts were drawn up to cover all participants in this innovative collaboration. While the collaboration of artist and designer was important, the collection required curation of all elements so that the final collection came together as a professional and cohesive, quality, retail- ready product. This could only be created by experienced practitioners. Research significance The Akin Collection is the first Australian fashion brand to be created as a collaboration between five equally recognised Indigenous artists and five emerging fashion designers. It has familiarized the Indigenous artists to the logistics and culture of the fashion industry and the emerging fashion designers have been familiarized to the logistics and culture of how to collaborate with the unique Indigenous artwork that exists in Australia. After only three months, this culminated in a fashion parade showcasing the Akin collection to over 400 members of the public, government, media and retail. Feedback has been strong from the media and the industry, and a lookbook and photoshoot has been organised to promote and sell the collection both nationally and internationally. These concepts plus the curation outlined, has created a successful, luxury, quality collection ready for the international runways. This project has devised an ethical template for other Indigenous artists and emerging designers to create fashion collections that offer a unique aesthetic that could position and brand Australian fashion in the international marketplace. Key Words Indigenous artists, emerging fashion designers, Australian fashion design, ethical fashion, luxury Australian brand

Production et articulation des appartenances au mouvement Slow Fashion sur Twitter

Ce mémoire explore les productions et les articulations des appartenances au mouvement Slow Fashion sur Twitter. En réaction au modèle actuel prédominant du Fast Fashion, basé sur une surproduction et une surconsommation des vêtements, le Slow Fashion sensibilise les différents acteurs du secteur de la mode à avoir une vision plus consciente des impacts de leurs pratiques sur les travailleurs, les communautés et les écosystèmes (Fletcher, 2007) et propose une décélération des cycles de production et de consommation des vêtements. L’enjeu de cette recherche est de montrer que le Slow Fashion se dessine notamment à travers les relations entres les différents acteurs sur Twitter et que l'ensemble de ces interactions prend la forme d'un rhizome, c’est-à-dire d’un système dans lequel les éléments qui le composent ne suivent aucune arborescence, aucune hiérarchie et n’émanent pas d’un seul point d’origine. (Deleuze & Guattari, 1976) Sur Twitter, les appartenances au Slow Fashion font surface, se connectent les unes aux autres par des liens de nature différente. Consommateurs, designers, entreprises, journalistes, etc., ces parties prenantes construisent collectivement le Slow Fashion comme mouvement alternatif à la mode mainstream actuelle. Mon cadre théorique s’est construit grâce à une analyse de la littérature des concepts de mode, d’identité et d’appartenance afin de mieux appréhender le contexte dans lequel le mouvement a émergé. Puis, j’ai également réalisé une étude exploratoire netnographique sur Twitter au cours de laquelle j’ai observé, tout en y participant, les interactions sur la plateforme abordant le Slow Fashion et/ou la mode éthique. Publiée sur ce blogue (http://belongingtoslowfashion.blogspot.ca), cette « creative presentation of research » (Chapman & Sawchuk, 2012) ne constitue pas une histoire présentant les prétendues origines de ce mouvement mais plutôt une photographie partielle à un certain moment du Slow Fashion. Construite tel un rhizome, elle n’a ni début, ni fin, ni hiérarchie. J’invite alors les lectrices/lecteurs à choisir n’importe quelle entrée et à délaisser toute logique linéaire et déductive. Cette exploration sera guidée par des liens hypertextes ou des annotations qui tisseront des connexions avec d’autres parties ou feront émerger d’autres questionnements. Il s’agit d’offrir une introduction aux enjeux que pose le Slow Fashion, d’ouvrir la voie à d’autres recherches et d’autres réflexions, ou encore de sensibiliser sur ce sujet.

