Mapping of the industry’s design tools

Lisbeth Løvbak Berg, Tone Skårdal Tobiasson, Ingun Grimstad Klepp

One of NF&TA’s tasks in Wasted Textiles is to map what tools are being used by businesses, academia and organisations in the design and product development processes to ensure more environmentally friendly and circular production, and how these relate to the central questions in the project.

The mapping was done by Kjersti Kviseth. Ten different design tools were examined and the analysis shows that they have clear common trais. They all emphasise duarablity (‘Social’, ‘Emotional’, ‘Technical’, ‘Longer use’) and minimising waste in production.

The most important questions for Wasted Textiles is whether they will contribute to reducing the volumes of clothing produced and the share of these that are made from synthetic fibres. On these topics the tools are simultaneously very different and very vague. Only two of them include minimising the use of synthetic materials. Overall, the tools will therefore not halt the e ‘plastification’.

The same can be said for volumes. Admittedly, four tools say something about volumes, but the measured proposed are weak. The remaining six do not address this decisive aspect at all.

Kjersti Kviseth ends the report with a personal reflection where she emphasises that the tools reflect the understanding of the environmental issues that existed at the time of their making, and that they will be amended as the understanding matures and the knowledge about plastics and volumes increases. We can hope that she is right, but at the same time the road ahead is long and the current situation is that non of the most common design tools address the most central problematic of the industry: the increase in production volumes and the galloping plastification of clothing and other textiles.

Read the document here (docdroid.net).

Travel letter Uruguay December 2022

In the middle of Advent 2022, Vilde, Kirsi and Ingun traveled to Uruguay. Irene was already there with her family, and the trip was well planned in collaboration with Irene, who lives in Portugal, but is from Uruguay, and Lucrecia who works in Montevideo. Part of the background for the trip was the testing of the wardrobe method that had been carried out in Norway, Portugal and Uruguay. This was with good help from students there who also actively participated in a seminar. Text Ingun Grimstad Klepp

Warm reception in a warm country

We spent the first weekend planning the seminar on clothing and the environment which was to take place on Monday and Tuesday, as a collaboration between CHANGE and the local university. On Sunday we went for a long walk in the city where large parts of the streets were filled with a market. Here, most things were for sale, from pets such as rabbits, hamsters and tropical fish, to objects that we would hardly have found a market for in Norway, such as remote controls, parts for electronics, eye glasses, etc. There were some new clothes, mostly of a simpler nature and many used clothes. There was very little textile craftsmanship to be seen with a couple of exceptions of crocheted stuffed animals and toddler clothes.

We also visited various shops for used clothes, both permanent and pop-up shops. The system for reselling clothes was quite different from Norway, where humanitarian organizations’ collection stations are everywhere. There is no public collection of textiles, nor “textile towers” by private humanitarian organizations. In contrast, used clothes are sold in the markets. Some of the clothes that were sold in the second-hand shops were bought at the market and then they were resold somewhat more expensive.

The CHANGE team exploring the many markets and second-hand shops in Montevideo.

The extensive reuse of most things that we experienced on this first day was confirmed again and again in everything from interiors and buildings to bicycles. We were given various explanations that ranged from a mentality among most people, to politics and economics. Being content with what you have and not always wanting something else and more, was central. Uruguayans are, in their own and others’ eyes, a pragmatic people who are satisfied without a lot, as long as they have their “matte”, the local green tea that is drunk hot everywhere, most carry a thermos under the arm.

Typical reuse of materials for new purposes.

Another explanation was that the political investment in sustainability, for example in the form of large-scale conversion to renewable energy, was so central. The last explanation has to do with economics and economic differences. More poverty, and also more difficult economic conditions for the middle class, was repeated by several. That lower costs for labor compared to new products affects the amount that is reused and repaired is almost self-evident, but it was interesting to have several and more complex explanations for the same phenomenon.

CHANGE Seminar at The Faculty of Architecture, Design and Urbanisme FADO

On December 5th and 6th, the Uruguayan partners in the CHANGE project organized a seminar in Montevideo. Prácticas de diseño y consumo de indumentaria: Miradas y acciones hacia un desarrollo sustentable. (Read more in Spanish here.) Some of the project’s researchers from Norway and Portugal exchanged experiences with the local community. The seminar took place at the beautiful building of the Faculty of Architecture, UdelaR, and was organized by Lucrecia de León and Lucía Lopez from the local Industrial Design School.

Participants gathered in the atrium at the FADO institution.

Just coming to this building was an experience in itself. FADO is one of the sixteen faculties that make up the University of the Republic. The building is from 1948, its headquarters were inaugurated on Artigas Boulevard, in the Rodó Park of the city, it is one of the most characteristic buildings of the city of Montevideo, designed by the architects Román Fresnedo Siri and Mario Muccinelli. They had just completed an extension and we were in a newer part of the faculty. Among other things, apparel was taught – and therefore not fashion as in many design schools. This probably also contributed to the fact that professionally it was easy for us to “find the tone” with teachers and students there.

During the first day, speakers shared local experiences and efforts to reduce the environmental impact of the sector. These included perspectives from the academic, public, and private sector. There were both teachers, students and entrepreneurs among the approx. 50 the audience.

Federico Baráibar from the Ministry of the Environment talked about local data and policies and the lack thereof. As many other places, there is actually not much focus on clothing in environmental politics. He spoke mostly about textile waste in the management and policy of waste in Uruguay. He presented what they know about different types of textile waste. An estimate is 20-30 000 tons of textiles household waste in Uruguay per year. Not surprising, there is more focus on plastic packaging. Compared to other waste streams, textiles as a product group, is small and does not receive particular attention, policies usually emerge based on actual problems. In his opinion, it is difficult for a country in development to let a government interfere in private consumption to reduce consumption and waste production.

Federico Baráibar from the Ministry of the Environment talked about local data and policies and the lack thereof.

In 2019, they had a new policy where they wanted to apply 1000% tax on certain disposable objects, but it was not passed, so they there will be added 180% tax in a law (not yet applied). Tax was also the way import of second-hand textiles was regulated. It is not banned to import second-hand clothes to Uruguay, but just that the taxes paid are the same as for new clothes.  We did hear from others several times that only Chile allowed import of used clothing, but it is possible that this was import without tax they then meant. There is doubtless a lot we do not know about the policy for used apparel in Uruguay, South America (and other places), and very interesting that ban is not the only way to restrict and reduce.

