Ukategorisert Archives - Clothing research

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and Ingun Grimstad Klepp, the authors literally lambaste how the Sustainable Apparel Coalition (now Cascale) misused outdated and faulty data for their launch of a Higg (now Worldly) consumer-facing sustainability label.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.

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.

New papers accepted in international journals

tobiasson on 13. January 2025

Two new papers have been accepted by international journals relating to the WOOLUME project, one on the biodegradation of wool fibers and one on the acoustic properties.

The very latest is on the acoustic properties of tufted carpets coupled with the underlayment made from tannery wool waste: Acoustic Performance of Tufted Carpets Coupled with Underlayment Produced from Tannery Wool Waste in the journal Materials. The authors are Jan Broda, Katarzyna Kobiela-Mendrek, Marcin Baczek and Monika Rom.

To better use local sources of wool, the coarse wool of mountain sheep was used to form a carpet pile layer, while the waste wool from the tannery industry was applied to form carpet underlayment. During investigations, the acoustic performance of the carpets was assessed. The carpets’ sound absorption coefficients and transmission loss were studied, and it was revealed that the adding of underlayment improves the carpet’s sound absorption only at medium sound wave frequencies.

It was concluded that wool nonwovens can be used as an effective, eco-friendly, sound-absorbing carpet underlayment, which can improve wool utilisation and contribute to the reduction in environmental pollution caused by plastic residues.

Excessive noise has become a severe and pervasive pollutant that harmfully influences physical and mental health. Exposure to domestic noise negatively affects human well-being, impairs productivity, generates higher stress, and contributes to somatic complaints. Given the adverse effects of noise, the urgent need to reduce noise levels in homes, classrooms, open-plan offices, workplaces, and public facilities is highly significant and desirable today. For many years, various textiles used as window curtains, tapestries, upholstery, wall and ceiling panels, screens, rugs, and carpets have been used to reduce noise and improve the acoustic comfort of interiors. Among these products, carpets are the most versatile, controlling indoor noise in various ways. First, carpets lower the level of noise by absorbing airborne sound. Second, they reduce the generation of floor impact sounds produced by footfalls, furniture movement, and objects dropped onto the floor. Third, carpets minimise the noise transmission through floors to adjoining rooms in multi-storied buildings.

Pile carpets, in particular, demonstrate a significant potential for noise reduction. These carpets are made of two layers that perform different functions and have different structures.

Local Polish mountain sheep (photo: Jan Broda).

The sound absorption in the pile layer depends on the pile type (loop or cut) and its height and density. Due to the open fuzzy structure, carpets with cut piles have higher sound absorption capacity than carpets with loop piles. Increasing pile height and density increases the interphase contact surface between piles and vibrating air molecules. Then, the energy dissipated by friction is higher and the resulting sound absorption increases. The influence of other parameters characterising the pile layer, such as fibre type, yarn parameters, or knot type in knotted-pile carpets, is less distinguishable and difficult to estimate.

To access the article, click on this link.

The second of the two papers is on wool biodegradation: The Morphology of Wool Fibers Biodegraded in Natural Conditions in Soil authored by Monika Rom, Jan Broda, Tomasz Kukulski, Andrzej Gawlowski & Katarzyna Kobiela-Mendrek in the Journal of Natural Fibers.

The morphology of sheep wool applied as organic fertilizer biodegraded in the soil was examined. The investigations were conducted in natural conditions for unwashed waste wool, which was rejected during sorting and then chopped into short segments and wool pellets. Different types of wool were mixed with soil and buried in experimental plots. The wool samples were periodically taken and analyzed for one year using Scanning Electron Microscopy (SEM) and Energy-dispersive X-ray Spectroscopy (EDS). During examinations, the changes in the fibers’ morphology were observed. It was stated that cut wool and pellet are mechanically damaged, which significantly accelerates wool biodegradation and quickly destroys the whole fiber structure. On the contrary, for undamaged fibers biodegradation occurs slowly, layer by layer, in a predictable sequence. This finding has practical implications for the use of wool as an organic fertilizer, suggesting that the method of preparation can influence its biodegradation rate.

