tobiasson, Author at Clothing research

A day worth marking for clothing research

tobiasson on 12. April 2024

Friends, family and Committee celebrating Iryna's PhD

April 8th, 2024, Iryna Kucher defended her PhD “Designing Engagements with Mending. An Exploration of Amateur Clothing Repair: Practices in Western and Post-Soviet contexts”.

Iryna was a guest lecturer at Consumption Research Norway SIFO a period as research fellow, she has used wardrobe studies as a method and Ingun was her first opponent. This was therefore not just an important day for Iryna, but also for the clothing researchers at SIFO – and clothing research in general.

Alongside Ingun in the assessment committee, was Senior Researcher Olga Gurova, Laurea University of Applied Sciences, Helsinki, Finland and Design School Kolding’s own emerita Vibeke Riisberg. The main supervisor had been Ulla Ræbild, and also Amy Twigger Holroyd, who followed online.

The thesis is a broad and deep dive into the culture of mending. By looking at the history of
clothing consumption in post-Soviet and in the Western world, it describes how different histories have formed ideologies of consumption and clothing repair practices in people’s everyday life. Iryna contributes with lifting the description on repair out of a mainly Western-centred perspective. She has used a variety of literature and sources in Russian, Italian and Nordic languages, so not only English, being so often the case. The thesis has surprisingly no research question, but instead does a deep dive into:

1) Understand how mending practices are conceptualised in Western and post-Soviet contexts.

2) Understand what kind of infrastructures, devices, and materials facilitate the enactment of mending practices.

3) Understand what competences are employed when mending practices are enacted and what contributes to successful clothing repair.

Skål for Iryna! Surrounded by Ingun, Vibeke and Olga in the assessment committee.

The methodology is original and rich, and brings design research, the social sciences and wardrobe studies together. Her wardrobe study has focused on what has been repaired – and what hasn’t been repaired – as much other research. An original contribution here is that this is not only done by the candidate’s main informants, but that together with their mothers or other older relatives, they did a similar exercise with the older generation. This gives the opportunity to look at the informants’ background and training and thus the relationship to repair over time. It is ambitious to draw in both comparisons in time and space. Iryna received a lot of praise for this during the defense, but also critical questions as she has gone to great lengths to summarize and simplify differences. After all, the history of repair is both invisible and full of holes, and it is easy to assert what are, strictly speaking, assumptions.

Contributions from the work that will probably be cited and develop further understanding are the concepts seamless, discreet and expressive approaches to clothing repair, instead of visible and invisible, which are more commonly used. Iryna’s point is that both invisible and expressive (what is often discussed under visible mending) require special expertise, while discreet is what most people try to achieve in private repairs – which is the vast majority.

It is also interesting how different groups do the same thing, e.g. repair for different reasons. «Post-Soviet ‘mothers’, who used to live in the Soviet repair society, which was characterised by scarcity, still associate mending with necessity. In contrast, Western ‘daughters’, who live in a time of eco-anxiety, associate mending with sustainability”. The quote shows how comparing across generations and consumer cultures (post-Soviet and Western) makes sense. Also interesting from a SIFO perspective is Iryna’s discussion of the importance of home economics – i.e. training in needlework and repair at school. This is an important part of her description of how the infrastructure around repair disappeared in both the Western and post-Soviet context. In order to rebuild repair, a build-up of this infrastructure is needed, which is not only a willingness to teach, but also workshops in schools, sewing machines, textbooks, etc.

Many had found their way to the design school’s premises – and others followed the event online. Iryna’s work is nuanced, particularly well-presented visually and exciting, as already stated, a big day for clothing research.

TPR gets some serious airplay

tobiasson on 1. April 2024

Volumes, policy measures and Targeted Producer Responsibility all fitted into discussions the week before Easter, where some of us jumped back and forth between Webex, Zoom and Teams, recordings and live webinars. The take-aways are that several policy tools are mired in antiquated ideas that seriously need updating from research, and that the conversations around volumes and sufficiency are what actually can drive change.

STICA’s Climate Action Week coincided with intense webinars from EU’s Joint Research Center on ESPR’s stakeholder review and also PEFCR for apparel and footwear’s open hearing, presented by the Technical Secretariate’s lead. Yes, it was dizzying, but most importantly, Targeted Producer Responsibility and questions surrounding how EU actually plans to address the issue of volumes and degrowing the sector did got airplay.