Lucía López, EUCD (Institute of Design, University of the Republic Uruguay,) presented her Project #textourgente, which uses textile upcycling and print as a way to activate social change and attitudes towards clothing. Her focus is upcycling as a way to activate the user as opposed to the passive user. She used text printed on clothes as a means to upcycle and generate reflection, in order to help people to wear a previously owned garment with pride. She explained how emotional design depends on the personal approach of the designer and the target group, what is emotional cannot be standards, but must emerge from the community that is engaged.

Sofía Dinello presented her thesis about active life of clothing and emotional design and Gabriela Pintos (FCEA) shared her view about consumer behavior in a circular economy from the perspective of economic theory.

In a second session focused on action, Renata Casanova presented the circular economy program of Ceprodih, an NGO dedicated to support women in a vulnerable social position. They use donated textile in teaching sewing and entrepreneurship. Much of what they work with is reutilization of PVC plastics. This was done in textile workshops, making accessories that they sell through the workshop and collaborate with a network of entrepreneur women in circular economy programs. They work with businesses and hospitals, and the waste they generate. What their partners could not themselves use, was transformed. In this way logos and colors could be kept and used. We visited this company a few days later and had the opportunity to discuss with her. More under Day 2.

Josefina García and Laura Moreira shared their efforts towards circular design in the local denim brand Rotunda, This was ambitious work with creating guidelines for circularity in design with jeans. Based on design and circularity principles from Ellen MacArthur. They emphasize durability: first guideline of denim is to be in perfect condition after 30 washes. Screen print washing instructions on the pockets instead of tags to not lose the information. 80 % of fibres are organic cotton and 20 % is recycled cotton. They emphasize trims, not using the processes that requires chemicals, raw colors of the metals, the latter is hard without changing the look of the jeans. Trying to overcome the things that are associated with jeans, but not necessary. This includes buttons and other things that can be taken off. They had a pilot project with a RFID label with a QR code for information for the consumer stage and forward. Aim is for each item to have a personal code.

Alejando Esperanza presented their rapidly growing resale business VOPERO, an app used for resale of second-hand clothes that look like new. The most surprising with this concept is how it differs from other reuse-apps. Here there is little «ideology», rather an emphasis on volume. VOPERO employs 140 people. They approve about 50% of garments that are sent to them. The remainder is either returned to the owner or donated to local companies, if the owner does not want it back. They add about 1500 new garments to the app each day. Everything they sell must go through a quality check, but the inspection of each item must take less than 30 seconds to be cost-effective. The company does not wash or have time for significant repairs. One of the reasons for not accepting garments is related to smell. He explained that many customers are people that do not normally buy second-hand items but can save a bit of money by selecting things that still look like new. Quality photos of the accepted items is important and the price is about 20-30% lower than a similar new item, so they prefer brands that are recognized.

After his presentation, there was a lively discussion. Many people thought a lot about whether it was right or not to sell only clothes that looked new – as used. There was a great deal of what they received that they did not want to sell and which they then donated further internally in Uruguay. The discussion and the temperature in it were interesting in themselves. Why does this arouse so much opposition? Why must used clothes also be part of a “used” style? It is also a question of whether similar concepts exist elsewhere and whether this will eventually be exported.

Lucrecia de León (Wardrobe metabolism) presented her Master’s thesis work.

During the second day, focused on wardrobe studies as a tool to understand clothing consumption in the context of the environmental crisis, international and local CHANGE researchers shared their past and current research supported by wardrobe methods. These included:

Lucrecia de León (Wardrobe metabolism) presented her Master’s thesis work that was started by analysis of the wardrobe metabolism of two women, herself and another student. Later, the analysis was continued to a larger sample of similar women. 20 women started but only 8 finished. Some findings were that the new clothes were used more frequently and about 10% of items were unused. During the second week, wearing the clothes was planned, and inactive garments from the “RAM memory” were tried to be taken into use. Some garments were not possible to get activated, for example due to size.

Ingun Klepp (Wardrobe studies: History and variations) talked about the history of wardrobe studies as a method and gave examples of different methods that had been used at SIFO.

Kirsi Laitala (Wardrobe audits: Asking people what they don’t know) presented a method for the quantitative version of wardrobe studies, often called wardrobe audit. She introduced some advantages and disadvantages of the method and presented suggestions for improving the quality of collected data. Some examples from the international wardrobe audit were given to illustrate some of the points.

Vilde Haugrønning (Wardrobes in Change: Counting garments based on occasions) gave an overview of the field work she is doing in her PhD.

Irene Maldini (Assessing the impact of sustainable design strategies through wardrobe methods) held a lecture that many design school would find highly useful.

The next session was dedicated to Wardrobe methods in Uruguay, which included both already carried out studies, and plans.

Micaela Cazot, Lucrecia de León and Valentina Viñoles talked about the work with the pilot for CHANGE in Uruguay. Micaela Cazot and Lía Fernández (Identifying good practices of use: Reflections on the consumption of Slow Fashion in Uruguay) explored the plan for field work among people who themselves define their consumption as sustainable. The two were concerned with the wardrobe method’s possibilities also for self-reflection. Finally, Valentina Viñoles spoke about plus-size women’s wardrobe (Analysis of the coexistence between functional requirements, personal identity and social expectations).

Many engaged listeners in the audience.

The rest of the day was organized as a workshop with tables set up, where we could all choose different topics for discussion. This worked very well, despite the fact that talking together took time due to the different language skills we possessed. Spanish and English had to be translated back and forth constantly. But with a good mood and will, important topics such as politics and clothing for deviant bodies, and the development of wardrobe studies in Uruguay, were lively discussed.

This event contributes to the professionalization of wardrobe methods internationally, a central objective of the project, more specifically its work package 4. Students and junior researchers shared their experiences and initiatives using wardrobe methods, and more experienced researchers reflected on recent developments in methodological approaches and opportunities for future studies in the context of the growing social relevance of clothing consumption’s environmental impact.