The ability of wool to support plant development in agricultural and horticultural crops has been repeatedly demonstrated. The application of wool fertilizer has led to higher yield for various vegetables and cereals. These studies have used wool of different origins and waste generated in various stages of wool processing. For instance, unprocessed and unwashed wool obtained by sheep shearing, wool sheared from animals intended for slaughter, the waste derived from scouring and carbonization, and wool recycled from shredded carpets have all been tested. In some cases, loose wool fibers were mixed with soil using agricultural machines or spread on the ground’s surface and covered with a layer of topsoil. To avoid compounding issues, the wool was cut into short segments in certain studies. In other cases, the wool was added as easily applicable pellets.

The article is available at this link.

hiWOOL project

Kinga Zablocka on 11. November 2024

Network for heritage and innovation for the future of WOOL

The hiWOOL project – Network for heritage and innovation for the future of WOOL – is an initiative of the “Save the Portuguese Wool” Association, created in 2015 with the aims of promoting the sustainability of the wool cycle and safeguarding of the culture and heritage traditions in Portugal.

Funded by the Bilateral Relations Fund, hiWOOL aims to share knowledge between Portugal and Norway concerning the sustainability of the wool cycle and the exploitation of wool products for small producers of autochthonous sheep breeds, based on the study of similarities and differences between the two countries.

On 12^th may, 2021, the project started with the first meeting gathering all partners. In addition to a brief presentation of the activities to be developed, made by the proposing team, a discussion on the parameters that should be selected for the characterization of wool fibers was conducted.

The start of the project was also celebrated with the Shearing Day, at Quinta da Fonte Santa, in Caneças-Portugal, on which 150 sheep of the Bordaleira Serra da Estrela breed, belonging to shepherd Virgílio Ricardo were shorn.

During this initiative, field work will be carried out in both countries, including workshops on the development of wool products and investigation on the wool tradition in museums and archives. The main achievements and results will be presented on the partners’ web pages and social networks, during the project timeline, and a final seminar, in November 2022, will be prepared for the dissemination of results.

The hiWOOL project has the collaboration of the Selbu Spinneri AS (Norway) and Multilãs, Unipessoal, Lda (Portugal) companies, the research centers SIFO, OsloMet from the Oslo Metropolitan University and the D_TEX Lab – Textile Development Laboratory of the Architecture school from the Lisbon University and the local support of the Wool Museum in Covilhã and the Folk Museum in Oslo.

Both teams are now analyzing and characterizing the national wools, and results from that work will be shared on the partners web pages and social networks.

Paricipants at SIFO

Ingun Grimstad Klepp
Lisbeth Løvbak Berg

From the WPE Lab

Tone Skårdal Tobiasson

Goodwill Label Stories

tobiasson on 4. November 2024

Author: Lynda Grose, designer, author, educator
Professor Fashion Design and Critical Studies, California College of the Arts

Aim of study

Goodwill Label Stories is based on the premise that everyday people may be willing to publicly indicate their second hand purchases and that this coding could be leveraged as a potent tool to challenge the power of brands in perpetuating the ‘culture of the new’. Three questions guide the study:

-Could a label be deployed to speed the uptake of resale purchases by economically diverse customers?

-What latent emotional associations with second hand may hinder or be leveraged to enable this goal?

-Can garments be activated to directly engage the broader public?

Study objective:

-To surface current attitudes to second hand garments, across a wide demographic of wearers

-To actively diversify the voices in sustainable fashion practice and education

-To ‘create and share new narratives based on sharing and abundance’ (Forum for the Future 2021)

Context: influence or inspiration

Building on previous research conducted in collaboration with anthropologist Sydney Martin (Grose, Martin 2017), this study was initially prompted by my impulse to ‘flash’ a Goodwill label to counter the righteous signaling by wearers sporting ‘sustainable’ branded garments. Some years later, at the 2021 Textile Exchange conference set in Dublin, Ireland, economic anthropologist, Jason Hickel, delivered a informative and hopeful keynote address on de-growth. At the end of the five-day conference, Paul Marchant, CEO of Primark, made closing remarks, which began:

‘I make no apologies for being a large volume retailer.

We bring sustainable fashion to our customers at a price they can afford’.

This stance from Primark’s leader signaled that despite the science, the fashion sector would remain unyielding to deep systemic change. Yet, Marchant’s statement also delivered a blunt critique of the current sustainable fashion movement; its expense, its privileged market, and its inaccessibility to lower income-level customers.

