Wasted Textiles Archives - Clothing research

Artefacta conference

Kinga Zablocka on 20. February 2025

For the fourth time, University of Helsinki arranged the Artefacta conference. It brings together researchers and professionals interested in objects, material culture and our relationship to them (click here for full program helsinki.fi).

I had the great honor of opening the event with the talk “Product attachment in politics and wardrobes”. I described the development of the product-related research methods that Kirsi and I, and our colleagues at SIFO have worked with for close to 20 years. I also showed how the knowledge produced by such methods has become more relevant in the wake of emerging regulation aimed at apparel. It is a sad fact that as much as the EU quotes clothing research coming from SIFO in the knowledge summaries underpinning their policies, it is clear that they lack an actual understanding of our work. With that the potential for the polices to enact positive change (lower the environmental impact) is also greatly reduced.

The talk was well received. However, it would have been more fitting if I had based the talk on my cultural history knowledge and shown how this context had been important in my own research. Furthermore, I could have reflected around how a lot of what is talked and written about clothing and the environment, sadly, does not touch upon cultural history at all.

There is not enough time to do everything. The conference itself went more into depth on relationships and feelings than on the environment, climate, war, crises, with some exceptions. This gave a feeling of freedom. Many beautiful, empirical, thorough and thought-provoking presentations were presented. Being housed in the newly renovated main building of the university dating back to 1828-1832, our material surroundings could not have been more fitting, both spacious and stately. We moved between Greek statues and pillars with a view of the impressive view of the Storkyrkan standing right outside, built around the same time. Helsinki is a capital city, no doubt about it.

At the core of the Artefacta Conferences are objects and artefacts, as well as the materiality and material culture related to them. The Organising Committee, led by Riikka Räisänenin expressed that they welcomed “abstract proposals from all over the world and from interdisciplinary perspectives, including the fields of material culture studies, history, archaeology, anthropology, heritage science, conservation, craft science, art history, museology, ethnology, design and beyond”. Something they certainly succeeded in. Both the US and Australia made themselves known, and indeed the whole specter of artefact-adjacent disciplines were represented. From music historians who studied the chronology of different pieces starting with original sheets of music to art disseminators for an American museum specializing in aviation and space travel.

Thousand-year-old objects and perspectives on the future were presented. The latter was a great presentation by the only other Norwegian contribution to the program, by Georgina McDowal form Museums of Song og Fjordane. By positioning herself several hundred years in the future and describing how the archaeologist would have reported on the objects found at the bottom of the sea where Sogn og Fjordane is situated. The plastic life vest was perceived as a dangerous object and a symbol of the unrestrained use of plastic which has so prevalent in society in an unknown and uncomprehensible past.

The talk on “Is it Always Only Green” with Aarti Latkar and Neelakantan Poomangalath represented another reflection of plastic. They showed how in India, grass lawns are a symbol of the colonial times, with their sports and aesthetics, which is different from the associations in the western world. The meaning asides, it is interesting how grass spreads, most notably in the areas between inside and outside. It climbs on walls in the form of mats and can cover entire surfaces. “Plastification” was also a theme in her talk, and it was extensively covered.

There were many beautiful presentations, and a lot of work went in to the visual aspects, as mentioned previously. What is most striking in hindsight is how the presentation that I, and many other who I spoke with, will remember best was one without a single picture in it (including pictures of text). Julie Gorks was the speaker and she had conducted a wardrobe study on blind individuals’ wardrobes. “Blind touch: Feeling clothes as a material intimacy of blindness” omitted visuals completely out of the respect for the non-seeing members of society. She talked about how her participants experienced their clothes through smell and touch and how the sense of touched was used to “see” the garments, but also to get a feel of the garment. Colours had smells because of the pigments. The senses were present tenfold. Even the visual aspects had to be taken into account because the participants would be looked at by others. Their notion of colours, for instance, would be confronted with another way “to see”. This presentation was in the same session as Timo Rissanen’s talk on Australian leather title sashes and queer objects in museums’ collections.

This way, two marginalized groups and their material cultures were highlighted, showing the importance of research focused on smaller and specific phenomenon rather than the “normal” and “average”. The knowledge that comes out of this type of studies is valuable and can shed a light on aspects that can get lost in our daily lives. Doing research with differently abled individuals is one of many ways that could further clarify what it means to get and/or to be dressed. It was especially good to meet Timo again after approx. 20 years. The last we saw each other was at a conference which I helped arrange at OsloMet, long before we got that name. There is no digital evidence of the conference, but it is well remembered nonetheless.

Speaking of digital evidence (or lack thereof): The conference was brought to an end with the other key note speaker, Daniel Miller. Everybody was looking forward to this, ironically there was a material object that stood in his way; a lost passport (almost hard to believe in our digital age). Luckily Daniel was able to join us on the big screen and everybody did their best to make a note of what books he had in his shelfs.

The opinions on his talk were split. Daniel argued that he always had studied material culture and that there was not much difference between his studies on food in “Making love in the supermarket” and clothing in “The sari” and later his interest in information and communication technology. The conferencegoers did not necessarily agree on that point. The digital world is of course material, in the form of objects such as phones and tablets, and as such it also produces a lot of waste.

But pictures on the internet are not the same as on paper. Furthermore, the digital world has a lot of other characteristics. Spirited discussions followed over wine and dinner hosted by the university. Maybe this was his aim? Or maybe, as others pointed out, this lack of critique of digitalization pays off economically. Nobody was bored, truth be told, and it may be that the critique is connected to the high expectations ahead of his talk. It was a different experience for me and my talk. I am not only less known, but also mostly recognizable for my work with more culturally historical works with wool, washing clothes, bed linens and other kinds of unimportant objects.

With three sessions running simultaneously for two days from morning till evening, it was IMPOSSIBLE for me to see everything. In actuality, I could have been everywhere as everything was of interest. What’s more important than objects (and our relationship to them) is of course our relationship to each other. There was no lack in warm greetings and interesting exchanges, but for me one stands out, and that is my reunion with Mae Colburn.

She contributed with a poster presenting her and her mom’s collection of 600 wool skirts – believe it or not – which was inherited from her grandmother. The skirts did not stay on the poster, but showed up in different places in the form of small square pictures with different related motifs. Mae had also brought a postcard that showed a weave of a skirt made of the skirt fabric, melting the motif and the material together. Mae lives in New York and works as an artist in the crossroads between practicing weaving and academia. Since working at SIFO 15 years ago, she has developed into an artist and kept her fascination for wool (click here to check out Mae’s webside maecolburn.info).

One of the many things Mae did all those years ago was compiling a bibliography on wool, of course it is still readable but maybe used too sparingly? (link here (clothingresearch.oslomet.no)) What it certain is that her time at SIFO has changed her and us, and what is often forgotten is how important such meeting are and how lucky we are to be able to work together.

– Ingun

Pakket i plast

Kinga Zablocka on 5. February 2025

Authors: Kate Fletcher and Ingun Grimstad Klepp

This talk was a part of the Forskning i Friluftsliv 2024 Conference, in Oslo (se more on norskfriluftsliv.no).