Book presentation in an artisanal market

In the evening we participated in a book presentation at “Ideas +” a popular artisanal market that takes place every December in Montevideo. It also has a book launch every day, and some local music. There was a presentation of one of our colleagues’ work “Atinando al ojo del ciclope. La remanufactura y otros modos de accionar nuestras prácticas del vestir”.  A well-organized market with books, arts and crafts and much more in one, of the city’s central parks. On the outskirts, there were also more unorganized markets. After the presentation, we got to see a bit of everything, and again the lack of textile craftsmanship struck us.

From the book launch.

Locally produced textiles from many Latin American countries are dominated by indigenous woven and embroidered colorful clothing. In Uruguay, there is no knowledge of, or traces of, those who lived there before European colonization. It was said that they all died of disease.

Visit to Manos de Uruguay

Wednesday 7th: Manos del Uruguay is a non-profit social organization that since 1968 has given work to women artisans in rural areas of Uruguay. In Manos garments are designed and woven, mainly from wool yarns, for the local market and for prestigious international clothing brands.

Their premises are located in Montevideo, where they have workshops and offices. A lot of work is put into developing new products, as well as controlling the quality of their products, training and administration. There was a large number of different products, both yarn types and woven textiles. The yarn was mainly Merino. It was seen as a problem that there was no major spinning mill in Uruguay. Much of the yarn was hand spun, and some imported. A part of it had a curled-up look almost like unraveled yarns. This produced soft and airy woven textiles. Much of the yarn was hand dyed. We were told that they wanted to produce yarns from coarser, local breeds. The market, especially for hand knitting yarn, was very good, according to our tour guide.

Some of the yarns the company spins.

The main product is a simple poncho and the most sold is undyed white. The market for this was both in Uruguay through the companies, but also for export. In addition, they sold to luxury brands as part of their profile. This market was growing and had also changed a bit. Today, companies were more interested in making it clear to customers who was behind the production. Manus de Uruguay added not only to the craft itself, but also confidence in the product.

The market for the products is good. What was a problem, however, was knowledge of crafts in younger generations and also access to suitable looms and yarns. After the tour, we visited one of the shops in the center of town where there was both a sale of leftovers, etc. and a more ordinary shop.

Cerpodih visit

CEPRODIH is a non-profit civil association, founded in Montevideo in 1998, with the mission of assisting and promoting the most vulnerable families, especially women with children in situations of high social risk: unemployment, domestic violence, helplessness during pregnancy. The main objective is to generate concrete alternatives for socio-economic inclusion, so that women who are going through situations of risk can overcome them and manage to effectively join the labor market; managing to be able to support their families with dignity and autonomy.

Here we again met Renata Casanova Sanchez, who had given a lecture on upcycling at the seminar two days before. She gave us a nice tour of large, nice premises with lots of people and resources. There were courses in everything from sewing to running a business; kitchens, childcare and premises for various types of recycling of glass, paper, textiles and plastics. They had their own shop, or “showroom”, which displayed a selection of the products. They mostly worked with gifts and profile products for various companies and often with recycling of materials from the companies themselves. As the materials were constantly changing – and also the end product – a great deal of work was put into product development and utilization of materials. It was rarely possible to make many similar products.

Here we see how the logos find a place on the products.

The company’s finances were supported by non-profit organizations, and thus only part of the income came from the sale of the products. Nevertheless, the competitive situation for these, very time-consuming products, against mass-produced versions of the same products, was difficult. It was impressive to see how much beauty they were able to get out of waste that we don’t normally think of as valuable: Synthetic textiles, plastic and cardboard packaging, and much more. Part of the material consisted of donated clothes, they were also sold partly as resale and partly directly. When we were there, there had been a fire in a warehouse and large quantities of underwear with soot had come in. A group of women went through the goods to check for the possibility of laundering and reselling the underwear. Some of the items had tags cut off, as a way to protect the brand. This also meant that information about fiber and care of the clothes was missing.

The underwear that had been damaged by a warehouse fire.

Visit to Wool Mill: Engraw

We were given a tour by Frederico Raquet, who runs the family business. He started by explaining investments that have been made to make the factory climate neutral and self-sufficient in everything from energy to water purification. He also talked about all the various environmental certificates that he uses, everything from C2C to Climate Accounting. The water was purified in a separate facility and the remains of lanolin and dirt that could not be used in agriculture nearby were used as water/fertilizer for a planted forest that served as a final purification. Outside at the back of the factory, we saw the various water baths for purification, windmills for energy, all within their own property. Frederico strongly believes in long-term planning and leaving the company – and nature – in better condition for future generations. He also emphasized the well-being of the slightly over 100 employees.

The wool mill from the outside

Frederico explained that a large number of different types of grass grew in Uruguay, and that most of the country consisted of grazing land (natural pasture), i.e. not cultivated meadow or plowed land. The large areas were primarily used for cattle, i.e. meat production, but the cattle could not utilize all the grasses. In order to maintain good pastures, the farmers therefore released sheep onto the areas after the cattle had “had their share”. Trees were also an important part of this system. Trees provided shade for the animals and helped bind CO2. In this way, meat and wool production in Uruguay will fare well in terms of climate calculations. The animals graze outside all year round, there is no need for buildings or feed-production. Very little of the country’s vast plains has been cultivated. With this in mind, it was not surprising that one of the questions he had for us was why land-use is so important – and comes out so badly – in LCA/PEF comparisons. He wanted to know why it was not positive to use the area in a good way, and what would possibly be an environmentally better alternative for using the areas. Good questions.

Very fine crimp!

Things were in good shape in the factory. The building itself was impressive with an incredible brick roof structure, neat and clean. He explained the various processes, from the wool entering in large trucks. Much is Uruguayan, both Merino and other breeds with coarser wool, but they also scour wool from other countries, mostly from South Africa. The Uruguayan wool was classified according to a separate wool classification system. Which he himself had learned well and thoroughly before he could move up the ranks in the company. The production itself was always based on specifications from the customer, and could consist of various mixtures. We got to see wool from many countries, and work plans where all customers figured only in codes. But… on this particular day, wool for carpet production in the Middle East whizzed through the machines. What we got to see of Uruguay’s own Merino was impressive. Fine, long fibers with good crimp. He believed that there was poor provision for the coarser qualities and that farmers were generally paid too little for wool. He was concerned with new market opportunities for the part of the wool with the worst prices.

Fine wool tops from Uruguay.