Production et articulation des appartenances au mouvement Slow Fashion sur Twitter

Ce mémoire explore les productions et les articulations des appartenances au mouvement Slow Fashion sur Twitter. En réaction au modèle actuel prédominant du Fast Fashion, basé sur une surproduction et une surconsommation des vêtements, le Slow Fashion sensibilise les différents acteurs du secteur de la mode à avoir une vision plus consciente des impacts de leurs pratiques sur les travailleurs, les communautés et les écosystèmes (Fletcher, 2007) et propose une décélération des cycles de production et de consommation des vêtements. L’enjeu de cette recherche est de montrer que le Slow Fashion se dessine notamment à travers les relations entres les différents acteurs sur Twitter et que l'ensemble de ces interactions prend la forme d'un rhizome, c’est-à-dire d’un système dans lequel les éléments qui le composent ne suivent aucune arborescence, aucune hiérarchie et n’émanent pas d’un seul point d’origine. (Deleuze & Guattari, 1976) Sur Twitter, les appartenances au Slow Fashion font surface, se connectent les unes aux autres par des liens de nature différente. Consommateurs, designers, entreprises, journalistes, etc., ces parties prenantes construisent collectivement le Slow Fashion comme mouvement alternatif à la mode mainstream actuelle. Mon cadre théorique s’est construit grâce à une analyse de la littérature des concepts de mode, d’identité et d’appartenance afin de mieux appréhender le contexte dans lequel le mouvement a émergé. Puis, j’ai également réalisé une étude exploratoire netnographique sur Twitter au cours de laquelle j’ai observé, tout en y participant, les interactions sur la plateforme abordant le Slow Fashion et/ou la mode éthique. Publiée sur ce blogue (http://belongingtoslowfashion.blogspot.ca), cette « creative presentation of research » (Chapman & Sawchuk, 2012) ne constitue pas une histoire présentant les prétendues origines de ce mouvement mais plutôt une photographie partielle à un certain moment du Slow Fashion. Construite tel un rhizome, elle n’a ni début, ni fin, ni hiérarchie. J’invite alors les lectrices/lecteurs à choisir n’importe quelle entrée et à délaisser toute logique linéaire et déductive. Cette exploration sera guidée par des liens hypertextes ou des annotations qui tisseront des connexions avec d’autres parties ou feront émerger d’autres questionnements. Il s’agit d’offrir une introduction aux enjeux que pose le Slow Fashion, d’ouvrir la voie à d’autres recherches et d’autres réflexions, ou encore de sensibiliser sur ce sujet.

Moda ética como ventaja competitiva de una empresa colombiana en el mercado francés

Oletti es una empresa Colombiana cuyo mercado objetivo es la mujer inicialmente francesa, entre los 15 y los 35 años, con un estrato medio que busca satisfacer la necesidad de sentirse cómoda, segura, elegante y moderna al usar productos accesorios a su vestimenta diaria. Además de esto es una mujer actualizada y consiente de la problemática ambiental, que prefiere los productos étnicos y latinoamericanos porque éstos son consecuentes con su estilo de vida. La amplitud que maneja el producto es: aretes, collares y pulseras, con precios accesibles al consumidor que oscilan entre los 6 y los 12 euros, realizados en cáscara de naranja y materiales naturales que ayudan a preservar el medio ambiente. El siguiente trabajo es una acercamiento de cómo una empresa Colombiana como lo es Oletti, puede hacer de la moda ética una ventaja competitiva en el mercado francés.

Contribuyendo al reto de la sostenibilidad: el sistema producto- servicio en la industria de la moda rápida