Kerli Kant Hvass, who is one of our Wasted Textiles partners, presented Targeted Producer Responsibility during the session on the obstacles facing new circular business models during STICA’s Climate Action Week, hosted by Michael Schragger from Sustainable Fashion Academy and lead for Scandinavian Textile Initiative for Climate Action (STICA). In the session Circular Business Models Are Critical for Climate Action – So What Is Preventing Them from Becoming Mainstream? she explained the concept, and continued her argument during the panel discussion towards the end:

“Focusing on the product and assuming this will result in sustainability has serious limitations. Instead, collecting data in the waste streams, and establishing if a product has been used for half a year or for ten years, actually establishing its duration of service (DoS), can give the database for modulating fees.”

TPR got nods

We noticed that Maria Rincon-Lievana, from the EU Commission and DG ENV nodded a lot when Kerli repeated this. Sarah Gray from UK’s WRAP, who is wrapping up a PhD on to what degree circular business models actually have climate and environmental impact, wholeheartedly backed Kerli’s call for dating products in order to gain data on the actual DoS of products for comprehensive LCAs.

Sadly Paola Migliorini, also from DG ENV, did not hear when Luca Boniolo from Environmental Coalition on Standards (ECOS) said the following in the session on The Legislative Race Is On: Legislation & Regulation in the European Union (we can only hope she reheard the entire session later):

“Labelling regulation presents an opportunity (…) for instance introducing the production date on the label (…) we can know how long the product has been circulated at the end of life. If we do waste audits, we can estimate the DoS to understand was it used to 10 years or was it used for two weeks and then it was discarded and it can also support consumers in knowing that they have the right of a legal guarantee from the purchase date of two years during which if the product fails under normal circumstances, they have the right of it being repaired for free.”

He said much of the same during the session on Sufficiency, To Green-growth, Overconsumption & Degrowth: Can Sufficient Emissions Reductions Be Achieved in the Current Paradigm?

“EPR can for instance be based on how long the product was on the market based on waste audits and the date of production, and thus we can modulate who will have to pay a higher fee. We need to incentivize the reduction of the volumes placed on the market.”

This is the whole idea behind TPR, and even if Luca did not specifically mention TPR, he was voicing the principles behind it.

Old-fashioned or not fit for purpose, or both?

So, what is old-fashioned about the approach the policy-makers are taking? What are the tools that are not fit for purpose?

As it was ESPR and PEFCR we were lectured on the same week, the following thoughts arise.

ESPR (Ecodesign for Sustainable Product Regulation) clearly is based on the faulty assumption that 80% of a product’s environmental impact is decided in the design phase. So, it is intertwined with predicting for example durability, repairability, recyclability and thereby assuming DoS. The problem is, as SIFO research shows, only one-third of textile products or apparel go out of use because they are used up, so if ESPR is going to eco-modulate EPR fees (which seems to be the idea) this will be based on pure guess-work, or what could be more diplomatically called predictions.

TPR suggests the opposite, building the eco-modulation on what becomes waste prematurely and modulated ‘against’ what captures value in the new business models, as Kerli so well described in her presentation.

The hen or the egg?

For PEFCR (Product Environmental Category Rules) the problem is that they are meant to underpin ESPR, but JRC have actually not decided if they are fit for purpose, they said as much in their presentation. So, currently PEF seems to be in limbo, perhaps only fit for Green Claims (Baptiste Carriere-Pradal said as much in his presentation, but also hinting that ESPR would have to use PEF).

PEF is not aiming to be a consumer-facing label, only a set of 16 “frankenproducts” (12 for apparel, four for footwear) which you as a company can compare your product to, and say if your product is “greener” than the “frankenproduct” based on very strict LCA parameters. The data-base that these parameters are resting on, have serious data issue, and may be why France when presenting their “amost-PEF-compatible” label, have taken out one of them (physical durability), In addition, France also is not making GHG emissions the most important parameter – counting for 1/4^th of the ‘score’, which PEF currently does.

The main problem, though, is understanding. Consumers understanding what and why.

Simply: In ESPR there is a demand for recycled content, and this is heavily stressed. During the sessions, I asked simply “why?” and presented the latest IVL report with a 1.3% climate reduction for large-scale recycling in the EU. What also surfaced during the week was that only 11% of EU’s population want recycled content. So, win-win or lose-lose to demand recycled content?

Apparel for real life or for bureaucratic purposes?

The issue then feeds into PEF, and how the scores of the “frankenproducts” actually have meaning when talking about real life. Why are stockings, socks and leggings the same “frankenproduct”? What are sweaters actually – when we all know they differ enormously and also their function. It seems, in the end, that everything is a desktop solution for real life actualities.

Having good clothes that are fit for purpose, not apparel that fit policy purposes, should be the goal. They will be used the longest and deliver on DoS. Using ESPR, with PEF as the underpinning logic, will not at all help either the environment, climate change or Europe’s consumers.