The irony of a fast-fashion brand claiming its products to be sustainable while also delivering well-founded critique of sustainable fashion as it is currently practiced prompted me to reboot the study:

-to investigate if a stigma exists around second hand garments for lower income level customers

-to bring these stigmas to the surface so they can be re-examined anew

-to help popularize more second-hand purchases

The method was also inspired by Michael Swaine’s Mending for the People, Kate Fletcher’s Local Wisdom, and Daver Isay’s Story Corp.

How do you go about using this method?

Seated in a Goodwill store by the cash register, I invite randomly selected shoppers to contribute to the study by giving their opinion on the concept and opting to label their newly purchased garment.

Two simple questions guide the conversations:

Would you identify your garment as second hand using a label on the outside?

Why?

Why not?

The responses and reflections are audio-recorded and the participant’s body language captured in writing. When people opt in, I sew the label onto the garment free of charge, working with the participant to decide the best position and treatment. The person is also photographed wearing or holding the garment. Themes from the conversations are then analyzed and collated. Stories, images and particularly succinct comments are presented out again in the form of posters, conference slides, exhibitions, and published articles/papers.

A story:

One woman in a Goodwill store lingered by the station, watching people choosing to label their garment and noted:

‘This is a really interesting project…but I wouldn’t do it (label my garment). I guess that says something about me’. I reassured the customer that there were no right or wrong answers, no judgements. “I know’, she said. ‘This is a really good project’ and she continued to watch the interactions and process for some time.

For me, this indicated a cognitive ah-ha moment, where the norm of participating in hierarchical branding was recognized and the Goodwill label’s challenge to it appreciated. Labeling of the garment is secondary to these conversations and the realizations.

How could this be used by others

This study can be used by researchers, educators and students relatively easily. Set-up is simple, requiring a domestic portable sewing machine, a variety of colored threads, a seam-ripper, scissors, work table and a cell phone to take photos. A solid clean wall as a backdrop for photography is helpful. Student researchers would need to be pre-instructed in the art of active listening and ethnographic documentation.

It’s particularly valuable to do this study in low-income and ethnically diverse regions/neighborhoods, which are often unrepresented in fashion sustainability discourse. However, as noted below, there are insights to be gained at all demographic levels.

The woven Goodwill label was developed with permission from the organization. Other researchers/ educators would need to build a relationship with their local Goodwill to develop a label, work with a different organization or develop a generic ‘second-hand’ label for more general use.

It’s important to approach customers after they make a purchase, so that the decision to label the garment clearly comes from directly them as the owner of the piece. This avoids potential copyright liabilities for Goodwill/participating charity shop.

Share insights for those new to wardrobe studies

Engaging with members of the public about their own attitudes to clothing and sustainable fashion is exciting and fun. It bypasses the narrow lens through which brands view their customers and broadens the capacity of researchers and everyday people to engage in solutions for sustainable fashion.

What insights does the method generate?

-Goodwill Label Stories started with the assumption that there is a stigma associated with second-hand items for customers in a lower economic demographic, and that higher economic demographic customers would more readily opt into labeling their garment. In fact, many customers across all demographics are proud to shop at Goodwill and happy to have an opportunity to show that they do. Conversely, some higher economic demographic customers are afraid to be seen shopping at Goodwill by their peers.

-Contrary to brands finding the public uneducated about the complexities of sustainable fashion, I have found them to be very smart and informed about the root problem of overproduction. People are happy to be asked their opinion and have great ideas. For example:

‘It’s a public label. When it’s donated, it becomes public!’

‘It’s Goodwill certified!’

Other insights include the label being seen as:

-A sign of doing something good

-Knowing about the problem (of overproduction) and doing something about it

-Building community (that is normally invisible)

-Being kind to each other

Most recently, one participant noted the Goodwill label might, in itself, be a righteous signal!

Busted!

References

Isay, D (2003-present ) Story Corp: https://storycorps.org/about/

Fletcher, K (2009) Local Wisdom: http://localwisdom.info

Forum for the Future (2021) Guide to Critical Shifts V1.0: https://www.forumforthefuture.org/Handlers/Download.ashx?IDMF=9a4e9add-03cc-4c10-bb03-8a0c2d559039

Grose, L. Martin, S. (2017) Goodwill Label Research Project, in Opening up the Wardrobe: a methods book, by (2017) Kate Fletcher and Ingun Grimstad Klepp (Eds.), Novus Press

Swaine, M. (2009) Mending for the People: https://www.youtube.com/watch?v=_G0J0RmcV8c

[AD]DRESSING MUMMA: Longitudinal study of the pregnancy and postpartum wardrobe through the lenses of consumption, use and disposal

tobiasson on 5. August 2024

Authors: Dr. Zoe O. John, Dr Garrath T. Wilson, Dr Val Mitchell, School of Creative Arts & Design, University of Loughborough.