El presente proyecto de grado se inscribe bajo el proyecto de Responsabilidad Social Empresarial de la línea de investigación de Realidad Empresarial de la Facultad de Administración de la Universidad del Rosario. El problema de investigación surge de dos problemas actuales, que convergen en la insostenibilidad a largo y mediano plazo de la manera en que se hacen la mayoría de los negocios hoy en día. El primer problema, es el de suficiencia, se evidencia desde el punto de vista del consumidor, el cual pareciera estar diseñado para comprar y acumular objetos y cosas que luego de un tiempo irán a parar a la basura. El segundo problema es el modelo de negocio que extrae recursos, los transforma, los comercializa de manera repetitiva y obliga al cliente a seguir comprando, olvidando que la mayoría de cosas que produce, terminan en el basurero. La deficiencia actual del consumismo insostenible y del diseño que no piensa en las generaciones futuras son dos caras de la misma moneda. Por eso es que se estudia el problema desde la perspectiva tanto del consumidor, como del productor. Las tendencias internacionales relacionadas con la sostenibilidad están llevando a los negocios por una nueva senda, la cual les dará ventajas competitivas a los adoptadores tempranos. A raíz de los problemas planteados y con el objetivo de encontrar la sostenibilidad empresarial, se estudia una posible solución para cada actor del problema. Por el lado del consumidor, se analiza la teoría que gira alrededor del consumo responsable y de cómo los consumidores tienen el poder de causar un efecto positivo con lo que mejor saben hacer: comprando (y eligiendo que comprar). Por el lado del productor se estudia un nuevo modelo de negocios llamado el sistema producto-servicio, el cual se enfoca a satisfacer necesidades de los clientes por medio de una combinación de prestación de servicios y facilitación de productos, en vez de la comercialización de estos. Es decir que en vez de vender cosas que los consumidores quieran acumular (problema de suficiencia), se les vende soluciones que satisfagan sus necesidades, reteniendo la compañía la propiedad sobre los productos que integran al servicio. Se estudia también de que maneras este modelo particular de sistemas producto-servicio puede ser recibido por los consumidores de hoy en día, tan acostumbrados al modelo actual. Se quiere explorar el sistema de productos y servicio como una alternativa empresarial perdurable que solucione los retos ambientales del siglo XXI. Para poder probar la viabilidad de este hipotético modelo que cambia los patrones de interacción de las empresas con los usuarios, se plantea una idea de negocio que integre productos y servicios para satisfacer las necesidades del cliente. Se escogió un área viii caracterizada por ser de las más consumistas y acumuladoras en cuanto al volumen de compras anual de los clientes: el negocio de la ropa. Y no solo cualquier tipo de ropa, sino el de la moda rápida, un modelo que obliga a los consumidores a comprar ropa con una frecuencia aún mayor. Se hizo esto con el objetivo de probar que el modelo propuesto puede funcionar inclusive bajo los supuestos más “consumistas” que existen hoy en día.

Comparing the ethical predisposition of university students in five English-speaking countries : an examination of 14 questionable business practices

Recent years have seen intense scrutiny focused on the reported ethical breaches of enterprises across the globe. At the forefront of the accompanying criticism are the actions of giant American firms such as WorldCom, Arthur Anderson, and Enron. However, such deviations from acceptable standards of conduct have not been confined to the American market. Australia endured its era of “corporate excess” in the 1980s [Milton-Smith, 1997]. As a result, a spate of ethics-based research was undertaken in the early 1990s. More recently, China has been identified as a major venue for behavior deemed to be unacceptable, even unsafe. Issues such as counterfeit fashion items, software, and automobile parts have been a concern for several years [Gonzalez, 2007]. Perhaps more disconcerting are the recent recalls of children’s products, many of which were produced for leading toy companies such as Mattel and Fisher-Price, because of the use of dangerous lead-based paint. As one might anticipate, news reports and consumer protection agencies have been quick to condemn any action that falls within the “controversial” category. Indeed, many segments of society characterize such actions as unethical behavior. One result of this increased level of concern is the higher level of attention given to ethics in higher education programs. Even accreditation bodies such as AACSB have virtually mandated the integration of ethics into the curriculum. As a consequence, academicians have ramped up their ethics-based research agendas.

The lifecycle of the fashion garment : voices of mass market designers

For the Australian fashion industry to move towards a more socially and environmentally ethical industry, change to existing processes would need to occur in all market levels. Change is particularly needed in the mass market, where larger volumes inevitably lead to greater environmental impact. Recent trends in eco fashion have waxed and waned, with only minor impact on the methodology of the mass market design process, with greenwashing and confusion of concepts being common problems. In the mass market, the product lifecycle begins in the design room and ends on the retail floor. A design process for sustainability necessarily expands this lifecycle, assessing the impact of every stage in the life of a fashion garment from the fibre and textiles through to consumer use, to eventual disposal and beyond disposal to fibre recycling and reuse or resale. However, how easy is it for designers to consider a wider view of the product lifecycle in their design process? How much autonomy do they have over their design process, and where do they believe their responsibility begins and ends for the garments they design? This paper will present some preliminary findings from interviews with designers in the Australian women’s wear mass market, revealing their concerns and views on the challenges of a sustainability for their industry.