So, all in all, listening to the STICA webinar, so well organized by Michael Schragger, gives better insight on where we need to go, than both the JRC organized webinar (which sadly is not publicly available even if it was recorded) and the PEFCR webinar (which can actually be accessed), put together. EU still needs to get their heads around that it’s not at the product level, but at the systems level, that change needs to happen. Let’s hope STICA gave them food for thought.

Wardrobe methods event

tobiasson on 4. March 2024

April 17th at 10:00-11:00 CET. Online.

Join us for an exciting discussion about Wardrobe Methods in research with a talk by Professor Ingun Grimstad Klepp and then a sharing of experiences from across UCRF of doing research about the use and disposal of clothing. It will be facilitated by UCRF board members Kate Fletcher and Karishma Kelsey.

The aim is to:

deepen understanding about wardrobe methods; and
extend use of wardrobe methods and build greater diversity in their ideas and applications.

You can register here. The event will take place over Zoom.

Join us on 17th April!

Participation is free, but booking is essential to help us organise the event.

Please note: the event will be recorded and made available on the UCRF YouTube channel for later viewing. Also note: an edited book of 50 wardrobe methods, ‘Opening Up the Wardrobe: A Methods Book’ (2017) co-edited by Kate Fletcher and Ingun Grimstad Klepp is now available as a free e-book, find it here. And a link to a library of new Wardrobe Studies is here.

The Slovool webinar

tobiasson on 4. March 2024

Friday March 15th, 9:30 – 12:00 and 13:00 – 15:30 CET. Online.

Link to register for participation: https://oslomet.zoom.us/webinar/register/WN_hyjlVft_S5et2l8WCVwHTw#/registration

9:30 Welcome by Ingun Grimstad Klepp, Professor Clothing and Sustainability, Consumption Research Norway, Oslo Metropolitan University

9:45 How the change from local spæl wool to merino in embroidery yarns impacted the bunad by Kari-Anne Pedersen, Norwegian Folk Museum

10:15 Wool in traditional Slovak folk costumes by Mgr.art Radoslava Janáčová, ÚĽUV (The Center for Folk Art production)

10:40 The challenges of sourcing material for Slovakian folk costumes in a local value chain perspective by Mgr. Zuzana Kolcunová, ÚĽUV (The Center for Folk Art production)

11:00 Discussion and reflections facilitated by Ingun Grimstad Klepp, Professor Clothing and Sustainability, Consumption Research Norway, Oslo Metropolitan University

12:00 – 13:00 Lunch break

13:00 Welcome back and summary of the morning session by Ingun Grimstad Klepp, Professor Clothing and Sustainability, Consumption Research Norway, Oslo Metropolitan University

13:15 How local sheep breeds have contributed to rediscovering cultural expression in modern design by Ingvild Svorkmo Espelien, founder Selbu spinneri.

13:40 The challenges of building up a wool value chain based on local Slovak wool, challenges of first Slovak mini-mill by Mgr. Martina Vozárová, founder and owner of Vlnárska Manufaktúra

14:00 Innovation and inspiration: Challenges of bringing local Slovak wool back to the market by Mgr. Ľubica Kováčiková and Mgr. Alena Niňajová, non-profit OZ Naša Vlna and founders of local Slovak wool brand MOKOŠA

14:30 Discussion and ways forward facilitated byTone Skårdal Tobiasson, journalist and woolly author

15:15 Summary by Ingun Grimstad Klepp, Professor Clothing and Sustainability, Consumption Research Norway, Oslo Metropolitan University

15:30 End

Wardrobe Hack as an Educational Prompt

tobiasson on 29. February 2024

Author: Ana Neto, Lisbon, CIAUD, Research Centre for Architecture, Urbanism and Design, Lisbon School of Architecture, Universidade de Lisboa, Portugal

Aim of study

The use of wardrobe studies came up during my PhD project, which aimed to understand the relationships between wearers and their clothes, and how these can last for longer. Previous stages of the project pointed to the need of fashion designers to expand their design practice space to the territory of clothes in use, and therefore the goal of this study was to explore how fashion design students responded to the challenge of mediating wearer-clothing relationships, as an alternative role to the development of new products.

While the main aim of this exploratory study was educational, it prompted practical potential for behaviour-change, and qualitative insights that add to scientific knowledge on clothing use.

Design as for long been pulled into the industrial machine of massification, losing sight of the particularities of each person’s needs. This study was developed as a way for students to understand how wearer-clothing relationships are idiosyncratic, raising their awareness to the importance of being attentive to the issues wearers are facing and which require tailored approaches. This counters the usual process where designers get a sense of generic design situations (or problems) and devise a one-size-fits-many solution, which in practice is often not that fitting (becoming, therefore, wasteful).