We saw how the wool was mixed, scoured, carded and combed to tops. Some were also super-wash treated. When we got there, he said he would answer ALL questions about super-wash when we sat down afterwards. He thus assumed that we had a lot of questions about exactly this. When we actually sat down afterwards, we talked about this through Ingun rather saying what she usually answers to questions about this treatment. He himself thought it funny that a treatment with inputs that are both well-known and not unusual (chlorine, salt, resin (the same that makes paper glossy) arouses so much attention and resistance.

We used the rest of the time in Uruguay to see the country and talk about the further work in CHANGE. We allowed ourselves to be enthralled by the vast plains, endless beaches and the people’s pleasant and relaxed demeanor. The temperature quickly rose to well over 30 – so clothes… well there was a lot of bare skin to be seen and not just on the beach, but also the use of clothes as protection from the sun – a function we rarely have use for here at home.

Drums and flags, an unusual experience for the Norwegian team.

Drums, often in large groups of men, are one of the country’s prides, and here too textiles are included in the form of huge flags which are preferably kept flying in time with the music. Another good use for textiles was mosquito netting around the beds. Paradise for mosquitoes, dogs and grass-eaters. Cattle, sheep and shiny, slender horses walked slowly around in large herds and could choose between open, warm plains, some shade from trees, or drinking from ponds of rainwater. We also experienced playful seals, walruses, people and not least waves at the beaches. Something for every taste, in other words.

Second homes are quite common, and we had a chance to visit Irene’s family’s cabin.

A real CHANGE

Casual and formal on a trajectory to merge? This question is emerging both in research and when looking at consumer trends for clothing and fashion.

As part of the CHANGE project, one trajectory being explored is a return to clothing that is more versatile and less defined by occasion. In this exploration, a “mix and match” approach is being explored, which seems to resonate with a market in transition post-Covid.

Hugo Boss recently launched the knitted suit in cooperation with Woolmark, a new knitting technology with four-way stretch that makes the suit extremely versatile and enables the wearer a freedom of movement that most certainly allows for some leisure activity. At the same time leisure wear is becoming more formalized and an outdoor windbreaker now even has a place in a city setting, we heard during the recent IWTO Roundtable in Nuremberg in Germany, where Francesco Magri, Woolmark, talked about “the new suit”. He spoke about the “post streetwear” and affirmation of a “new” formal, and the return of conviviality and the “weekly” eveningwear.

We also saw an “urban hiking boot” being launched by Norwegian brand Alfa – which finds a place both to and from work, and hiking (click here to see the shoes). One could say athleisure (the merging of leisure and athletics) is further leaching into other aspects of our lives, which is echoed by the recently released State of Fashion report 2023, from Business of Fashion and McKinsey & Company, which alludes to this same change in mode of dress:

The recent report from Business of Fashion and McKinsey & Company

«Even before the pandemic and the hybrid-working paradigm of today, office attire was relaxing. Hoodies, jeans and sneakers became increasingly acceptable in many offices. Even banks and professional services firms — with entrenched suit and tie cultures — have acknowledged that office dress codes need modernizing. In 2019, Goldman Sachs announced a firm-wide flexible dress code, encouraging employees to use their judgment when deciding whether they should, or should not, ditch their suits for a more casual look.”

After the IWTO’s Round Table, the Secretary General, Dalena White, commented that this was a function of how people commute: On bikes and scooters, rather than in cars or over-crowded public transport. This means work-clothes need to adapt. But what then about women? Let’s return to the State of Fashion Report 2023, which highlights a new gender-fluidity as well:

“In women’s wardrobes, where dresses have long ruled both office and evening wear, a new take on the pant suit emerged in 2022. Labels such as J.Crew and The Frankie Shop showcased oversized suits and trousers in soft materials for customers looking for polished, fashionable but comfortable styles. Workwear label M.M. LaFleur has honed its ‘power casual’ category of structured knit tops and washable twill trousers. The brand said FORMALWEAR REINVENTED in early 2022 that its power casual styles were generating triple the sales of dresses that used to drive about a third of the company’s sales prior to the pandemic details that bridge formal and casual attire — such as formal cuts in comfortable materials that often incorporate performance fabrics, like sweat wicking or stretch — are also in high demand. For example, cashmere joggers from Burberry and Loro Piana or linen and crochet shirts from Jil Sander and Jigsaw can be dressed up or down depending on the occasion.”

Where does the shift in workwear leave formal wear? And how is the shift in more formalization of casual wear leave the whole idea of the need for very different clothes for different occasions, perhaps one of the main drivers in the current over-production of clothing? If your outdoor sports jacket also can be worn to work, if your work suit can be acceptable for leisure – why on earth would you need clothes that clearly signal formal or casual?

This opens up a whole new possibility to mix and match, combine a classic, formal jacket with jeans, or a wool sweater with a suit. Trends that have been emerging for quite some time – but are now taking hold.

Report from IWTO’s Round Table 2022

There seems to be renewed hope for strong wool and local production. Especially with a focus on regenerative grazing and looking at wool’s possible new (and perhaps old, but forgotten) applications.

Regenerative agriculture was a major topic at the IWTO’s Round Table in Nuremberg, Germany, and the possibility of natural fibers to make a positive contribution to climate sequestration, to biodiversity and to soil health. Heinz Zeller from Hugo Boss, said that by 2030, all natural fibers the fashion brand uses must either be from regenerative agriculture or recycled sources. UK-based Merino farmer Lesley Prior, who is helping to establish a Merino breed in several European countries with sheep that can withstand a varied climate, also spoke a lot about the theme. Prior has worked for many years with small brands in the UK, such as Finisterre. “In England they have very strict rules about what you have to report and measure,” she explained, impressing everyone with her knowledge and passion. “Remember your woolen clothes are carbon stocks,” said Prior, to eager applause.

Andy Caughey, Wool Impact, showed the decline in “strong wool” prices on the international market. (Photo: IWTO/Nickland Media)

For Polish and Norwegian wool, two lectures were of great interest. Andy Caughey, head of Wool Impact in New Zealand, aims to make “strong wool” – i.e. the same wool as Norwegian crossbred wool – “great again”. “Stop looking at the floor,” he said, referring in particular to the wall-to-wall carpets. It is all about finding new and better applications for this wool, alongside carpets and knitting yarns. Wool winter boots are an emerging market, following the footsteps of Allbirds, Kastel and many others. The new company, Wool Impact, is funded by the New Zealand government, and among the examples Caughey showed were wool band-aids (which are biodegradable), sound-absorbing panels, face masks, air filters and nappies and sanitary pads, all in wool and potentially biodegradable if disposed of in the right manner.