Nourishing or polluting : redefining the role of waste in the fashion system

Waste is intrinsic to the fashion system. Fashion is predicated on built-in obsolescence, and as such outmoded garments are rapidly discarded to charity shops or landfill. However, the story of fashion is also one of abundance and extravagance in design ideas. Every season there are new design details – prints, embroidery, embellishments, shapes and textures. This excess of ideas is in itself another form of waste, albeit one that is culturally nourishing. The grave of a fashion garment may also be the grave of a season’s research and creativity. This paper compares the tangible waste of the industry with its intangible waste, namely fashion’s creativity and cultural excess. Fashion’s excess and abundance of trends and ideas makes any move to curb the environmental impact difficult. For all practitioners of fashion – whether designers or consumers – the waste and excess inherent in the fashion system is a difficult ethical terrain to negotiate. However, inverting the wasteful phases of the production cycle can help reframe waste from pollution to a source of nourishment for future practice. While creative excesses of designers may be ‘wasted’ after a season, fashion styles and tropes are recycled and reinvented, with the once passé styles and design ideas from previous years revalorized and returned into the fashion system. Similarly, material garments acquire new value through entering or re-entering the second hand or vintage markets. Design processes can utilise pre or post-consumer textile waste, or eliminate waste through design. In these processes, waste becomes the primary source of nourishment for future fashion cycles.

The Stitchery collective : fashion in an expanded field

This practice-based presentation explores the role of fashion as an agent for social inclusion and ethical design practice in communities. The Stitchery Collective is an artist-run initiative based in Brisbane, Australia. Operating at the intersection of craft and design, the fashion-based initiative challenges the assumption that fashion is designed, produced and consumed exclusively in the commercial sector. As a not-for-profit cooperative, the stitchery collective is the first and only fashion organisation in Australia to attract funding under the national and state artist-run-initiative scheme. The collective approach extends to the stitchery design practice, facilitated by individual practitioners working within the organisation who devise programs in the context of collaborative and socially engaged design. Working under the banner of a question, Can fashion be more than pretty clothes for pretty people? the stitchery works to extend the cultural field of fashion practice in the 21st century. The premise of dress as a ‘significant creative or cultural expression’ has informed the expanded definition of fashion practice, as adopted by the stitchery. This alternative classification has fostered partnerships with numerous community groups, including those marginalised in the contemporary fashion context such as recent migrants and refugees. Community engagement programs span design, sewing and up-cycling workshops, sustainability lectures, clothing swaps and public education seminars, supported by partnerships with various cultural, government and educational institutions. In 2011, the stitchery travelled to the Venice Biennale’s 3rd International Children’s Carnival, hosting a workshop series and installation to promote design for sustainability. The proven potential for design to connect community members has motivated the stitchery to question the opportunity for fashion practice to, perhaps uncharacteristically, operate under the banner of ‘design for social good’. Acknowledging craft and design as relational fields, this presentation expands fashion as a tool for social innovation and sustainable practice. The stitchery dislocates the consumer status of fashion with small-scale, localised projects; moving beyond fashion as a dictum of social class to an alternative model that is accessible, conscious, flexible, connected and sustainable. As an undefined post-industrial future approaches, the non-commercial status of the stitchery practice might work to present an image of the active post-consumer. How can the stitchery propose a resilient model of design for the future?