Watch the talk or read the full text below.

Abstract

Friluftsliv (outdoor life) is not only a part of the solution, but also a part of the problem when it comes to misuse of nature (Aall et al., 2011). We will reflect around this dilemma in the following text, using synthetic (plastic) clothing as a starting point, additionally we will ask how plastic influences outdoor wear and with our experience of nature. The research question we will discuss is: How do the clothes and shoes we use in friluftsliv create feelings of closeness, control and distance to nature? We will ground our discussion by contrasting plastic and natural materials.

Method

A case study was used to gather data on the experience in nature with non-synthetic outdoor wear and shoes. Life Writing (Fletcher, 2022), photography and sensory ethnography (Vannini, 2024) were the methods. We used ourselves as informants, spending three autumn days in Vågå (Norway) in 2024. The methodologies are self-biographical and make use of feelings and bodily experiences that take place when out in nature wearing non-synthetic garments and shoes. The aim was to describe what we experienced, both positive and negative by not using plastic clothes while in nature. This fieldwork is only one part of a bigger initiative that we hope will result in a project where we can explore the theme of outerwear in friluftsliv in more depth.

Water, valleys, mountains, birds and much more under, over and around us played a part in our experiences. We also collaborated with other partners, most importantly a small leather tanning company ULU¹, operated by Sofie and Roni. ULU tans leather and hides gathered in the area, in addition to reconstructions and guided nature tours. Reindeer is the most important resource, and they tan the hides using natural resources such as bark and brain mass from the reindeers (Klepp & Haugrønning, 2021). Accompanying us on one of the days was a film crew from Frys Film². We wish to thank all our partners, from the reindeer and rain to Sofie and Roni and all their children.

Synthetic clothing in friluftsliv

Friluftsliv has the same environmental challenges as society at large, growing volumes of things. This challenge is driven by another important factor when it comes to clothes and textiles; plastification. These two growing aspects are connected because bigger volumes of textiles would not be possible without plastification (Changing Markets Foundation, 2021; Klepp et al., 2023). Plastification contributes to pollution during production, use and waste by the means of plastic and microplastics (Kounina et al., 2024).

There is no doubt that plastification and growing volumes of outerwear has had a lot of positive effects. We can pack lighter and be safer when outside. The road to the goal, not matter how high or far, is both shorter and faster be it sun or rain, with safer and more remarkable activities added to the mix. The consumption connected to friluftsliv is right for Norway and this growth meets little criticism (Klepp & Skuland, 2013). Few have asked what we lose with this development and little real alternatives to synthetics exists on the marked for many types of garments. Plastification has come such a long way that many consumers do not see it as a serious substitute to go on long trips without synthetic clothing.

The use of synthetics has a very short history. Humans have existed for approximately 300 000 years on this earth. Clothes have been used for only one third of that time. Synthetic textiles, meaning fibers made of fossil fuels (plastic), were invented almost 100 years ago, but they did not explode in popularity until the 1980s. This period saw the invention of synthetic textiles such as polyester, fleece and Gore-Tex, which has since become staples of the outerwear industry³. Our dependency on synthetics in outerwear is, historically, a short one. Furthermore, these past decades humans have spent more time inside than ever before. Our wish to spend time outside without plastic is therefore grounded in many historical role models and references. The garments we used were a combination of copies of old garments (form the Iron and the Viking ages) and newly developed garments made with old techniques and principles.

Results

We both use a lot of clothing made from natural fibers, yet being clothed without any plastic felt different. We had chosen four examples form the empirical material and structured them around four senses; sight, touch, smell and hearing.

Sight

The sense of sight is important for friluftsliv. We enjoy the view and lose ourselves in the colors and details around us. Yet, we do not only see the nature. We also see each other not only while out in nature, but also on pictures from the trips afterwards.

In the presentation we showed Figure 1, a picture form the trip where Ronny, Sofie and Frys film crew were with us. The film crew documented as we walked up the path on Snaufjellet in the drizzle. The picture is of Ingun and Sofie in a grand scenery with the sky, mountains, fog and the mountain we walked on covered in low heather. The colors are muted, with warm rust-tones and cautious greys in the forefront, on our clothes and in the nature around us. The reindeer moss and a light grey hint of a clearing in the clouds bring most contrast to the picture. In the presentation we showed a close up of the two people on the right of the image. And then we panned out, showing the same photo but with a wider angle. Here the Frys film crew is also visible. In this angle the eye travels away from the greys and rustics and attaches itself to the strong synthetic colors of raincoats and backpacks. Yellowish greens, orange, turquoise and black appear in the foreground and catch the eye. These clothes and equipment are not derived from natural materials, not ‘belonging’ in the nature, but create a contrast to it, which is often the case in photos of the outdoors. Photos of nature with and without humans are inherently different this way. Synthetic clothing and clothing made of natural fibers with synthetic colors change the way we look and what we see.

Figure 1: the affect of outdoor wear colour palettes on the visual sense. Photo credit: Kate Fletcher

Touch

The sense of touch is understood as everything we feel through our skin. We experience heat, cold, wind, different surfaces and much more. We feel the clothes we have on our body. We use clothes and shoes to avoid feeling too much and perhaps avoid feeling every pinecone on the path and every needling wind gust.

A lot of synthetics in outerwear are used to avoid feeling different sensations, such as being wet or cold. Fig 2 shows Ingun in the rain , to reflect on what we lose when using plastic. Gore-tex and other technologies of the same sort are characterized by the use of microporous film containing the forever-chemical from the PFAS group. The aim of the film is to keep away moisture, while at the same time having so-called “breathable” qualities. This in turn means that the film is letting water vapor through. In theory, this film is keeping the wearer dry by letting out the vapor created by the body when moving (or even when sitting still or sleeping), while it simultaneously is supposed to keep rain or sea spray out. In reality, this does not always work.

Figure 2: alternative rain wear. Photo credit: Kate Fletcher

Other techniques to keep water out can be used. One such way is to lead the water away. The double coat which used to exist on sheep of older species, before being bred off in order to adapt the wool to modern spinning machines, comprises of long covering or guard hairs which lead water and moisture away from the soft underwool. We humans use this technique when hanging up a chain from gutters rather than installing a pipe to lead away the water. The water follows the chain down to the ground.

Ingun wore a short cape on the trip, which was made out of seal skin. The raindrops dripped from her hair and down the seal skin before being led away by the guard hairs on the collar. Ingun was warm beneath the hair and skin. The clothing she wore did not cover her entire body. Her knees and calves were uncovered. “I am particularly fond of water in all forms. Sea, rain, ice, snow and fog. Being able to feel water run down the skin is lovely” she explains. Taking off clothes is one way to keep them dry of course. Going out in nature without clothes or with some body parts uncovered allows for the feeling of rain against the skin. To be wet is not always synonymous with being cold. Our habit of wearing garments that keep the water out, robs us of the feeling of rain against the skin. This is further enforced when using tightly woven clothing which not only keeps the water away, but also keeps the wind and yes, even air out from our biggest sensory apparatus, our skin.