Aim of study

The research objectives were to understand the practices of consumption, use and disposal of clothing through a liminal period and whether this gives insight into ‘better’ practices of use. The research was explored through the physical and emotional changes of pregnancy and the approximate year following birth. The focus of the study was to see if an individual’s sense of physical and emotional comfort, including their sense of identity, changed over a liminal period, and whether these were compromised or bolstered through what an individual wore.

The research questions driving this were:

1. What are the drivers of the consumption, use and disposal of clothing during pregnancy and the postpartum period?

2. Can you dress ‘sustainably’ during pregnancy and postpartum?

3. Can you dress ‘sustainably’ whilst supporting your identity during pregnancy and into the postpartum period?

Method

This was the fieldwork for my PhD research, a constructivist study with a feminist lens (Letherby, G. 2003), the research was conducted with a bond of five women over nearly two years, inspired by my experiences of dressing through pregnancy and the postpartum period and through discussions I had with others going through a similar period. As the project developed it seemed obvious to me that I needed to be studying participant ‘wardrobes’ and using their clothes as a catalysis for the exploration of the themes I wanted to examine.

I visited my participants 4 times (twice in pregnancy and twice postpartum). Each visit looked at the same three themes (consumption, use and disposal). By invitation we would sit by their ‘wardrobes’ (these could also be a chest of draws, hanging rails or a whole room) and participants would talk through what they were or were not wearing, where it came from (purchase, gifted etc.) or where it was going (passed on again, the charity shop, waste etc.), how it made them feel and ultimately why they responded as they did. I recorded our conversations on a Dictaphone and took photos of the clothes they told me about, as well as their ‘wardrobes’.

Picture 1 – A birdy top that ‘makes me feel generic’ – Iris –WS1

Participants were recruited through social media and word of mouth. They were based in the South East of England. Initially, 8 participants were taken forward, but for the final thesis only data from 5, all first-time full-term pregnancies, participants were used. No specific characteristics were asked for in the recruitment process, but they all ended up being in a committed relationship, Caucasian and with a comfortable socio-economic background.

I did play around with ideas around using visualising tools etc. and took these into the wardrobe studies, but the data was already so rich, that they were not needed.

I used thematic analysis as popularised and researched by Braun and Clarke (2006 to 2021) with support for the process of analysis from Taylor-Powell and Renner (2003). I found the lack of information on how people analysed their data frustrating, so I included a section on the literal step-by-step analysis process in my thesis (3.7.1, John, Z.O. 2012).

One of the nicest things about conducting this research was that almost every time I shared what I was doing with other women who had been pregnant (some many years previously), they regaled me with stories of their own experiences and reflections of dressing through pregnancy, and those first few months that follow it, and both the internal and external challenges in locating ourselves with help and hindrance from the clothes we wear. I believe that sharing real stories is the essence of the human experience and a segue to understanding how we can better design for and serve the world around us.

Picture 2 – A dress that ‘doesn’t excite me that much’ – Lily WS2

The data generated was used to inform my PhD research and academic papers based on the thesis.

You can follow the methodology and carry out the same mechanics, but what became clear to me was that the outcomes from this exploration were shaped by my experience, the specific experiences of my participants, and the relationships that we developed over nearly two years of wardrobes studies, and just as every pregnancy and every baby are different, so too is every experience of dressing through pregnancy and into the postpartum phase. However, this research does not provide any data on the consumption, use or disposal of clothing for different socio-economic, cultural or geolocated studies. It also does not take into account practices during liminal times such as living, dressing and pregnancy through a global pandemic, nor how identity was constructed through clothing when most of us were at home in our pyjamas till noon. Although there was research conducted within this space, this project places itself firmly in a pre-Covid time. However, it acknowledges that it is likely that aspects around the ‘what and how’ of our practices of dress, and our relationship with clothes, may have been changed through the experience we had during that time.

Wardrobe studies can offer several insights for understanding sustainable practices and emotional attachment for better practices, but they can also offer insights into, among other things, external factors such as seasonal or economic conditions and the impact of global events.