The Fleet Store : devising a public retail exhibition to promote creative, innovative and sustainable business models for emerging fashion designers

1.Description of the Work The Fleet Store was devised as a creative output to establish an exhibition linked to a fashion business model where emerging designers were encouraged to research new and innovative strategies for creating design-driven and commercial collections for a public consumer. This was a project that was devised to break down the perceptions of emerging fashion designers that designing commercial collections linked to a sustainable business model is a boring and unnecessary process. The focus was to demystify the business of fashion and to link its importance to a design-driven and public outcome that is more familiar to fashion designers. The criterion for participation was that all designers had to be registered as a business with the Australian Taxation Office. Designers were chosen from the Creative Enterprise Australia Fashion Business Incubator, the QUT fashion graduate alumni and current QUT fashion design and double degree (fashion and business) students with existing businesses. The project evolved from a series of collaborative workshops where designers were introduced to new and innovative creative industries’ business models and the processes, costings and timings involved to create a niche, sustainable business for a public exhibition of design-driven commercial collections. All designers initiated their own business infra-structure but were then introduced to the concept of collaboration for successful and profitable exhibition and business outcomes. Collaborative strategies such as crowd funding, crowd sourcing, peer to peer mentoring and manufacturing were all researched, and strategies for the establishment of the retail exhibition were all devised in a collaborative environment. All participants also took on roles outside their ‘designer’ background to create a retail exhibition that was creative but also had critical mass and aesthetic for the consumer. The Fleet Store ‘popped up’ for 2 weeks (10 days), in a heritage-listed building in an inner city location. Passers-by were important, but the main consumer was enlisted by the use of interest and investment from crowd sourcing, crowd funding, ethical marketing, corporate social responsibility projects and collaborative public relations and social media strategies. The research has furthered discussion on innovative strategies for emerging fashion designers to initiate and maintain sustainable businesses and suggests that collaboration combined with a design-driven and business focus can create a sustainable and economically viable retail exhibition. 2. Research Statement Research Background The research field involved developing a new ethical, design-driven, collaborative and sustainable model for fashion design practice and management. The research asked can a public, design-driven, collaborative retail exhibition create a platform for promoting creative, innovative and sustainable business models for emerging fashion designers. The methodology was primarily practice-led as all participants were designers in their own right and the project manager acted as a mentor and curator to guide the process and analyse the potential of the research question. The Fleet Store offers new knowledge in design practice and management; with the creation of a model where design outcomes and business models are inextricably linked to the success of the creative output. Key innovations include extending the commercialisation of emerging fashion businesses by creating a curated retail gallery for collaborative and sustainable strategies to support niche fashion designer labels. This has contributed to a broader conversation on how to nurture and sustain competitive Australian fashion designers/labels. Research Contribution and Significance The Fleet Store has contributed to a growing body of research into innovative and sustainable business models for niche fashion and creative industries’ practitioners. All participants have maintained their business infra-structure and many are currently growing their businesses, using the strategies tested for the Fleet Store. The exhibition space was visited by over 1,000 people and sales of $27,000 were made in 10 days of opening. (Follow up sales of $3,000 has also been reported.) Three of the designers were ‘discovered’ from the exhibition and have received substantial orders from high profile national buyers and retailers for next season delivery. Several participants have since collaborated to create other pop up retail environments and are now mentoring other emerging designers on the significance of a collaborative retail exhibition to consolidate niche business models for emerging fashion designers.

Ethical structures and processes of corporations operating in Australia, Canada and Sweden : A longitudinal and cross-cultural study

Based on the ‘Partnership Model of Corporate Ethics’ (Wood, 2002), this study examines the ethical structures and processes that are put in place by organizations to enhance the ethical business behavior of staff. The study examines the use of these structures and processes amongst the top companies in the three countries of Australia, Canada, and Sweden over two time periods (2001–2002 and 2005–2006). Subsequently, a combined comparative and longitudinal approach is applied in the study, which we contend is a unique approach in the area of business ethics. The findings of the study indicate that corporations operating in Sweden have utilized ethical structures and processes differently than their Canadian and/or Australian counterparts, and that in each culture the way that companies fashion their approach to business ethics appears congruent with their national cultural values. There does, however, appear to be a convergence of views within the organizations of each culture, as the Swedish companies appear to have been more influenced in 2005–2006 by an Anglo-Saxon business paradigm than they have been in the past.