New Zealand, unlike Norway, does not have wool subsidies, so the cost of shearing the crossbred sheep is today higher than what the farmer receives for the wool. In connection with the use of wool in wall panels for sound absorption, a company in New Zealand had developed an additive based on a food supplement, to ensure their flame retardancy. Strict requirements for a material that is naturally flame retardant has been a headache for many, including those who supply woolen products to the military, fire brigades, police and aerospace.

Reina Oving, The Knitwit Stable in Holland, has captured the attention of the EU bureaucrats for her innovative use of Dutch wool. (Photo: IWTO/Nickland Media)

Reina Ovinge, from Holland, talked about her local wool project in Holland, The Knitwit Stable. She had worked in the fashion industry for many years, but got tired of the pressure on prices and the constant call for new collections. Although she only has 35 sheep and 35 goats, her work arouses great interest, also among EU bureaucrats, who have visited her set-up. The EU also has agreed to fund a knitting-machine, so that she can now produce clothing and other items on demand. This has led to capsule collection cooperation with Dutch fashion brands such as Scotch & Soda and Humanoid, small collections that command high prices. She has visited both Hillesvåg and Telespinn, she said, for inspiration.

We also heard about French wool (Roquefort cheese would not have had a place on shop shelves without sheep) which is mostly thrown away. France is very much struggling with the lack of a value chain for wool. We also heard about a new grazing project in the USA where the sheep graze in conjunction with solar panels, because the grass under these would otherwise have had to be cut by machines. Here, too, the topic was carbon capture, which Lesley Prior also repeated several times. She believes (but has no proof as of yet) that she is at least carbon neutral on her Tellenby Farm, perhaps even sequestering carbon. In addition, she used a reporting system called “Fair to Nature” which assesses the farm’s contribution to biodiversity every two years. And she isotope-labels the wool so that wherever it ends up, it can be traced back to her. Provenance was also something that several speakers claimed was increasingly important. In New Zealand, there is a labeling scheme that covers both the wool and the meat, New Zealand Farm Assured.

Lesley Prior had a bee in her bonnet about all that should be counted (with all the schemes and bureaucracy governing agriculture), what can be counted… and what actually counts. This is an ever-recurring discussion when it comes to regenerative agriculture, where what everyone can observe (birds chirping, bees buzzing) is probably as important as the measurement of carbon in the soil.

Lesley Prior, who breeds Merino sheep that thrive in Europe, gave one of the most compelling talks. (Photo: IWTO/Nickland Media)

Whether local European wool can be used better was not a major theme during the conference, but it did resurface, and especially related to manufacturing. Nuremberg, with its famous Christmas market in the old town, is Südwolle’s hometown and therefore also the scene of the conference this time, as they were the main sponsor. Südwolle and Schneider are competitors, but at the wool congress both companies agreed that they want more production in Europe, but are struggling to recruit labor.

The topic of whether it is one of the solutions to bring down the enormous increase in production, to move production back to where consumption takes place, rather than a pessimistic belief that we will have a thriving fiber-to-fiber recycling industry in the EU, has only just begun. Interestingly enough, in light of all the arrows pointing down for the apparel industry, in light of rising prices and inflation, there was one industry that was optimistic, and that was the factory machinery manufacturers. They envision that more people than Hugo Boss will knit – and more locally – based on what is called “just-in-time” production.

Ovinge had bought herself a Stoll knitting-machine with EU funding, as mentioned, others will probably follow suit.

Clothing Research contributes to new report on over-consumption

The Clothing Research Group, SIFO at OsloMet, has contributed to the recent Hot or Cool Institute report Unfit, Unfair, Unfashionable: Resizing Fashion for a Fair Consumption Space (download the report from Hot or Cool here). The contribution is in the form of a critique of EU’s textile strategy which was launched in March 2022.

The report Unfit, Unfair, Unfashionable: Resizing Fashion for a Fair Consumption Space goes far in mandating a “fair consumption space”, in an equity-based approach to reaching the climate target of 1,5-degrees. In sum, the authors have set a roof on how many items of clothing a person in the Global North can consume, at least on average, while allowing for an increase in consumption in the Global South.  Why? Well, while the richest 20% in the UK emit 83% above the 1.5-target, 74% of people in Indonesia live below sufficiency consumption levels of fashion, which is one of many eye-opening statistics in the report.

The report is highly relevant for the ongoing work in the project CHANGE. In the same way as this research project lifts the sight from the Global North and our overconsumption, and addresses the discussion of what constitutes a sufficient wardrobe. In CHANGE we will continue this work, however with a point of departure in clothing culture and tradition. Clothing is not only “fashion” or environmental footprint bad guys, they are also an important part of our culture and history.

It is mainly in “Box 6” that the clothing research team at Clothing Research have contributed, with a critique of the EU textile strategy. This is not related directly to a roof on consumption, but critiques the lack of policy instruments to make “fast fashion go out of fashion” in the words of Frans Timmermans.

Opportunities for improving the EU Strategy for Sustainable Textiles, as discussed in “Box 6” has one of the following more important take-aways: “Missing from the Strategy is the only real alternative to the global mass-producing industry: small-scale, local production. Textiles are very complex products, socially, aesthetically, functionally and technically. If overproduction continues, longer lifespan for textiles or other measures to increase the utilization rate for individual garments, will not substantially contribute to reduced emissions nor to lower environmental impacts. The measures mentioned in the strategy are not aimed at solving the main issue of overproduction and overconsumption, and are thus not enough for achieving the goals of sustainable and circular textiles.”

The report could, however, have stressed more concrete policy measures that actually stop the influx into the Global North market – which risks – if consumers follow the report’s advice – an abundance of un-sold goods. These are also the goods that the EU plan to forbid incinerating and maybe exporting to the Global South as “gifts”.  In the long run, however, the focus on less consumption can contribute to lower production and thereby also the environmental impact.

This is a key in the CHANGE project.

