Join us for an exciting discussion about Wardrobe Methods in research with a talk by Professor Ingun Grimstad Klepp and then a sharing of experiences from across UCRF of doing research about the use and disposal of clothing. It will be facilitated by UCRF board members Kate Fletcher and Karishma Kelsey.
The aim is to:
deepen understanding about wardrobe methods; and
extend use of wardrobe methods and build greater diversity in their ideas and applications.
You can register here. The event will take place over Zoom.
Join us on 17th April!
Participation is free, but booking is essential to help us organise the event.
Please note: the event will be recorded and made available on the UCRF YouTube channel for later viewing. Also note: an edited book of 50 wardrobe methods, ‘Opening Up the Wardrobe: A Methods Book’ (2017) co-edited by Kate Fletcher and Ingun Grimstad Klepp is now available as a free e-book, find it here. And a link to a library of new Wardrobe Studies is here.
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.
Photo of student work
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 1st 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.
Photo of student work
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.
Photo of student work
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.
Panel discussion on the role of municipalities in promoting circularity and more sustainable consumption patterns in the fashion sector.
Sustainable fashion is often regarded as an issue of international trade and global issues, disregarding the role of local municipalities in the phenomena of overproduction and overconsumption and their trickle-down effects. Yet many cities around the world have started to think of this challenge and develop innovative mechanisms to reduce the volume of production and overconsumption and support their city’s fashion sector’s transition to sustainability. How can municipalities reduce waste, induce sustainable consumption behaviours in their citizens and promote sustainable choices, and circular business services? Do municipalities that are at the receiving end of fast fashion initiate policies and initiatives to re-address the phenomenon? Can cities impact the fashion industry by changing consumption patterns of their citizens?
UN ALLIANCE WEBINAR February 5th, 2024 14:00 – 17:00 CET
Opening remarks Simone Cipriani, Chairperson, UN Alliance for Sustainable Fashion & Chief Technical Advisor, Ethical Fashion Initiative (EFI/ITC)
Introduction Katia Dayan Vladimirova, PhD, Senior lecturer and researcher, University of Geneva
City Cases (10 min each) AMSTERDAM: Dieuwertje de Wagenaar, Senior Policy Officer Circular Textiles, City of Amsterdam. Fashion and textiles in the “Amsterdam Doughnut”: How policy can boost local circular ecosystems. OSLO: Kirsi Laitala, Senior researcher, Oslo Metropolitan University. Key challenges of textile waste and city-level solutions: Case of Oslo. ACCRA: Elizabeth Rickett, Co-founder, The Or Foundation. Textile overwhelm: How Accra City is managing the growing volumes of imported second hand garments and the resulting textile waste through circular practices. GENEVA: Katia Dayan Vladimirova, PhD, Senior lecturer and researcher, University of Geneva. Opportunities to support responsible local fashion consumption: Case of the City of Geneva. CAPE TOWN: Alison Evans, Head: Waste Markets, City of Cape Town. Moving towards circular textiles through Cape Town partnerships. The case of the city of NEW YORK will also be featured.
Discussants (5 min each) Felicity Lammas, Sustainability Manager, Global Fashion Agenda Mohammad Awale, Founder, Rummage Josephine Philips, Founder and CEO, Sojo Matt Dwyer, Product Impact and Innovation Leader, Patagonia Enrica Arena, CEO, Orange Fiber Åsa Degerman, Manager, Once More Q&A
Conclusions ● Gulnara Roll, Head of the Cities Unit, UNEP Moderation ● Paola Deda, Director, Forests, Land and Housing Division, UNECE
This is an event of the UN Alliance for Sustainable Fashion; organized by ITC Ethical Fashion Initiative, UNECE, UNEP, ICLEI and the University of Geneva.
The main point made during EcoAge and MEP Alessandra Moretti’s joint event in the EU Parliament was to link the increased plastification in the fashion sector with social injustice upstream and downstream in the value-chain.