Influence on approach and use of the method

The main method is an adaptation of Whitty and McQuillan’s (2017) original Wardrobe Hack, here used as an assignment for students in their 1^st year of the Fashion Design Master’s Degree at the Lisbon School of Architecture. Before launching the assignment, other methods were used as small in-class exercises to prompt discussions on wearer-clothing relationships and to raise students’ awareness on aspects that undermine or nurture these relationships.

Firstly, drawing from Martin and Hanington (2012) Love Letter/Breakup Letter method, students were asked to write a love letter to the last garment they acquired, and a break-up letter to the last garment they discarded from their wardrobe. Letters were then passed around so that everyone could get to know others’ experiences. Secondly, students answered a small questionnaire on their oldest garment still in use (adapted from Neto and Ferreira, 2021), and answers were discussed in class. By using these exercises to introduce my previous research, students’ tacit knowledge on being in a relationship with clothes was brought to the foreground and, collectively, the group increased their theoretical sensitivity on the topic.

Finally, students were challenged to recruit a participant and conduct a wardrobe study (based on the original Wardrobe Hack), in order to identify issues their participant could be facing with any item or items in the wardrobe, and to develop an intervention (the hack) that could potentially improve one or more relationships between the participant and their clothes.

Data collected included notes from observations in class, project follow-up conversations with students, their presentations and the assignment outcomes handed in (a presentation poster + a report). Through thematic analysis, it was possible to distinguish the students’ findings on their participant’s issues, the kinds of hacks they came up with and the difficulties they faced, both in understanding their participant’s relationship with clothes, and implementing the hack.

Use of the results

Results were presented at a symposium on Fashion Design Education and will be published as a book chapter, and included in my PhD thesis. They can be useful for other educators seeking to introduce their students to wardrobe studies and a fashion design practice beyond product development. Even though the findings were written from an educational perspective, the examples it shares can also be useful for students just to increase their sensitivity to wearer-clothing relationships.

Insights generated by the method

Because this is a study that involves to levels of participation (students and their project participants), it generates different levels of insights, both theoretical and practical.

Theoretically, the data generated relating to students (their journeys, struggles and achievements) is relevant to help educators devise future strategies to support and nurture the skills needed for this kind of design activity. Additionally, there is data related to participants (their relationship with clothes) as reported by the students. Through project presentations, each student contributes to the “pool” of empirical knowledge the class shares on the topic, and through other dissemination channels it can reach the wider research community.

From a more practical perspective, the exercise provides a different, hands-on experience for students as they learn to design for relationships (attentive to wearer, garments, their relationship and context), and an often positive experience for their participants who are challenged to think and articulate their relationship with their clothes, and who become aware of their power to improve their well-being as it relates to clothing.

References:

Martin, B. and Hanington, B.M. (2012) Universal Methods of Design: 100 Ways to Research Complex problems, Develop Innovative ideas, and Design Effective Solutions. Beverly, Ma: Rockport Publishers.

Neto, A. and Ferreira, J. (2021) ‘“I Still Love Them and Wear Them”—Conflict Occurrence and Management in Wearer-Clothing Relationships’, Sustainability, 13(23), p. 13054. Available at: https://doi.org/10.3390/su132313054

Neto, A. and Ferreira, J. (2023) ‘Lasting Bonds: Understanding Wearer-Clothing Relationships through Interpersonal Love-Theory’, Fashion Theory, 27(5), pp. 677–707. Available at: https://doi.org/10.1080/1362704x.2023.2170706

Whitty, J. and McQuillan, H. (2017) ‘Wardrobe Hack’, in K. Fletcher and I.G. Klepp (eds) Opening up the Wardrobe: A Methods Book. Oslo: Novus Press, pp.128-130. Available at: https://omp.novus.no/index.php/novus/catalog/book/26

Link to work demonstrating the method:

Neto, A. and Forman, G. (forthcoming) ‘Mediating wearer-clothing relationships: a case study in Fashion Design Education’, in K. Scott, B. Curtis and C. Pajaczkowska (eds) The Future of Fashion Education: Speculation, Experiences and Collaboration, Routledge.

Wardrobe Size (Volume of Clothing) and Shopping Practices in India

tobiasson on 27. February 2024

Author: Richa Jha, India, Ambassador @RemakeOurWorld, Member @UCRF

Aim of the study

It was a fact-finding study to create awareness and behavioural change.

The objective of the study

The objective of the study was to find the shopping preferences and volume of clothes owned by an average Indian woman and a man.

What has influenced or inspired your approach?