This was the first study to explore what it means to dress sustainably through pregnancy and the postpartum period and as such offers a number of opportunities for continuous exploration. The results could be used to support design work, business development, systems or services or used as a springboard to further academic studies. See 8.4 John, Z.O., 2021. for an extended number of prospects identified.

Wardrobe studies are an intimate exploration tool and that as such they should be treated with the utmost respect and sensitivity. However, this also means that they are rich with life experience and therefore can offer deep insights into the human experience.

My experience is that people like talking about the clothes they wear and the stories behind them. What happens as they tell these stories is a sub-narrative that offers insight into why we make the choices we do and therefore, how we can work with, rather than against, our human nature, to move towards better practices of consumption, use and disposal.

References:

Braun, V. and Clarke, V. (2006) ‘Qualitative Research in Psychology Using thematic analysis in psychology Using thematic analysis in psychology’, Qualitative Research in Psychology, 3(2), pp. 77–101.

Braun, V. and Clarke, V. (2021) ‘One size fits all? What counts as quality practice in (reflexive) thematic analysis?’, Qualitative Research in Psychology. Routledge, 18(3), pp. 328–352. doi: 10.1080/14780887.2020.1769238.

John, Zoe Olivia (2022). [Ad]dressing mamma. Fashion practices of consumption, use and disposal at the liminality of pregnancy. Loughborough University. Thesis. https://doi.org/10.26174/thesis.lboro.20272389.v1

Letherby, G. (2003) Feminist research in theory and practice. Buckingham: Open University Press.

Taylor-Powell, E. and Renner, M. (2003) ‘Analyzing Qualitative Data (G3658-12)’. Available at: https://learningstore.uwex.edu/assets/pdfs/g3658-12.pdf (Accessed: 1 March 2018).

Wardrobe Hack as an Educational Prompt

tobiasson on 29. February 2024

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

Aim of study

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

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

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

Influence on approach and use of the method

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

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

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

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

Use of the results

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

Insights generated by the method

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

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

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

References:

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

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

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

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

Link to work demonstrating the method:

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

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

tobiasson on 27. February 2024

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

Aim of the study

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

The objective of the study

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

What has influenced or inspired your approach?

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

Method

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

Link to questionnaire here.

Key findings of study

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What insights does this method generate?

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

References

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

Appendix: Definitions of some terms

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

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

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

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

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

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

tobiasson on 20. February 2024

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

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

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

What was the objective of the study?

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

Context: Influence or inspiration

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

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

How was the method used?

This method consists of two parts:

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

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

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

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

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

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

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

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

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

What insights does this method generate?

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

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

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

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

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

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

References:

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

Ethnographic Wearing

tobiasson on 1. February 2024

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

Aim of study

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

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

The objective of the study

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

The method

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

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

Then what?

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

How this specific method could be used by others

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

How the results could be used by others

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

What insight does this method generate?

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

References

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

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

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

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

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

An Arts Practice Approach to Wardrobe Audits

tobiasson on 15. January 2024

Author: Wendy Ward, PhD Candidate, Sheffield Hallam University, UK.

Aim & Research Questions

My practice-based PhD titled “Enduring Fashion: Building Sustainable Clothing Practices Through Wearer-Garment Relationships”, uses art and design practice to explore people’s relationships with their clothes. The aim of the study is to investigate how these wearer-garment relationships might be leveraged to reduce the mass over-consumption and under-use that are currently prevalent in fashion.

The work is being guided by the following research questions:

How often do people acquire and discard clothes, how many clothes do they own and how frequently are they used?
What existing relationships do people have with their clothes?
Can people be encouraged to develop an enduring relationship with their clothes?
How do wearer-garment relationships impact clothing longevity and consumption?

Context

Fashion’s impact on people and planet has been known for the last three decades, but we seem to have become immune to the scale of our actions even when presented with the evidence and if anything things are getting worse, not better (Coscieme et al., 2022). It is clear that a change in approach is needed towards something more hopeful, relatable and empowering (UNEP, 2023).

Sustainability in fashion is reliant on individual behaviour and there is little point in designing a low impact, durable, recyclable garment if nobody wants to wear, keep and love it. This connection and relationship between people and clothes, which motivates the want to wear, keep and love is at the core of my work and I believe could be key to driving sustainable clothing practices.