The feet are the body part that has been affected by plastification the most. This is not a theme that will be explored further as being barefoot or nude, meaning without shoes or clothes, changes the way we exist in the world. We hope to be able to return to this subject and many others at a later date.

Smell

Clothes smell. In actuality, we do a lot in order to control the smell of clothing, such as washing them (Klepp et al., 2022; Laitala et al., 2022; McQueen et al., 2022). The sense of smell has a fascinating history, being perceived as animalistic and subjugated to sight as a less intellectual and less human sense (Classen et al., 1994) Klepp et al., 2022).

Textiles, as well as leather and fur have a distinct odor. Different fabrics are also affected differently by sweat and other bodily functions. Sweat lends most odor to synthetics and least to wool (Klepp et al., 2016; Rathinamoorthy & Thilagavathi, 2014). Synthetic fibers are therefor put through different chemical process to supress the development of smells. Materials also have a distinct smell, which we can like or dislike. The following is a quote from Kate’s dairy about the experience of smell when it comes to clothing:

I am wearing a skin jacket made from reindeer hide and tanned with bark. It is light on my body, my shoulders, my arms, and it fills my nose with the scent of animal. The smell is full, strong and heavy. In a culture obsessed by cleanliness and fragrance, it is an odour of significance. It is a jacket marked in a way that synthetic ones never are – directly by a life, by a body that gave us its skin, by a heart of blood, the flex and taint of muscle. Does Friluftsliv have a smell?

Hearing

Both silence and noise are important aspects of friluftslivet (Faarlund 1992). When it comes to clothing this topic is most discussed in relation to hunting. Silent clothing is what differentiates hunting attire from other outdoor wear. But the sound clothes make is important for not only potential hunting prey.

Woven fabrics make more noise than their knitted counterparts, and the sound is often an important and appreciated part of the fabric’s aesthetic. The rustling of a silk underskirt is well described in novels. Woven synthetic textiles such as Gore-tex jackets and trousers make a lot of noise. They rustle when movement makes the fabrics rub against each other. This became obvious on the trip where the film crew joined us. Instead of the birds surrounding us, all we could hear was their clothing. making it almost impossible to hear anything other than our own selves. Environmental philosophers might say that this is the root of the problem. We always put ourselves in focus. What is necessary for us to start dressing in a way that allows us to listen to the world around us and less to ourselves? The big portion of outdoor wear comprising of synthetics with water- and wind resistant properties contributes to putting ourselves in focus.

Conclusion

We have shown that friluftsliv does not gain a lot by the use of synthetics and on the other hand loses something by looking at how plastic effects out senses (sight, hearing, touch, smell) when out in nature. Outdoor wear contains more plastic (synthetic fibres) than other types of clothing. Synthetics fibres and the laminates that come with, create a literal barrier between us and nature. Sometimes this is what we want, other times not. Plastic is closely related to overproduction and waste generation due to low cost and easy production. The fibres are so strong that they outlast the wearer and keep polluting even when breaking down back to earth. The garments that we use to be safe and comfortable in nature also keep the nature away from us, raise a barrier between us and the world and do not fit into earth’s natural cycle.

Environmental philosophers have long argued that the root of the environmental challenges we face is connected to our willingness to see ourselves as separate from nature (e.g. Plumwood, 1998). Therefore, it is possible to say that the synthetic fibres in clothing are the embodiment of techniques used to dominate and control nature, despite us being very much dependent on it and wishing to unite with it by the ways of friluftsliv. This paradox is at the heart of our work.

References

Aall, C., Klepp, I. G., Støa, E., Engeset, A. B., & Skuland, S. (2011). Leisure and sustainable development in Norway: part of the solution and the problem. Leisure Studies, 30(4), 453-476. https://doi.org/10.1080/02614367.2011.589863

Changing Markets Foundation. (2021). Fossil Fashion: The hidden reliance on fossil fuels. C. M. Foundation. http://changingmarkets.org/wp-content/uploads/2021/01/FOSSIL-FASHION_Web-compressed.pdf

Classen, C., Howes, D., & Synnott, A. (1994). Aroma: the cultural history of smell. Routledge.

Faarlund, Nils 1992. Støy og stillhet i Friluftslivet. SFT rapport 93:39. https://www.nb.no/items/URN:NBN:no-nb_digibok_2011011405039

Klepp, Ingun Grimstad: syntetiske fibre i Store norske leksikon på snl.no. Hentet 29. desember 2024.

Klepp, I. G., Berg, L. L., Sigaard, A. S., Tobiasson, T. S., Hvass, K. K., & Gleisberg, L. (2023). THE PLASTIC ELEPHANT: overproduction and synthetic fibres in sustainable textiles strategies (SIFO-Project report 5-2023, Issue. https://hdl.handle.net/11250/3086387

Klepp, I. G., Buck, M., Laitala, K., & Kjeldsberg, M. (2016). What’s the problem? Odor-control and the smell of sweat in sportswear. Fashion Practice: The Journal of Design, Creative Process & the Fashion Industry, 8(2), 296-317. https://www.tandfonline.com/doi/full/10.1080/17569370.2016.1215117

Klepp, I. G., & Haugrønning, V. (2021). Naturgarvet skinn i et miljøperspektiv. In: Forbruksforskningsinstituttet SIFO, OsloMet.

Klepp, I. G., Laitala, K., & Rathinamoorthy, R. (2022). The Consumer Perception of Odour. In G. Thilagavathi & R. Rathinamoorthy (Eds.), Odour in Textiles: Generation and Control (pp. 1-13). CRC Press. https://doi.org/10.1201/9781003141426-1

Klepp, I. G., & Skuland, S. (2013). The Rationalisation of Consumption Reasons for Purchasing Outdoor Recreational Outfits. In M. Vaccarella & J. L. Foltyn (Eds.), Fashion Wise (pp. 43-52). Inter-Disciplinary Press.

Kounina, A., Daystar, J., Chalumeau, S., Devine, J., Geyer, R., Pires, S. T., Sonar, S. U., Venditti, R. A., & Boucher, J. (2024). The global apparel industry is a significant yet overlooked source of plastic leakage. Nature Communications, 15(1), 5022. https://doi.org/10.1038/s41467-024-49441-4

Laitala, K., Klepp, I. G., & Haugrønning, V. (2022). Textile Cleaning and Odour Removal. In G. Thilagavathi & R. Rathinamoorthy (Eds.), Odour in Textiles: Generation and Control (pp. 197-222). CRC Press. https://doi.org/10.1201/9781003141426-10

McQueen, R. H., Kowton, J. E., & Degenstein, L. M. (2022). More than Just Appearance: Management of Clothing-Related Odor in Everyday Life. Fashion Practice, 1-26. https://doi.org/10.1080/17569370.2022.2062830

Rathinamoorthy, R., & Thilagavathi, G. (2014). Effect of Antimicrobial Finish on Odor Control Properties of Apparel Fabric. Journal of Textile & Apparel Technology & Management (JTATM), 9(1).