The core challenge: Overproduction and growtharchy

During the Fashion & Sustainability (lusafona.pt) conference in Cascais, Portugal, Irene Maldini gave the key note speech entitled Overcoming growtharchy: why we need limits to (clothing) production volumes, concluded three days of exhibitions, parallel sessions, project presentations and keynote speeches in the first edition of this biannual event.

In her talk, Irene Maldini stressed that overproduction and overconsumption are core challenges in aligning the fashion sector with the limits of our planet. However, strategies aimed at reducing clothing production volumes at company and policy levels tend to focus on indirect methods, with questionable environmental benefits. Actions aimed at reducing production volumes directly, are avoided, as they challenge the idea of endless economic growth and the interests of those who benefit from it.

Therefore, overcoming growtharchy (a society ruled by economic growth) is a condition for enabling less impactful ways of living for humanity. This entails that we acknowledge cause-effect relations between volumes and speed, different levels of power and responsibility in driving necessary changes, and the role of the economy as a means for wellbeing rather than an end in itself. Given its characteristics and the crisis of meaning that fashion is going through, this sector can drive this transition, opening doors for other sectors to reconsider their dependency on growing production volumes.

Irene Maldini is one of the key partners in the CHANGE project, and her work will be addressing this issue.

Selbu spinning mill’s pivotal role in wool projects


12 years ago, Selbu spinning mill was established, focusing on wool from traditional, Norwegian heritage sheep breeds.

From the beginning, cooperation in projects has been important. Let’s do a deep dive!

Why do Selbu work on projects? Well…. Exchange of competence and skills, development of own competence and skills, new challenges for the employees and because project work is a part of their business plan. Check.

So HOW do they work on projects? They need to be involved in the application process from the outset! Their competencies are: Wool sorting and classifying, processing of wool for project partners, development of new products, testing of new methods in production and courses/workshops covering crafts and skills, as well as excursions to endangered seminatural landscapes, formed by grazing.


In WOOLUME: Selbu’s role is to test the production of a range of products made of wool from the Polish (Carpathian) milk sheep breeds, a wool sorting workshop in the Koniakov mountain village, with the main challenge is to find the best use of coarse wool, exchange of knowledge: traditional farming in cultural landscapes. Here you can read about the last trip to Poland.

Founder, Ingvild Svorkmo Espelien explaining during the Polish WOOLUME Partners visit to Selbu Spinning Mill.
Founder, Ingvild Svorkmo Espelien explaining during the Polish WOOLUME Partners visit to Selbu Spinning Mill.

In hiWool: Selbu’s role is to look at traditional sheep breeds in Norway and Portugal, wool sorting and processes, exchange of competence, also for textile traditions, and finally a knitting challenge with pattern development.

Ingvild and the hiWool team examining Portuguese wool on a visit to Portugal.
Ingvild and the hiWool team examining Portuguese wool on a visit to Portugal.

In the Estonia/Norway cooperation project, Selbu’s role is about wool sorting from traditional sheep breeds in both countries, exchange of experiences and competence, spinning yarn for weaving twill textiles for fulling and feedback from the textile tests, and coordinating education in Estonia and Norway.

Nordenfjeldske Fibershed – Fibershed Norway is Selbu spinning mill’s latest venture. This is a network and cooperation system based on local resources, craft, traditions and farms. This will be part of the development of Fibershed Europe and a chance to build a functional cooperation for sustainable production.

Click here to read more about Selbu spinning mill – in Norwegian (selbuspinneri.no)

CHANGE in Denmark

The CHANGE researchers met in Copenhagen the last week of September. CHANGE is an international project with clothing researchers from all over the world. Liudmila Aliabieva (Moscow School of Social and Economic Sciences), Irene Maldini (Lusófona University, Portugal), Lucrecia de León (Escuela Universitaria Centro de Diseño, Uruguay), Kate Fletcher (The Royal Danish Academy), Else Skjold (The Royal Danish Academy) og Iryna Kutcher (Design School Kolding) participated, together with the clothing research group from SIFO and Tone Skårdal Tobiasson. It was a wonderful week, with a lot of fruitful meetings and discussions.

Almost all of the CHANGE team!

The wardrobe seminar at the Royal Danish Academy was the main event, with around 90 in-person participants and 40 online participants. After the workshop Else Skjold launched KLOTHING – Center for Apparel, Textiles & Ecology Research (kglakademi.dk), a new centre under the Royal Danish Academy. We look forward to following the work!

The KLOTHING team, Else Skjold far left, Kate Fletcher, far right. Photo: Johanne Stenstrup

In the following, you will see a summary of a political lunch meeting, a mending workshop and finally some reflections from our team member from Uruguay, Lucrecia de Léon.

The lunch-meeting

During the day spent at the Royal Danish Academy, Else Skjold had arranged a lunch meeting with a nice mix of academia, policymakers and trade organizations. The participants were from the Danish Energy Agency, the Danish Lifestyle & Design Cluster, Continual, Danish Fashion and Textile, the Danish Consumer Council TÆNK, Danish EPA and several Danish universities, alongside the CHANGE team. The European Environmental Agency turned up for the workshop and more informal discussions later on.

To open up the discussion, Ingun and Tone had prepared a short presentation showing the increase in clothing volumes directly related to the increase in synthetics, an overview of the value-chain with percentage impact (only 12% for fiber stage) and the obvious data-gaps (also at the fiber stage, but of course the use phase and the end-of-life phases). Ingun and Tone also addressed how hard it is to capture meaningful information with the data-gaps, with the complexity of the value-chains, global average data and the mismatched boundaries of natural and synthetic fibers. After the short presentation, the floor was open for questions and discussion.

We were positively surprised at the openness and interest in research that we met, and how the research can actually contribute to policy – specifically the volume issue. There was also a genuine surprise related to how ‘un-democratic’ the process is in the technical committee for PEF, and there later emerged a discussion around the more democratic consumer protection laws in Norway – which make it much easier for civil society to actually make complaints against global textile giants (as seen with the ruling from the Norwegian Consumer Authority that brought down the Higg consumer-facing label). EEA’s representative facilitated a discussion with the representative from the Danish EPA in the Nordic Council of Minister’s new textile project, and also advised that the EU parliament needs to understand the points Ingun and Tone made during the lunch about volumes, and what actually makes a difference and will impact climate and environmental impacts.

Happy participants, from left Tanja Gotthardsen, Lars Fogh Mortensen and Arne Remmen. Photo: Johanne Stenstrup.