I am inspired by the work of Richardson et al. (2015) on Nature Connectedness to inform my ideas about interactions with, and connections to, clothing and am using data visualization techniques to incorporate this into my creative practice. My work is grounded in a grass-roots approach to sustainability in fashion described by Alice Payne as “rewilding” (Payne, 2019), and a particular influence on my approach is Amy Twigger Holroyd’s Fashion Fictions research project that offered participants the chance to speculate on new social and cultural norms in clothing practices through deep material engagements with clothes.

Method

I am at the start of my research: one third into a part-time programme of study so the ‘method-in-progress’ I will describe has so far only been practiced on myself.

The Wardrobe Audit has been used successfully in academic research and described in detail in the original Opening Up the Wardrobe book. This practice is beginning to be adopted by the wider public, perhaps thanks to recent developments in AI and the growing use of self-tracking in all aspects of our lives leading to a growing interest in wardrobe logging and tracking apps. In my work I explore the possibilities of using a more analogue and creative approach to the Wardrobe Audit.

Wardrobe Audit Visualisation. Photo: Wendy Ward

I began by auditing my own wardrobe and recording the results on a spreadsheet.

I found that the Information on a spreadsheet was too easy to ignore (especially when involved in daily clothing rituals of getting dressed and acquiring/disposing of clothes). I decided to represent the data in my spreadsheet in a more visual, but abstract way using needle and thread directly onto a garment. The resulting data visualization is a surface decoration which appears abstract to viewers and whose true meaning is known only to me.

I update my original audit at the end of each season and create a fresh visualization of the data. This led me to develop a similar method for logging and tracking my ongoing daily wearing habits. This method involves adding a stitch to garments from my wardrobe on each day that they are worn. Over time stitches gather on well-worn garments and are absent or minimal on less or never worn garments, resulting in a very visible and tangible way for me to confront my daily wearing habits over time.

Analogue Wear Tracking – Stitched direct onto garment. Photo: Wendy Ward

My study has been ethically approved and I am currently recruiting participants for the collaborative phase. Informed by recent reports from WRAP and the Hot or Cool Institute identifying which demographic has the biggest impact on the planet in terms of fashion consumption, I am targeting the top 20% of earners in the UK who shop for clothes more than once a month.

As my study is practice-based and qualitative in nature, all data produced will be analysed using reflexive thematic analysis.

Early Insights

A strong sense of ritual and mindfulness is emerging from these tracking and auditing practices that I have now incorporated into my daily life. I am more aware of the extent of my wardrobe and how I use it (or not) and I am much more mindful of acquiring new clothes and how to discard those I no longer want to keep.

Analogue Wear Tracking – Stitched onto separate label. Photo: Wendy Ward

In early experimental workshops with volunteers while developing my method it emerged that experiential/sensory ways of researching clothing can expose gaps in existing knowledge. One such example is knowing what to do with clothing considered unfit for donation to charity; some of the volunteers I worked with had resorted to putting these clothes into the general waste bin (which in the UK is destined only for either landfill or incineration).

I hope that the results from my PhD can contribute towards improving the communication of the need for behaviour change around fashion consumption and clothing use, and ultimately provide some new tools for citizens to reassess the value of their clothing.

References:

Coscieme, L., Akenji, L., Latva-Hakuni, E., Vladimirova, K., Niinimäki, K., Henninger, C., Joyner-Martinez, C., Nielsen, K., Iran, S. and D ́Itria, E. (2022). Unfit, Unfair, Unfashionable: Resizing Fashion for a Fair Consumption Space. Hot or Cool Institute, Berlin.

Payne, A. (2019). Fashion Futuring in the Anthropocene: Sustainable Fashion as “Taming” and “Rewilding”. Fashion Theory, 23:1. 5-23.

Richardson, M., Hallam, J. & Lumber, R. (2015). One Thousand Good Things in Nature: Aspects of Nearby Nature Associated with Improved Connection to Nature. Environmental Values, 24(5), 603–619.

Twigger Holroyd, A. (n.d.). About. Retrieved January 10, 2024, from https://fashionfictions.org/about/

United Nations Environment Programme (UNEP), & United Nations Framework Convention on Climate Change (2023). The Sustainable Fashion Communication Playbook – Shifting the narrative: A Guide to Aligning Fashion Communication to the 1.5-Degree Climate Target and Wider Sustainability Goals. https://wedocs.unep.org/20.500.11822/42819.