Defibering the future

tobiasson on 4. February 2025

The Wasted Textiles project took the trip to Norsk Tekstilgjenvinning in Sandefjord, and were privy to an introduction to one of the few recycling projects that can actually have something to offer, as the founder Pål Erik Haraldsen has understood the limitations and that it may sometimes be wise to say ‘no’.

Photo, behind, from left: Anita Austigard, IVAR, Bjørn Erik Rui, Vesar, Kristiane Rabben, Mepex, Jens Måge SIRK Norge, Anne-Lene Lundsett, RIG, Ingun Grimstad Klepp, SIFO, Håkon Bratland, SIRKNorge, Alexandra Eng, Revise/NG, journalist, Sofie Nesse Horsberg, Revise/NG. Front row, from left Nazia Nourin Moury og Solveig Birgitte Jacobsen Aarak, both NTNU.

As February started, the SIFO project Wasted Textiles arranged a study tour of the start-up company that has been praised by, among others, the Minister of Environment and Climate as a solution for the future Norsk Tekstilgjenvinning (Norwegian Textilerecovery). Twelve curious men and women from SIFO, Sirk Norge, Mepex, NTNU, Vesar, IVAR, Revise/NG and RIG took the trip and received answers to the many questions they had about this project.

Before a tour of the open and clean factory premises (no reason to take for granted for those of us who have visited recycling companies further south in Europe), we received a clear introduction to the background of NT and the plans for the future. – As of now we sort 1 to 5 tons a day, explained Pål Erik, who started in 2021 – after many years on the supplier side with Healthworkers hospital clothing. Thus, it was the health and hotel sectors that he also started with, because these have uniform products that are easier to work with than textiles from private households.

But what primarily distinguishes this factory from others we have seen, or heard about, is that the fiber to fiber recycling is neither mechanical nor chemical, in the classical sense; it is a ‘defibration’, a more advanced form for mechanical recycling. – I had to come up with a completely new word, explains Pål Erik. The machine, which ‘opens up’ the materials and fibers, is rather unique; the founder found it in Italy and believes it is one of a kind, at least on this scale. Each material that goes into the process, whether it is wool, cotton, polyester or polycotton – requires fine-tuning to obtain fibers that are long enough that they can be carded and spun into new thread and only a small proportion end up being downcycled. Through windows on the machine, we get to see the entire process in practice. Above us, an ingenious humidity system pumps out water vapor, while at the same time the textile dust is sucked out of the air. Should a fire occur, everything stops automatically and is isolated.

Ambitious goals

The latter is incredibly important, because the dust is highly flammable, and when some of us visited a downcycling plant in Poland, we learned – in the smell of foul-smelling anti-mold chemicals – that spontaneous combustion of the textile dust occurred at irregular intervals. That’s just how it was.

During 2025, Pål Erik believes that the plant will have a capacity of 5,000 tons, while long-term plans are for 30,000. To achieve this, automation, AI training and robots are part of the future. In the meantime, the world’s most advanced camera technology is used to identify the fiber content of reference textiles in all mixing ratios. It is the ‘clean’ textiles that can be recycled and defibrated into new thread today, even though they have also experimented with the ‘worst possible mixtures’. – Wool is probably the first thing we will achieve profitability for, he says, showing off the raw material that Gudbrandsdalens Uldvarefabrik will spin from the factory’s own offcuts that previously went to incineration. – We are also working on a project with Aclima, with merino wool.

Economic sustainability and social responsibility are the two most important pillars for NT, sustainability in a more conventional sense he would rather not use about the process, even though it uses both minimal electricity and water – and since they sort by color – no hazardous chemicals. – We have also chosen to say ‘no’ to products from Shein and Temu in our production line, because we do not know enough about the chemicals they use. So, we take these products out.

Pål Erik shows off the nurse’s uniform where over 50 percent is recycled fiber. Photo Jens Måge.

They collaborate with many, including Kirkens Bymisjon and Fretex, who send them what is too damaged to reuse. If they still find things that should be reused rather than shredded, Tise and Finn are the recipients. While we are standing there, a home-knitted polar bear sweater from the 1980s appears. – It is probably acrylic, since it has not been taken out, Pål Erik speculates. We are standing by the machine that takes pictures of all the garments with a hyperspectral “camera”, and based on what it registers and is set to identify, blows the garments out for further processing – today’s do was to sort into cotton, viscose and polyester with a minimum of 95% of this fiber content.

-They must be as clean as possible, in terms of fiber content and of course laundered. We cannot use wet or dirty textiles, and unfortunately the collection towers get damp when they are outdoors. There must be better solutions. For example, collection inside shopping malls. We have also found a solution for 50-50 cotton and polyester.

Because he has hired a Ukrainian textile engineer, he gets good support precisely in finding solutions for the fiber qualities; and when the raw materials, threads or fabrics are tested in the company’s lab, they get a report card that others can be green with envy over. – Maybe we will build a spinning mill here too, as it is not necessarily so labor-intensive.

Not that finding employees is a problem, many people want a job here, we understand. And the prospects for the company – which has received a lot of financial support from Innovation Norway, the Norwegian Retail and Environment Fund and the Research Council, totaling 50 million kroner – are that they could become profitable in 2026. Despite having gone from 50 to 5,000 square meters in no time. But then they charge at ‘both ends’, both from those who want to get rid of the textiles and those who buy the recycled fiber: The cotton is sold to Spain, the wool to Norwegian customers and polycotton also has a market, as mentioned. He also showed off hospital uniforms with 52% recycled fiber, which have withstood both washing and use, and which appear both softer and more comfortable than regular uniforms.

Not a goal to have recycled fiber in everything

They are constantly trying out new solutions, but taking one step at a time. He wants to and believes in trying out hemp as a replacement for polyester in a cotton blend. And otherwise says ‘no’, not only to Shein and Temu, but is also clear that the EU’s idea that all textiles should have recycled content is nonsense. – Curtains are fine with recycled fibers, but fine wool t-shirts, that’s really just nonsense, emphasizes Pål Erik, even though he may be undermining his own business model with such a statement.

He also hopes that there are products that could disappear from use or at least not end up as hostages in the circular economy, as they create major problems. When we ask for a wish list of these, which the Ecodesign for Sustainable Products Regulation could use more ink to get rid of rather than the current focus on physical strength, repairability and recycled content, Pål Erik lists: – Clothes with printed logos, with electronics and sequins, and sportswear with lots of Spandex. He is also not particularly enthusiastic about thin nylon stockings, thongs and bras with underwire – and believes that they belong in residual waste and should be sent to incineration rather than recycling, which is the opposite of what the official policy currently demands. GoreTex jackets, on the other hand, he believes must first and foremost be used ‘up’, and then must be treated as toxic waste and incinerated separately.

Today’s incineration of these does not take into account PFAS, Pål Erik believes. Thus an intermediate storage of such textiles might be necessary until better solutions are found.

Telling it like it is: Lambasting consumer-facing Higg-based label

tobiasson on 14. January 2025

Ingun Klepp discussing the NCA ruling in Nürnberg.