I was influenced by the Wardrobe studies on this blog and particularly influenced by The Plastic Elephant Report, which said that poor fit and quality leads to wardrobe surplus and in-turn to over-consumption and over-production. Hence, I was curious to find similar statistics for India.

Method

An online questionnaire was circulated to individuals from different cities and professions. The questionnaire was sent to over 400 individuals out of which 105 chose to answer voluntarily.
There were questions such as – How many clothing items they buy? How many times a year? How many clothing items they own by category such as t-shirts, trousers, sarees, etc.? How many items they discard? Do they opt for repair, why not?
The income class of the respondents was middle class and above, i.e. Rs 500,000 per year
70% of the respondents were women and balance were men.
More than 56% were Gen X, another 31% millennials, and 12% Gen Z. More than 56% were from Metros, 36% from Non-metros and the balance 9% were living outside of India.
Calculation of average wardrobe size – In the questionnaire, respondents were asked to tick mark the count for each clothing type such as Trousers, Shirts, T-shirts, Coats, Indian Wears, among others. The ranges were 0-5, 6-10, and so on till more than 30. The wardrobe volume is calculated by adding the average numbers for each clothing type for each individual.

Link to questionnaire here.

Key findings of study

The majority of the respondents shop up to 10 items annually and the average discard rate is also 10 items per person per year.

The volume of clothing owned (by this group) ranges from 30 to 308 in case of women and 27 to 162 in case of men. The mean is 120 for women and 80 for men. For millennial women, average is 110, on the other hand for Gen X it is 130. This suggests that women’s collection grow as they age, over time, they tend to accumulate Indian traditional wear such as sarees.

1 in 4 respondents do not use more than 40% of their wardrobe. The reasons for not utilising the wardrobe fully were occasional wears, woollens, fit issues, out of fashion and lifestyle changes in that order.

Only 20% of the respondents do not opt for repairing their clothes, on the contrary only 13% opt for upcycling. Among those who do not repair or do not opt for professional repair, majority do not see any value in repair or feel that new clothes are available at affordable rates.

The utilisation of the garment is optimum as most people said that they wear the garment till it fades or is worn out. Only for occasional wear or in some cases for formal wears, the number of wears is less. Some respondents mention they prefer to give to charity rather than repairing or upcycling.

But 80% of the respondents are willing to get their clothes repaired through a professional service and are willing to pay 15-20% of the original cost of the dress.

What happened after the study/exercise? What did you do with the results? Did you meet your objectives? How? How were the data used?

The report was shared with all the respondents. It gives them an idea as to where they are as compared to the average and hence may lead to self-induced behavioural change. Link to the report here.

A discussion was held with Sustainable Fashion Advocates from RemakeOurWorld. It further brought out the “whys” from the data such as cultural reasons.

The findings are also used to create awareness campaign through social media.

How could this specific method be used by others (or is it used already)? What are other insights/results that this method can generate?

Quantitative surveys are the most commonly used data collection method in Market Research.

How could the results of your study/experience be used by others (or are they used already)? What is the most important experience you want to share with those who are new to wardrobe studies?

Need for bigger and scientifically chosen sample if conducting a quantitative study
In the count, have zero/none separately from lower counts, i.e. instead of having 0-5, have none, and 1-5

What insights does this method generate?

It gives quantitative data on the total volume of clothes owned and clothing type. Filling this survey itself was an eye-opener for many and for them to realise their ownership, usage and surplus. The questions on repair and upcycling will also lead to plausible solutions, such as repair, alter, resale, lend or rent to increase wardrobe utilisation.

References

The Plastic Elephant – access here.
How clothing affects climate change? – access here.
Nielsen Woolmark Study – access here.

Appendix: Definitions of some terms

Metro – Metropolitan areas – Such as National Capital Region of Delhi, Mumbai, Bangaluru, Hyderabad, Ahmedabad, Pune and Jaipur

Non – Metro – All other Tier-2 and 3 Towns such as Indore, Dehradun, Rajkot, Bharuch, Coimbatore, Trivandrum, Ludhiana etc.

Saree – a garment consisting of a length of cotton or silk elaborately draped around the body, traditionally worn by women from South Asia.

Lehenga – Lehenga is a three-piece ensemble consists of the actual lehenga, a long ankle-length skirt, a well-fitted blouse top known as the choli, and a scarf to drape around the outfit, known as the dupatta.

Gen X – 43 to 58 Years I Millennials – 27 to 42 Years I Gen Z – 18 to 26 Years

Identifying Good Practices of Use: Insights on the Consumption of Sustainable Fashion in Uruguay

tobiasson on 20. February 2024

Authors: Micaela Cazot and Lía Fernández, Montevideo, Uruguay. Bachelor’s degree in Industrial Design (Textile/Clothing Profile)

Original title: Identificando buenas prácticas de uso: reflexiones sobre el consumo de la moda sustentable en Uruguay.