The usual frustration around ‘if we can no longer base our decisions on Higg, what do we do?’ also arose, and this discussion needs to be addressed in a better way. Why these tools, that are proxy both for trust and for the total lack of material and fiber knowledge on properties, have gained so much power, needs to be tackled in a more proactive way. When they are used and misused by those with no or very limited understanding of data (including LCA experts) and later by buyers and those sourcing materials who have no idea what properties the fibers actually bring to the table; it’s a disastrous set-up with equally disastrous results. 

Mending workshop

Mending is about love, care and fun!

On the final day of the workshop, the CHANGE team was invited to take part in a 2-hour mending activity organized by Liudmila Aliabieva and Iryna Kucher. To make that happen we asked everyone to bring one clothing object with holes, tears, stains, or other kinds of damage which they would like to repair.  At the beginning of the workshop, we asked everyone about the item they brought, why they brought it and why they decided to mend it, if they had an idea how they would like to approach the damage – that served as a very productive starting point not only to begin the workshop itself but to initiate a very lively discussion of the stories, skills, senses and emotions behind the clothes and mending as a practice of care. Some of us brought their mending kits with them which turned into a fun activity of its own as we explored the mending tools some of which might look mysterious these days for example a darning machine (see the photo) which was in great use in the times of scarcity in the USSR when people, limited in their clothing consumption practices, had to take much greater care of the things they had in their wardrobes.

Darning machine

We also asked the participants where and when they learnt how to repair things: it turned into a very intimate flow of telling stories with a lot of fun details. Storytelling plays a huge role in co-creative and community building activities such as mending workshops which help people mend away their fears and anxieties.

We hope we can mend it!

Reflections from Lucrecia de León

Words from Uruguay.

CHANGE has been a transformative experience for me.

Little could I imagine in mid-2020 and in the midst of a pandemic, that an email from Irene Maldini with the intention of linking Uruguay to what appeared to be an ambitious research project, would end up being consolidated into what is CHANGE today. For this reason, on my way back from this project meeting in Copenhagen, I allowed myself to write these few words. 

I can only be grateful for having been able to share conversations, discuss methods, and problematize new concepts with the best researchers in the field of wardrobe studies. I also embrace the emotional connection made with a group of wonderful women: generous, committed, activists.

I have absorbed everything and more. Additionally, I have also tried to contribute to this community from my Latin-American perspective, with a focus on cultural decolonization. I come from a public university whose main characteristic is the great social commitment based on education, extension and research. Therefore, I get deeply engaged, as a way of living.

From now on, the diffusion, spillover, and expansion of this learnings -and, above all- the construction of knowledge, will continue. In a context where clothing design is increasingly centered on people and planet’s needs, wardrobe methods will definitely be a new tool for Uruguayan students and researchers.

Let’s keep changing together.

Clothing research at the ESA Sociology of Consumption Conference

Last week SIFO hosted a conference for The European Sociological Association (ESA)’s Research Network of Sociology of Consumption. The theme for the conference was “Consumption, justice and futures: Where do we go from here? (oslomet.no)“. 146 participants from all over Europe gathered for the event and most of SIFO’s clothing researchers were among them.

The clothing research group’s Vilde Haugrønning presented her work in the i CHANGE project and discussed the preliminary findings and method development on the basis of the pilot study carried out in Norway o, Uruguay and Portugal. The title for the presentation was: «Occasions and clothing volumes: wardrobe pilots in Norway, Portugal and Uruguay». You can read the abstract using this link (conftool.org).

Clothing as part of the thematic

The conference contributed new insights and as one of the large areas of consumption, clothing was mentioned in many contexts. In the form of fashion, it was only natural that clothing was used as the major example and how consumers are primed for getting a «taste for variety» in Sophie Dubuisson-Quellier’s keynote presentation: «Why do we consume so much? Exploring the lock-ins of affluent consumption».

Julie Madon’s presentation «To make or not to make objects last? Consumers between prosumption and the desire for simplicity», was closely related to the theme in our Lasting project and examined several product groups. An important point from the presentation was how subjective the judgement of when something is used up is – for some, holes in the shoes are acceptable, as the shoe itself can still be used, but for others would throw them away at any visible sign of use. You can read the abstract from the presentation here (confrool.org).

In the same session, Victoire Sessego presented «Do-It-Yourself practices throughout generations: the effects of digitalisation». She pointed out that even though her presentation was part of a “Sustainable Consumption”-session, many of her informants’ DIY practices were highly unsustainable. You can read the abstract here (confrool.org).

Clothing as the main research topic

In addition to these presentations and others that included clothing and textiles as a part of the scope, several were also focused specifically on clothing.

Reka Ines Tölg presented her PhD work at Lund University, about the circulation of responsibility between consumers and producers of clothing. The title of her presentation was «Consume with care and responsibility! The material-semiotic making and distribution of responsibilities in green marketing». We, in the clothing research group, noted in particular that a story of the fragility of clothing was being told by the clothing producers and how this transferred responsibility onto the consumer if the clothing should break. Our question would then be if the producers shouldn’t instead make clothes of better quality to begin with? You can read the abstract by following this link (conftool.org).

In the same session, Gabriella Wulff from the University of Gothenburg presented her work on discount practices: «The Future of Discounting Practices? Materials, meanings, and competences in the Swedish Fashion Retail Sector». From our perspective, it was particularly interesting how the sector itself sees these practices as a necessary evil in a business model based on economy of scale and large advance order quantities. Simultaneously, they do attempt to “activate” garments in different ways to avoid reducing prices as much. The findings point to other aspects of the overproduction that is rampant in the clothing industry. You can read the abstract here (conftool.org).

Consumption of second-hand clothing was also discussed when Ariela Mortara talked about her research on the users of the Vinted App in Italy in the presentation «Second-hand clothing between savings and sustainability: Vinted case history». You can read the abstract via this link (conftool.org).

Deep diving into wardrobes provides important knowledge on clothes and their environmental impact

Authors: Vilde Haugrønning, Ingun Grimstad Klepp and Anna Schytte Sigaard

Norway leads the way in methods for studying the use of clothing. This is knowledge that is important in sustainability studies of apparel.

How many clothes are there in our wardrobes? What is used a lot and what do you seldom wear, and why? Which clothes have the largest environmental footprint? What causes clothes to be cared for and repaired?