In a newly published article from Consumption Research Norway SIFO at Oslo Metropolitan University, Who Can Stop the Greenwashing, penned by Ingrid Haugsrud and Ingun Grimstad Klepp, the authors literally lambaste how the Sustainable Apparel Coalition (now Cascale) misused outdated and faulty data for their launch of a Higg (now Worldly) consumer-facing sustainability label.

In a detailed and thorough review of the case brought forward by Naturvernforbundet (Friends of the Earth) in Norway against sportswear actor Norrøna, who used the Higg MSI tool-based labeling scheme to market an organic cotton t-shirt as ‘less thirsty’ than a conventional cotton t-shirt, the authors question who has both the will and the impetus to stop greenwashing.

In the chapter, which is published in Mediating Sustainability in Consumer Society (Routledge 2024), they highlight the specific case in which The Norwegian Consumer Agency (NCA) issued a ruling in 2022: “the Higg MSI data did not constitute sufficient documentation for the claims made by the Norwegian trader in their marketing. The NCA concluded that the trader’s use of Higg MSI data in marketing was misleading, and therefore prohibited under the Norwegian Marketing Control Act”.

How the Higg Index Sustainability Profile Label was presented by Norrøna.

The result of the ruling was massive international media coverage, name-changes for both Higg and SAC, and that the Higg MSI-based label was discontinued. Assistant Director Tonje H. Drevland was responsible for the case on behalf of the NCA and is therefore an important part of this case. In addition to ruling that “Higg MSI data in marketing [is] misleading, and therefore prohibited under the Norwegian Marketing Control Act, which is based on the EU Unfair Commercial Practices Directive (UCPD). This conclusion could be seen as a warning to other traders operating in the EU/EEA area, as the NCA found that the use of Higg MSI data in marketing towards consumers in general could easily be misleading.”

The NCA has for a long time provided general guidance on the use of environmental claims in marketing. As a result of the ruling, the SAC (Sustainable Apparel Coalition) asked for more specific guidance. This resulted in “GUIDANCE TO THE SUSTAINABLE APPAREL COALITION ENVIRONMENTAL CLAIMS IN MARKETING TOWARDS CONSUMERS BASED ON THE HIGG MSI” – written in collaboration with the Netherlands Authority for Consumers and Markets (the ACM).

Brad Boren (Norrøna) and Tonje Drevland (NCA) discussing the ruling.

The ruling was presented in letters, on webpages, in the aforementioned guidance, in lectures, and in the SAC’s annual conference for the textile industry. Here, Drevland’s message is particularly clear: “I want H&M, Inditex, all large players to take a step back and realize that the steps they are taking internally may feel [like a great cost] to them but remember to look at it from the other side, from the environmental perspective.” She also stressed that “wrong information is worse than no information“.

Which, of course, is counter to the argument used by SAC (Cascale), who have repeatedly claimed that lack of perfection should not come in the way of using the Higg data, nor hinder it from being fed into the Product Environmental Footprint Category Rules data-base.

Ingun Grimstad Klepp explaining the process that is also described in the recent publication.

The critique from the NCA on the use of the Higg MSI or rather the Higg Index Sustainability Profile is as follows:

Global averages are not product-specific.
The LCA data that backs the global averages and the Higg MSI is outdated.
In addition, the LCAs underpinning the claims were not intended for the comparisons that were made.

More consequences followed: The NCA sent a warning to the Swedish fast fashion actor H&M, in case they considered using the Higg Index Sustainability Profile in marketing in Norway, as well as a letter to the SAC (Cascale) telling them to inform all their members about the ruling, and what consequences similar claims on the market in Norway could trigger. In addition, they informed other consumer authorities in the EU/EEA about the decision and issued a general warning to “other traders operating in the EU/EEA area”. Furthermore, NCA started a coordinated action from the Consumer Protection Cooperation Network (CPC), coordinated by the European Commission and led by four consumer protection authorities from Germany, Denmark, Norway, and Sweden against Zalando. According to a press release from the EU from February 2024, Zalando removed all their misleading environmental claims from their website. Thus, a large international player was forced to follow “the ruling”.

The SAC issued a response to the NCA ruling, stating that they will launch a third-party expert review of the Higg MSI and collaborate with the NCA on how to present information to consumers, and in 2023 KPMG did publish a report, but this did not answer the main question whether the data was suited for consumer-facing information or not. They wrote that this would depend on how PEF developed. The NCA’s strong criticism of the Higg Index Sustainability Profile was particularly serious as the SAC and their work with the Higg have been central to the development in the early stages of the EU’s planned anti-greenwashing weapon, PEF. Seeing the ruling and PEF (and the data underpinning PEF) in coherence is a discussion theme – which the EU Commission has tried to avoid – repeatedly dodging the “bullet” and insisting that they are not at all related.

The SAC (Cascale) is also a member of the Policy Hub. Prior Chair of the Policy Hub Baptiste Carriere-Pradal has been the Chair of the Technical Secretariat of the Apparel EU Product Environmental Footprint. The secretariat voting members are dominated by the industry, and the SAC members have a majority of the vote, which they pay a substantial sum to have. As already mentioned, the data and the studies that underpin the Higg MSI are to a large extent the same data and studies that are being used in the development of the PEFCR.

Discussing the ruling during the IWTO Roundtable in Nürnberg in 2022.

The European Commission’s Joint Research Centre has been tasked with verifying the scientific robustness of the database. Obtaining new Life Cycle Assessments (LCA) suitable for comparison is both challenging and expensive, and even more difficult if global averages cannot be used, which is the mainstay of the LCA-based Higg MSI. Another problem is that parts of the tool are behind a paywall and therefore unavailable to consumers and for documentation, further hindering a democratic process. When the complaint was filed by Friends of the Earth Norway, they chose to pursue the case because the complaint referred to scientific papers that questioned the Higg MSI data.

This gave research and critical journalism an important role in unpacking the issue. Most notable was the work of Veronica Bates Kassatly, an independent analyst and consultant who has authored several white papers with Dorothée Baumann-Pauly: The Great Green Washing Machine: Part 1 and more importantly Part 2) The Use and Misuse of Sustainability Metrics in Fashion. Worth mentioning is also her significant contributions related to cotton and other fibres, and how the incorrect claims and misuse of LCA data abound. The articles can be found here.

Both academic research and critical journalism have pointed out serious weaknesses in the Higg MSI in general, and the claims surrounding cotton in particular. It is also evident that research and critical journalism played a role in documenting the controversies and providing the necessary information to the consumer authorities.

The NCA’s ruling stated that the Higg Index Sustainability Profile was greenwashing if the use of the scheme was consumer-facing. In contrast, their authority had no means to say anything about the tool as such. It can still be used business to business (B2B). The same information used B2B could be particularly harmful because it is to a greater extent used as a basis for decisions – which in turn affects the consumers’ options and the downstream producers. It is also possible that the power of consumer authorities, and especially the NCA, shown in the ruling, is easily pulverized if the communicator of the unreliable information is no longer the company itself, or industry organizations such as the SAC (Cascale), but authorities such as the EU, through tools like the PEF.