Aim of the study/exercise: Educational, as the Final Degree Project for a Bachelor ‘s degree in Industrial Design – Textile/Clothing Profile, Universidad de la República (Montevideo, Uruguay).

What was the objective of the study?

To understand and analyze the clothing usage practices of a group of Uruguayan women who consider themselves sustainable in their way of dressing. The focus is on the users’ characteristics, circumstances, and life situations, seeking to identify good consumption practices based on the connection formed between individuals and their garments, as well as between garment and garment.

Context: Influence or inspiration

The choice of this topic arises from the motivation to visualize the role that design plays in generating good consumption practices. It is valuable to analyze the connection between consumers and their garments to recognize various factors in the purchase and use of clothing, aiming to raise awareness and contribute to the future of fashion by promoting more sustainable consumption.

An overview of every item that we analyzed with the participants during the method.

How was the method used?

This method consists of two parts:

an interview, with questions aiming to understand the participant’s relationship with sustainability and practices of acquisition, use and disposal of clothing.
a wardrobe visit, where they are asked to select an item of clothing for each of the following categories: the newest, the oldest, the most used, and the least used. We then proceed to take pictures of the items and ask questions related to each of these categories.

To carry out this method a characterization of the Uruguayan sustainable fashion consumer is made to search for participants, who ideally have different ways in which they experience sustainability. This search resulted in a selection of five women from five different generations residing in Montevideo which includes: leaders of sustainable fashion in Uruguay, design professors, a person from our close circle and a person involved in the second hand business.

After the method is carried out, the information is evaluated and reviewed by comparing the answer for each question and the garments in each category, looking for similarities and differences.

What happened after the study/exercise? What about the results and objectives?

As this study was produced for a final degree project, it was recorded thoroughly in a document that can be found in the institutional repository of the University.

How could this specific method be used by others? What are other insights/results that this method can generate?

As this method was only introduced to a small number of people in Montevideo, we believe it could be adapted to be used in other parts of Uruguay or in other parts of the world, and even with more people involved. Depending on the region where this method is applied, it will yield conclusions that reflect the culture and society that inhabits that place, from a sustainable point of view.

A collage of two items that were documented in the interviews and old analog photos the participants had of them wearing the items.

We believe that what matters the most is that, as designers, we must recognize the importance of understanding the complexities of clothing and feelings by addressing them in our creative work. Creating awareness about the emotional bonds and individual circumstances that influence consumption habits, and how these can be channels for fostering more sustainable practices in fashion.

What insights does this method generate?

Regarding the data provided by both parts, we can observe certain recurring patterns across interviews. For instance, all the garments we visualized with the users in their homes have stories beyond their materiality; they are not mere pieces of clothing but rather reflect nuanced aspects of the person who wears them and their emotional attachment with each item. Furthermore, we found that all of the participants have a relationship with sustainability that goes beyond responsible consumption of clothing and also encompasses other areas of their life such as their profession, their hobbies, their eating habits and their life experiences. All of them admit that they do not consume clothing in large quantities and no more than ten items of clothing a year enter their wardrobes. This indicates a strong inclination to consume less when one has a sustainable philosophy.

The habit of holding onto clothes that they do not wear for a long time is very present in these participants, because they believe that there is the possibility of using them again later on. They see the future potential of their clothing, rather than discarding it by not wearing it for a while. This generates an emotional connection with the garment, since it is seen as an opportunity instead of waste.

On the other hand, users who engaged in second-hand consumption expressed that accessing this market requires time and accessibility that not everyone possesses. There is a process behind the choice of second-hand garments, which sometimes becomes a matter of privilege. Similarly, garment repair as a tool to extend the lifespan of clothing is not available to all consumers due to lack of knowledge.

Conversely, some participants opt to make adjustments to their garments through modifications, repairs, or redesigns. Others enhance their wardrobe creativity by borrowing clothes from friends and family, finding enjoyment in mixing their own clothing with others’, thereby strengthening their individual fashion perception by exploring new dressing styles.

This more conscious approach to dressing reflects a trend towards sustainable fashion and a deeper connection with personal expression through clothing. Consequently, these users discard clothing less frequently.

In summary, the diversity in the responses obtained highlights the complexity and richness of the experiences, providing a profound and contextualized insight.