There are many unanswered questions when the desire is to understand the connection between the consumption of clothing, and climate and environmental impacts. We need to understand why someone has a wardrobe full of clothes and still nothing to wear. To answer these questions, methods that can reconcile the concrete material with the way we use, buy, repair, launder, choose and not least throw away clothes, are required.

The method called “wardrobe studies” is very central in studies of clothing’s environmental impact. Consumption Research Norway (SIFO) at Oslo Metropolitan University has been at the centre of the development of these methods for 23 years. Today, the method is included in research, teaching, product development and design worldwide.

Research in people’s homes

The method involves the researcher and informant going through the informant’s wardrobe piece by piece, together. In some studies, the entire wardrobe is reviewed and in others, selected parts such as passive clothes, leisure and sports clothes, or favourite clothes are specifically studied. When the clothes are reviewed, the researcher asks the same questions for each garment. This gives us opportunities to analyze differences in the way different garments are used.

The method is time-consuming but provides detailed and reliable knowledge. Ideally, we do this at the informants’ homes and thus also gain knowledge about details around the organisation, storage, laundering and care of the clothes.

Clothes are complex

Wardrobe studies are particularly suitable for studying practices that we often take for granted. The practices are important to understand in order to gain better knowledge of consumption patterns, and thus how they can be changed in a more sustainable direction. The special feature of the method is that the clothes are at the centre of the analysis.

Clothes are very complex materially, socially and culturally. They are made from most types of materials, from animals and plants, including metal and chemicals and increasingly plastic. They are used to camouflage the body, keep it warm, decorate, protect and show belonging to cultures, groups, places and positions in society. Clothes are important for self-respect, security and social participation.

In order to embrace so many different aspects and see them in context, methods are required which have the capacity to connect the actual material with the practices and their many different meanings, both for the individual and society.

What properties do the clothes have?

Wardrobe studies lead to more knowledge about the use of clothes. This stands in contrast to studies that are concerned with clothes related to fashion, often understood as the novelty value of the clothes. In such studies, some things are often excluded, namely the material properties of the clothes, as well as all the nuances in the relationship between the wearer of the clothes and the clothes themselves, and the interplay between the clothes in the wardrobe.

After conversations with people about clothes over several decades, we have rarely heard informants say that fashion is important to them, and it is much more common to say the opposite. Fashion is an aspect of our clothes, but for most people, there are completely different reasons for both what you buy and what you wear. Fashion can make it difficult to find something you like in the store, such as the colour you think suits you, or a shape that is perceived as flattering.

Few know how many clothes they own

To capture the material in wardrobe studies, various techniques are used to obtain information about each individual garment such as photos, interviews, registrations and technical analyses. This gives the advantage that the information becomes concrete and tied to both the material and social aspects, and thus not so dependent on words alone.

Clothing habits, like other parts of our daily lives, are something we don’t usually think about. Therefore, they are also difficult to put into words in a conversation or interview situation. It is easier to describe the clothes and how they are used when we talk about specific garments. It will then be possible for us researchers later to see the relationship between the clothes and the wearer, and pursue what lies behind the words.

Very few know the average age of their own wardrobe or how many clothes they actually have. We ask people about what they know and have a relationship with, but compile the information ourselves with national or global averages, or qualitatively based interpretations.

Knowledge to inform policy

Today, SIFO has several ongoing research projects with wardrobe studies: CHANGE, Wasted Textiles and Belong, all funded by the Research Council of Norway. Here the wardrobe studies are used to study how we use clothes for different occasions and the importance of variation in clothing habits, how we can reduce the amount of textiles and specifically synthetic textiles, and the importance of clothes for belonging.

In all projects, wardrobe studies contribute to important knowledge about the importance of clothing and textiles in our everyday lives. This knowledge is crucial to developing policies capable of drastically reducing climate and environmental impact, and at the same time ensuring everyone in the population has access to good clothing.

An important challenge in the work with clothing and the environment has long been very inadequate life cycle analyses (LCAs). Without knowledge of lifespan, disposable products are compared to clothes that are worn 500 times or more.

No one would argue that such a use of LCAs is correct, but going from this point of departure to finding methods to include lifespan in LCAs of environmental impact, is quite a challenge. SIFO has further developed the wardrobe studies method in a quantitative direction in order to obtain knowledge about global clothing habits suitable for such analyses.

Consumption is important

In these studies, we work with detailed information on 53,461 garments which gives the opportunity to ask questions about, for example, differences between different types of garments, fibres or what the clothes are used for. This is very relevant when the EU is now developing a new labelling scheme, the Product Environmental Footprint (PEF), which will include textiles. SIFO, therefore, contributes to the development of the rules specific to clothing in this labelling scheme. There, as in many other contexts, it is difficult to get the impression that consumption is important.

The work with wardrobe studies shows that in research it is not only important to develop good questions, but that the methods must also be adapted so that we researchers are able to deliver the knowledge that society needs. Climate and environmental problems cannot be solved without knowledge of people, society, politics and regulation. It is urgent to take the fact that we humans have created the problems seriously, but that we can also solve them. For that, we need more knowledge about ourselves and our habits and the way we use products that burden the climate and the environment a lot, such as apparel.

A comprehensive overview of research and projects that use wardrobe studies can be found on this web site and publications related to wardrobe studies can be found by clicking here.

This article draws on the following research:

Fletcher, K. and Klepp, I. G. (eds.) (2017) Opening Up the Wardrobe: A Methods Book. Oslo: Novus.
Klepp, I. G. and Bjerck, M. (2014) ‘A methodological approach to the materiality of clothing: Wardrobe Studies’, International Journal of Social Research Methodology, 17(4), pp. 373-386.
Klepp, I. G., Laitala, K., & Wiedmann, S. (2020). Clothing Lifespans: What Should Be Measured and How. Sustainability, 12(15).
Laitala, K., Klepp, I. G. and Henry, B. (2018) ‘Does Use Matter? Comparison of Environmental Impacts of Clothing Based on Fiber Type’, Sustainability, 10(7).
Laitala, K., & Klepp, I. G. (2020). What Affects Garment Lifespans? International Clothing Practices Based on a Wardrobe Survey in China, Germany, Japan, the UK, and the USA. Sustainability, 12(21), 9151.