The article stresses that this perspective is important, and also resulted in a lot of attention in the international press in the aftermath of the ruling. Articles with headlines like “EU PEF tool’s regulations in question now after Higg’s MSI” stating that “A group of 12 organisations have expressed their concerns over the EU Commission’s plans to use Product Environment Footprint category rules (PEF-CR) ‘as a standalone method’ for communicating green claims in apparel and footwear” or “After Higg Came Under Fire for Greenwashing, Now This One’s in the Hot Seat, Too”. PEF might, in other words, just as well be a powerful greenwashing tool – if the knowledge it is based on is insufficiently documented, outdated, contested, or irrelevant, to mention some of the criticisms against the Higg MSI.

The SAC (Cascale) themselves, have called for speeding up the PEF process, and one can wonder why.

It will become more difficult to stop greenwashing based on a lack of documentation if this is hidden in the PEF system. Finding the numbers behind the score will demand a lot of detective work from consumers and others. It will perhaps become even more important to establish what is essential and relevant information for consumers.

Tonje Drevland discussing the consequences of the ruling during an OECD conference.

“Mediating Sustainability in the Consumer Society”, edited by Astrid Skjerven, Lisbeth Løvbak Berg, Liv Merete Nielsen and Dagny Stuedahl, will be launched in Oslo January 29th 2025, 4 PM. More info here.

The article Who Can Stop the Greenwashing, can be accessed here (routledge.com).

Clothing Research’s Lisbeth Løvbak Berg, who is co-editor, also has written the last article in the book: Indigenous approaches to mediation of the climate and nature emergency: a conversation with Vanessa Andreotti.

Access the book here (routledge.com).

Hello from Melbourne!

Kinga Zablocka on 14. January 2025

In September 2024, we left autumnal Oslo behind to embark on a research exchange at the University of Melbourne with the Critical Fashion Studies research collective. This group, led by Professor Natalya Lusty and Dr. Harriette Richards, brings together fashion scholars, practitioners, and industry members to advance research on sustainability, ethics, and innovation in fashion.

During our stay, we had the privilege of attending several inspiring events. In October, we participated in an Ethical Fashion Walking Tour, facilitated by Ethical Clothing Australia as part of Melbourne Fashion Week. The tour took us around the suburb Fitzroy, where we visited local fashion businesses, including Denim Smith, Remuse Designs, and The Social Studio – all ethically accredited.

Among these, we were particularly impressed by Remuse, which works with recycled materials and natural, low-impact dyes. Inspired by their designs, we attended a highly anticipated fashion show later that week, where Remuse was featured. The show was an incredible experience, blending art and fashion in memorable performances.

In the week before Christmas, we were invited by Dr. Alice Payne and Dr. Yassie Smith to give a talk at the RMIT School of Fashion and Textiles for the staff. During the session, we shared insights and findings from our projects and received valuable comments and questions following our presentations. This opportunity allowed us to meet several colleagues who have worked with similar theoretical and methodological perspectives, fostering important connections for potential future collaborations.

The second week of January brought the highlight of our exchange: the Critical Fashion Studies Symposium at RMIT. The symposium focused on rethinking clothing and textile practices and consisted of three panels that explored key themes within sustainable fashion research. Anna participated in the first panel, which delved into circularity and disposal. She presented findings from her project on disposal practices and garment care, with a specific focus on participants’ expressions of care, both towards other people and their clothes. The following panel discussion touched on the challenges facing second-hand clothing markets in Australia. This session provided fascinating insights into how circularity is approached within the local context. The audience expressed interest in and prior knowledge of SIFO’s clothing research and inquired about funding opportunities in Norway.

The second panel explored wardrobe stories, and the personal relationships people have with their clothing. Vilde shared findings from her research on interviews with couples, emphasizing how gender dynamics play a significant role in shaping clothing consumption. She also mentioned some findings from our scoping review of wardrobe studies and encouraged those in the audience that have worked with wardrobe studies to contribute to the wardrobe studies blog on the website. The panel highlighted how wardrobe studies can capture everyday practices that support sustainability and included findings from an intriguing wardrobe study with individuals who are blind and therefore rely on sensory engagement with their clothing.

The final panel examined remaking and repair as innovative pathways to sustainability. Topics included remake collaboration processes, community repair in Melbourne, fashion-based social enterprises, and local fashion ecologies. The discussion emphasized the need for systemic changes to promote circularity, transparency, and place-based regenerative practices in the fashion industry.

Anna returned to Oslo after the symposium while Vilde still has some travelling to look forward to and will be returning later in February. Our exchange has been an incredible journey of learning and collaboration, filled with inspiration and new perspectives on fashion, design and sustainability.

– Vilde & Anna

4th International Artefacta Conference: Resolutions

Kinga Zablocka on 12. January 2025

Conference, 13-14 February 2025

University of Helsinki, Finland

The conference will be organised on 13th and 14th of February 2025 in Helsinki, Finland and the conference venue is in the Main Building of the University of Helsinki, right in the centre of the town. They keynote speakers; SIFO’s own Ingun Grimstad Klepp will speak on “Product attachment in politics and wardrobes” and Professor Daniel Miller from University College London will be holding a talk about “What kind of person is a thing?”. The talks will be held on Thursday the 13th and Friday the 14th respectively.

Programme can be found here (University of Helsinki webpage)

Designa: Seeing design with new eyes

Ingun Grimstad Klepp on 29. October 2024

The Wool museum and universitty in Covilhã, Portugal hosted the Designa conference, where Clothing Research’s Ingun Grimstad Klepp and Kate Fletcher were both key note speakers. Here is their report:

Kate and I felt very honoured and privileged to be able to open this conference together. Both the importance of the environmental crisis and of textiles was taken as read in the conference, and this made it easy to talk to this diverse group of designers representing a range of disciplines from all over the world.

The overarching theme was citizenship, a challenging one in a time of decline of democracy and increasing differences and distrust. The first Designa conference took place in 2011 and the themes have always been important and challenging. It also felt special to be able to attend an in-person conference in the heart of Covilhã.

The town is characterized by its steep hills and lies tucked into the mountainside, and is a tourist destination, made clear by the pictures of skiers in our hotel lobby. The hotel’s name was Solneve (sun snow in Portuguese) and it felt an apt choice in which to host researchers from Norway! It is also the main urban hub for the region with a long industrial tradition, a place where textile history is embedded in every house and stone. The university and the wool museum hosting the conference are interwoven, making this a unique place for a conference. Kate was told, time and again, how Covilhã was the Manchester of Portugal. However, in Norwegian eyes, it is more reminiscent of Lillehammer. The closeness to the mountains with rich pasture landscapes, wool (not cotton as would have been the case with Manchester) and water for dyeing and power, all had more in common with Lillehammer – and possibly Leeds (sans mountains).

Nonetheless, the textile industry has been important to the development of the local university, similarly to Manchester and Leeds. Lillehammer lacks that aspect.