References:

Armstrong, C., Lang, C. (2018) “The Clothing Style Confidence Mindset in a Circular Economy” Aalto University, DOI: 10.1002/cb.1739.
Bjerck, M., Klepp, I. (2014) “A methodological approach to the materiality of clothing: Wardrobe studies”, International Journal of Social Research Methodology, 17:4, 373-386, DOI: 10.1080/13645579.2012.737148.
De León, L., Haugrønning, V., Maldini, I. (2023) “Studying clothing consumption volumes through wardrobe studies: a methodological reflection” The 5th Product Lifetimes and the Environment (PLATE) Conference, Espoo: Aalto University, pp. 610-616.
Fletcher, K., Klepp, G. (2017) “Opening up the Wardrobe: a methods book”. Novus Press, Oslo: Noruega.

The Impact of Modes of Acquisition on Clothing Lifetimes

tobiasson on 14. February 2024

Authors: Kirsi Laitela, Ingun Grimstad Klepp and Lisbeth Løvbak Berg

Abstract

Reducing the environmental impact of clothing is dependent on a reduction of the produced volume. This chapter discusses how mode and volumes of acquisition impact the lifetimes of clothing. Based on our scoping review and reanalysis of international wardrobe audit data, we find that the number of garments that are acquired has most impact, making clothing utilization an important concept. Secondhand garments are used fewer times than new items, and gifts less than self-chosen items. Self-made clothing was worn less than tailored garments, showing that product personalisation can both shorten and increase lifetimes. Slowing down the rate of acquisition and increasing the lifetime with the first
user should be the focus of policy development.

In K. Niinimäki (Ed.), Recycling and Lifetime Management in the Textile and Fashion Sector

Contact publisher to access the whole article, or email kirsil@oslomet.no.

Ethnographic Wearing

tobiasson on 1. February 2024

Author: Joshua M. Bluteau, UK, Coventry University, Social Anthropologist, @anthrodandy

Aim of study

This method was developed as part of a broader research project catalogued in the book ‘Dressing Up’ (Bluteau, 2022). During this period, I conducted ethnographic fieldwork with bespoke tailors in London and the network of Instagram sartorialists that grew up around them. As part of this process, I developed a digital ethnographic method termed ‘immersive cohabitation’ (Bluteau, 2021) that centred around doing as my digital interlocutors did, dressing up, taking selfies and posting them to Instagram as part of a reciprocal social and sartorial practice. To take part in this I had to acquire similar garments to wear and photograph, which were mostly purchased from online auction websites and grew into a considerable collection.

These garments were not merely ethnographic artefacts but became part of my everyday wardrobe as I sought to foreground participation, over observation (following Wacquant, 2004) as part of my research praxis. ‘Ethnographic Wearing’, as part of this broader study became a way of engaging with the acquired garments themselves and using the wearing of them as a research process to learn more about them.

The objective of the study

To answer what it is like to wear certain clothes. Incorporating both the process of acquiring, storing, and living with them to gain insight into the lived experience of their owner/wearer, and to understand what impact these garments had on them.

The method

Simply, this method began by purchasing garments akin to those that my interlocutors were wearing and then using them to dress myself to take self-portrait style images which were uploaded to Instagram to construct a digital self that could be used for digital ethnographic research. However, this metamorphosed into an everyday practice of wearing these garments as they became part of how I dressed habitually on and offline during this period of fieldwork.

As a result I began to reflect on the process of wearing, taking thickly descriptive fieldnotes and digital photographs to catalogue the sensorial, haptic, emotional and phenomenological aspects of wearing these clothes. This in itself became a kind of thick wearing and became central to my ethnographic engagement with garments as an object of anthropological study.

Then what?

After the study, the wardrobe remained. The fieldwork which allowed the inception of this method of Wearing Ethnography was over, but the wardrobe remained dynamic. The doors to this personal collection were not closed although some rails became less visited – gathering dust – while others had new garments added to them and were still frequently worn. In this sense, the study is still ongoing and this longitudinal engagement with Wearing Ethnography promises to generate further research data for future analysis.

How this specific method could be used by others

This method is not bound by geographical location, garment type or research focus and can be either the primary mode of study or a supplementary line on enquiry. As such it has the potential to be utilized by a large number of researchers both in the field of fashion/garment studies, as well as a wide range of qualitative researchers in the social sciences and beyond. It may be of interest to those who wish to investigate garments in isolation, or those who wish to engage with garments that have a specific bearing on their research site. It also offers a starting point for discussions about collecting garments from the field and wearing not only to reflect on the process but as a mode of access to and rapport building with new informants. The primary limitation is whether garments fit or not, which may present a substantial barrier in some cases.