The building in which the conference took place was part of the wool museum and was originally the site of the Royal Textile Factory from the 1760s. The museum and the university have brought new life to the old industrial buildings. The new institutions are literally building on old textile production locations, layering on top on old terrasses, and wells previously used for dyeing and scouring, and all the other stages of production.

After a formal welcome, Kate’s and my keynotes opened the conference. The session was led by the director of the wool museum, Rita Salvado. In her talk, Kate explored design themes and actions of nature relations, extending the ideas of citizenship to include the greater-than-human world. I followed up with “Clothing consumers as citizens, and the role of design” where I ended with wool as an example of design for and by citizens, with the example of Tingvoll ull. It was a fitting and soft place to land in this wool-town.

While Kate lifts and expands on concepts, my perspectives are often rooted in the technical and practical realm, as well as including material and political aspects. We were both able to respond to the many questions that followed our key notes, a both felt this was rare moment for us and our clothing research colleagues in the audience, Irene Maldini and Ana Neto.

Other conference-goers included fashion and design students from the local university and researchers from many other corners of the world, including a group from NTNU, representing Norway and brought with them warm greetings from Mari Bjerk, in addition to many excellent thoughts and reflections on the presented material. The themes that were discussed were broad, with a lot of emphasis on AI and different forms of design of systems and social relations. This was made possible by a responsive and positive audience, who were given ample time to ask their many questions.

In between we were also able to tour the wool museum, which impresses with its size, content and engagement with the town’s citizens and visitors, adding to the interesting discussions between Rita, Irene, Kate and myself. Rita’s background as a textile engineer, paired with an openness and curiosity about how wool’s history can come more to the forefront in understanding the places geographically and for tourist development, made it easy to find common ground.

The last keynote speaker, Nuno Jardim Nunes, represented the impressive initiative, the New European Bauhaus, with the talk “Bauhaus of the Seas”, in which he emphasized the importance of interviewing non-humans, and with that made a nice connection to Kate’s keynote. Nuno spoke on how they feed sounds from sea dwellers through AI.

It felt like it was not the last time our paths will cross the warm and sometimes snowy Portuguese wool town: Covilhã.

Link to book of abstracts here (labcomca.ubi.pt)

Clothing Research at ESA 2024

Lisbeth Løvbak Berg on 11. October 2024

The European Sociological Association’s main biennial event this year took the clothing researchers to Porto!

When: 27th – 30th August 2024
Where: University of Porto, Portugal

Set on the beautiful backdrop of Porto, the main themes of the 16th ESA conference were “Tension, Trust and Transformation”. About 20 researchers from Consumption Research Norway SIFO participated in the conference this time around, which for a long time has been a very important arena for the institute, in particular, through the Sociology of Consumption Research Network.

Between sessions, we also had time to visit the city, eat some Francesinha and get acquainted with the chickens living on campus.

Four presentations from the SIFO Clothing Researchers

In the session ‘Clothing consumption 1: Fashion’, Vilde Haugrønning presented the paper ‘Gender Dynamics in Clothing Consumption: Examining the Inflow and Outflow of Clothing from a Practice Oriented Perspective’ based on results from the wardrobe studies of her PhD project in the CHANGE project.

In the session ‘Clothing consumption 2: Identity’, Anna Schytte Sigaard presented her paper ‘Social Practices and Identity-Work: Life Course Changes as Drivers for Textile Disposal’ based on results from the wardrobe studies of her PhD project in the Wasted Textiles project.

In the session, Imaginaries of Consumption, Lisbeth Løvbak Berg presented a paper from the IMAGINE project, “Futures Literacy: Norwegian imaginaries of food and clothing consumption”, co-written with Justyna Jakubiec and Atle Wehn Hegnes. The paper explores how futures literacy of food and clothing consumption is exhibited in the material collected in the project, across the three stakeholder groups, consumers, businesses and policymakers.

In the session ‘Clothing consumption 3: Sustainability’, chaired by Anna, Kirsi presented the paper ‘Wardrobe Revelations: Rethinking Repair Practices and Clothing Consumption’. The paper is based on survey data collected in the CHANGE project.

In the same session, our research friend, Réka Tölg, PhD Candidate at Lund University, also presented the paper ‘Caring Circularities: Enacting Circular Consumption by Caring for and with Clothes’, co-authored with Christian Fuentes.

You can read more about the conference by clicking here (europeansociology.org) and the abstracts from the SIFO clothing researchers’ papers below.

Conference Abstracts

Futures literacy: Norwegian Imaginaries of Food and Clothing Consumption

Lisbeth Løvbak Berg, Justyna Jakubiec & Atle Wehn Hegnes

UNESCO has championed futures literacy since 2012, highlighting its importance in the context of imagining alternative futures and directing change towards desirable futures. It follows that futures literacy allows people to actively engage with the plurality of images of the future and relate them to their own choices and ideas of (un)desirable futures. While this includes understanding the role of the future also in people’s everyday consumption practices, which inevitably play a major role in the green transition, efforts are largely focused on policy planning, business innovation and higher education. We, therefore, ask what level of futures literacy Norwegian stakeholders exhibit related to food and clothing consumption. Based on stories collected from 137 Norwegian consumers, advertisements, and business strategy and policy documents, we highlight the different stakeholders’ narratives of food and clothing consumption to compare their engagement with present imaginaries of future consumption. We find that businesses and policymakers display a higher level of future literacy than consumers. In general, the narratives of food consumption are richer and more well-developed than those of clothing consumption: business and policy documents’ narratives of sustainable clothing futures are limited to the repeating narrative of ‘repair, reuse, recycle’, whereas food consumption narratives range from self-sufficiency to alternative protein sources. The latter suggests a higher level of future literacy, which may reflect a more mature discussion of food futures: adversely, the lack of attention to alternative forms of clothing consumption decreases the likelihood of a larger transformation of clothing consumption patterns.

Gender Dynamics in Clothing Consumption: Examining the Inflow and Outflow of Clothing from a Practice Oriented Perspective

Vilde Haugrønning

The present-day consumption of clothing is marked by excessive production and consumption, leading to issues of water scarcity, microplastic pollution, chemical contamination, CO2 emissions, and textile waste. In order to mitigate the environmental impact of clothing, there is an urgent need to examine the factors influencing the high volume of garments in wardrobes.
This study explores the influence of gender and age on clothing consumption based on a qualitative and quantitative wardrobe study of 15 households in Norway from a practice oriented perspective. Each household had a man and a woman living together as partners to enable a gendered comparison between couples that take part in many of the same practices and share the everyday life. In the wardrobe study, the participants conducted a counting exercise of all the garments they owned, including underwear, socks and accessories. Following this, each participant was asked to register all inflow and outflow of clothing for 6 months.
The analysis focus on the turnover rate of clothing and employs Evan’s (2019) six moments of consumption that focus on processes of acquiring and disposing in relation to practices. Preliminary findings show that female participants acquired a higher quantity of clothing compared to male participants. However, age also play a significant role in determining the turnover rate of clothing. The study highlights the social mechanisms and gender dynamics that shape clothing consumption patterns and challenges the prevailing studies on clothing and fashion that often overlook the nuanced practices and actions that influence clothing volumes.

Social Practices and Identity-Work: Life Course Changes as Drivers for Textile Disposal

Anna Schytte Sigaard

In this contribution, the complex interconnections between social practices and textile consumption are explored. Based on wardrobe interviews in 28 Norwegian households, investigation is carried out of the influence of two major life course changes, cohabitation, and parenthood, on disposal of clothing and other textile items. In the transition from living alone to cohabitation, it is found that the disposal of clothing and textiles emerges not only as a functional act but as a symbolic act of divestment. Spatially and temporally separated practices, such as pre-move closet purges and post-move decoration, underscore the profound identity-work involved in this transition where discarded items come to symbolize remnants of single life. Parenthood introduces a challenging balance between environmentally conscious practices and time constraints, unveiling compromises made in sustainable practices amidst the demands of parenting. The disposal of impractical gifts and inherited baby clothes reflects the negotiation of a new parental identity. In this contribution, the importance of individual reflexivity in the negotiation of identities during major life transitions is emphasized. Thereby, it contributes to expanding the understanding of clothing and textile consumption as both routinized and mundane practices at the same time as involving intentional and reflexive discursive activities.

Wardrobe Revelations: Rethinking Repair Practices and Clothing Consumption

Kirsi Laitala

Global clothing production and consumption pose significant challenges to environmental, social, and economic sustainability, particularly driven by the fast-fashion business model linking the global North and South. This study, based on a Norwegian consumer survey (N=1200), investigates factors influencing volumes of clothing consumption. Analyzing acquisition, ownership (wardrobe size), and disposal volumes, principal component analysis (PCA) factor extraction was used to identify key constructs related to respondents’ preferences and perceptions of clothing acquisition, use and repair practices.
Gender and age emerge as pivotal determinants, with women reporting higher acquisition, ownership, and disposal levels than men. Those in their 50s possess the largest wardrobes, while younger individuals exhibited a higher frequency of clothing acquisition and disposal, and thus higher turnover rates of their wardrobe contents. Surprisingly, the study reveals that higher repair intentions or focus on quality do not correspond to reduced consumption. These counterintuitive results challenge conventional assumptions about the relationship between these practices and overall consumption. Similarly, factors such as the allure of sales, impulse buying, and the desire to appear well-dressed contributed to increased consumption levels, emphasizing the influence of psychological and social factors.
The lack of correlation between reduced consumption and the intention to focus on buying fewer quality items and repairing more implies a need for alternative strategies that consumers can apply to address their consumption levels and related sustainability challenges in the fashion industry. This research emphasizes the urgency of reevaluating current practices and fostering a more sustainable and conscientious approach to clothing consumption.

TPR brought forward in What Fuels Fashion? Report

tobiasson on 5. August 2024

In the recently published report, What Fuels Fashion?, issued by Fashion Revolution, Consumption Research Norway SIFO’s suggestion for a Targeted Producer Responsibility method has received substantial attention alongside the Plastic Elephant report. In addition, the ruling by the Norwegian Consumer Authority against the Higg consumer-facing label also is brought forward.

All in all, What Fuels Fashion? gives much attention to the research from Oslo Metropolitan university, which is an important part of the Wasted Textiles project. What Fuels Fashion? is a single-issue, special edition of Fashion Revolution’s annual Fashion Transparency Index. They have reviewed 250 of the world’s largest fashion brands and retailers and ranked them according to their level of disclosure on climate and energy-related data in their own operations but primarily in their supply chains.

A key finding is that there is hardly any transparency around over-production. “The fashion industry wants to have its cake and eat it too. Most big fashion brands (89%) do not disclose how many clothes they make annually. Alarmingly, nearly half (45%) fail to disclose neither how much they make nor the raw material emissions footprint of what is produced, signalling the industry prioritises resource exploitation whilst avoiding accountability for environmental harms linked to production.”

On page 36 in the report, we can read: “Governments are now cracking down on greenwashing. In addition to investigations into several brands’ environmental claims taking place in the UK and Australia, the Norwegian Consumer Authority ruled the Higg Materials Sustainability Index (Higg MSI) unlawful to support such claims from retailers. These actions, which have resulted in accountability, illustrate why transparency is crucial to enable change. Nonetheless, the need for robust evidence-backed claims remains a persistent issue.”

Furthermore, on page 38, we find this quote: “Already we are seeing that overestimating the importance of garment durability and underestimating the environmental impact of overproduction is shaping the policy landscape. Research by Oslo Met University reveals the “Plastic Elephant in the Room” – which critiques the EU’s Sustainable Textiles Strategy, particularly its focus on durability. The research argues that the most effective way to reduce the fashion industry’s environmental impact is to cut production volumes rather than merely extending product lifespans (and that focusing on durability unintentionally supports synthetic fossil fuel-derived fibres).” Let’s hope someone from DG ENVI and DG GROW actually read this report!

On page 39, the report has a full-fledged explanation of TPR as a viable alternative to EPR (see illustration). Which is good news for the on-going discussion on how we can make fast fashion actually ‘out of fashion’ with regulatory instruments, and halt business as usual. Being taken seriously in such an important report, will hopefully garner further attention to SIFO’s research.

Socks – the most neglected of all garments

tobiasson on 5. June 2024

Master student Maria Kupen With with her two supervisors on either side.

Maria Kupen With’s Master thesis is entitled A new narrative of Neglected Socks. An exploration of new value creation and narratives for materials through creative fashion practice. She recently delivered her Masters at the Department of Art, Design and Drama – Fashion and Society – at OsloMet.

Inspired by the preliminary results from Anna Schytte Sigaard’s PhD in Wasted Textiles, Maria Kupen With decided to work with socks – the item discarded in the largest quantities and the worst condition. Socks are so intimate and used socks are not sold in second-hand shops, maybe not even shared for fear of contamination. If these could be upcycled, then what could not be?

Her practice-led approach included collecting socks from friends and family and a local charity, analyses of the socks’ condition, their disposal reasons etc., and creative exploration of the material and its potential. She created prototypes and a pre-exhibition to confront viewers with the transformed material – in the form of a jacket-tent, sweaters and textured pieces – and registered their potential to elicit emotional responses and challenge current attitudes and perceptions of discarded and worn-out materials.

The thesis touches upon our relationship with nature through cleanliness, bacteria, bodily fluids, as well as pilling and other signs of wear, and how this can change when engaging with the objects, as Maria herself experienced in the practice of making from worn socks, going from thinking they are “icky” to deciding to wear her own pieces. The visitor of her pre-exhibition also reflected on their relationships with second-hand clothing usage more broadly. The thesis hence uses design to create both value and discussions around value, a much needed perspective in a throw-away consumer culture.

Maria Kupen With was supervised by Lisbeth Løvbak Berg at SIFO and also Siv So Hee Steinaa. In the photo we see the three of them at the Master’s exhibition, enveloped in Maria Kupen With’s work.