How the results could be used by others

The results of this study form part of an emerging subdiscipline of anthropology which could be termed fashion anthropology or the anthropology of clothing and adornment. Specific anthropological investigations of clothing are disparate and fragmented, with much of the prior scholarship collated by Luvaas and Eicher (2019) in their fantastic reader. However, methodological tools for engaging with specific garments are less well defined, with research often focusing on the relationship between informant and garment (see for example, Miller and Woodward, 2012) rather than the garment and researcher. As a result, this method of ‘ethnographic wearing’ challenges the current narrative, and offers a way for researchers to engage with clothing that can provide rich ethnographic data.

What insight does this method generate?

Whilst a range of methods have been used by other scholars to engage with garments held in collections, this method offers the researcher the opportunity to wear the garments in and out of the wardrobe. This allows considerable insight into how the garments feels on the body, how it moves and shapes the experience of the wearer and how differing notions of expense and quality can be tactilely experienced. This method joins artefact to researcher slipping one inside the other like two jigsaw pieces to give a bigger picture. These insights can be small from how a particular maker cuts a garment through to practical considerations of movement, temperature control, and how a garment performs in different environments, as well as how the garment shapes other’s perception of the wearer. All the qualitative insights can help to produce a more holistic and rigorous depiction of the garment.

References

Bluteau, J.M. (2021). Legitimising digital anthropology through immersive cohabitation: Becoming an observing participant in a blended digital landscape. Ethnography 22(2): 267-285.

Bluteau, J.M. (2022). Dressing Up: Menswear in the age of Social Media. New York: Berghahn.

Luvaas, B., and Eicher, J.B. (2019). The Anthropology of Dress and Fashion: A Reader. London: Bloomsbury.

Miller, D., and Woodward, S. (2012) Blue Jeans: The Art of the Ordinary. Berkeley: University of California Press.

Wacquant, L. (2004). Body and Soul: Notebooks of an Apprentice Boxer. Oxford: Oxford University Press.

Fashion and the City

tobiasson on 23. January 2024

Panel discussion on the role of municipalities in promoting circularity and more sustainable consumption patterns in the fashion sector.

Sustainable fashion is often regarded as an issue of international trade and global issues, disregarding the role of local municipalities in the phenomena of overproduction and overconsumption and their trickle-down effects. Yet many cities around the world have started to think of this challenge and develop innovative mechanisms to reduce the volume of production and overconsumption and support their city’s fashion sector’s transition to sustainability. How can municipalities reduce waste, induce sustainable consumption behaviours in their citizens and promote sustainable choices, and circular business services? Do municipalities that are at the receiving end of fast fashion initiate policies and initiatives to re-address the phenomenon? Can cities impact the fashion industry by changing consumption patterns of their citizens?

UN ALLIANCE WEBINAR February 5th, 2024 14:00 – 17:00 CET

Here in the link to register to the event.

Programme and speakers

Opening remarks Simone Cipriani, Chairperson, UN Alliance for Sustainable Fashion & Chief Technical Advisor, Ethical Fashion Initiative (EFI/ITC)

Introduction Katia Dayan Vladimirova, PhD, Senior lecturer and researcher, University of Geneva

City Cases (10 min each) AMSTERDAM: Dieuwertje de Wagenaar, Senior Policy Officer Circular Textiles, City of Amsterdam. Fashion and textiles in the “Amsterdam Doughnut”: How policy can boost local circular ecosystems. OSLO: Kirsi Laitala, Senior researcher, Oslo Metropolitan University. Key challenges of textile waste and city-level solutions: Case of Oslo. ACCRA: Elizabeth Rickett, Co-founder, The Or Foundation. Textile overwhelm: How Accra City is managing the growing volumes of imported second hand garments and the resulting textile waste through circular practices. GENEVA: Katia Dayan Vladimirova, PhD, Senior lecturer and researcher, University of Geneva. Opportunities to support responsible local fashion consumption: Case of the City of Geneva. CAPE TOWN: Alison Evans, Head: Waste Markets, City of Cape Town. Moving towards circular textiles through Cape Town partnerships. The case of the city of NEW YORK will also be featured.

Discussants (5 min each) Felicity Lammas, Sustainability Manager, Global Fashion Agenda Mohammad Awale, Founder, Rummage Josephine Philips, Founder and CEO, Sojo Matt Dwyer, Product Impact and Innovation Leader, Patagonia Enrica Arena, CEO, Orange Fiber Åsa Degerman, Manager, Once More Q&A

Conclusions ● Gulnara Roll, Head of the Cities Unit, UNEP
Moderation ● Paola Deda, Director, Forests, Land and Housing Division, UNECE

This is an event of the UN Alliance for Sustainable Fashion; organized by ITC Ethical Fashion Initiative, UNECE, UNEP, ICLEI and the University of Geneva.