Livia Firth, founder of EcoAge and moderator of Fashionscapes for Transformation, has relentlessly these last months hammered in the point that these are two sides of the same problem at several high-profile events, namely the massive overproduction of apparel. No less for the second time in the EU Parliament.
The mix of speakers and participants was impressive, with representatives both old and young, from industry and research, as well as political heavy-weights, and voices both from the Global South and North. The voices heard during the event were diverse, but unison in their messaging: The massive overproduction, based on cheap synthetics, cannot continue. This has even sunk in with the policy-makers, who echoed the same concerns in well-prepared speeches, in line with Commissioner Virginijus Sinkevičius key-note, stating “fast fashion must become past fashion”.
SIFO’s Ingun Grimstad Klepp, who had been – together with Irene Maldini – a speaker at the last EcoAge event in the Parliament, had no official role in Fashionscapes; however, Livia Firth asked her intervention after the panel had presented and discussed multiple aspects related to social issues missing from the Textile Strategy, and what instruments could encourage deplastifying. The much-repeated idea that quality or durability are the silver-bullet that will instantly degrow the sector was, however, debunked by Klepp. But before getting to this, let us dive into the proceedings.
MEP Beatrice Covassi in the foreground. Right before Ingun Klepp (seated to her right behind) was asked to intervene.
It was to be sure, an intense two-hour wake-up call, related to EU’s Textile strategy and Green Transition. MEP Alessandra Moretti, as hostess of the event and key note speaker Commissioner Virginijus Sinkevičius both high-lighted how ambitious these plans are, and had many good points in what they brought forward. Where disagreement surfaced, was around fiber-to-fiber recycling of synthetics – presented as a potential for a thriving new European industrial bonanza. As several pointed out, this will only increase the use of synthetics, continue to bring down prices and result in even more microplastics. As China produces 95% of today’s synthetics, why should they sit back and see Europe take over the market? That is not how market economics work. This is a blind alley, or as we say in Norwegian ‘believing in Santa Claus’, as several in the audience reiterated.
The main theme was divesting the fashion industry of its fossil fuel reliance, of course also in the fiber area, with waste colonialism and degradation of nature in the global south to satisfy the constant craving for newness in the global north, resulting in massive overproduction. This is of course based on fossil fuel input, but as just pointed at, recycling the same material is not the answer.
Livia Firth, MEP Alessandra Moretti, Commisioner Virginijus Sinkevičius, Simon Giuliani from Candiani Denim and CEO Laurence Tubiana, European Climate Foundation (ECF).
“This shows how the issues cannot be dealt with in isolation, but we need to look at them more holistically than is currently done in the 16 (or more) legislative pieces forthcoming from the EU,” was echoed by several participants after the meeting.
Laurence Tubiana, CEO of European Climate Foundation, who was the last speaker on the panel, claimed she was rather shocked that social issues are not better integrated into the Textile strategy where 80% of the work-force, we were told, is female and does not receive a living wage. However, these workers are also the ones facing the brunt of climate change, toxic chemicals in the soils and waterways, alongside being at the receiving end of our textile waste.
“Children in Ghana grow up not knowing what the ground looks like, as it covered with a permanent layer of textile waste,” Matteo Ward, Co-Founder of Wrad Living, told the audience. He was echoed by Yayra Aghofah, Founder of The Revival in Ghana who pointed out that they have to pay for this same waste that pollutes their environment and that will eventually end up as microplastics. This sad fate, several came back to.
MEP Beatrice Covassi immediately followed up Ingun Klepp’s intervention, requested by Livia Firth, Yayra Aghofah, founder of The Revival, online, in the background.
Black Friday was also a theme, as Yayra Aghofah suggested that they would be inundated with the results of this frenzy very soon, so action is needed now, not in 2026 or 2030. This, of course, underpins the need of immediately labelling season and year products go to market, so that Duration of Service can be captured when the items go into the diverse waste streams. Panelist Paola Migliorini from DG Environment claimed the EU “is helpless in regulating Black Friday”; ignoring that there are ways to legislate or counter-act such market forces with so obviously devastating outcomes. However, it was positive that overproduction had such a central place in the proceedings, both related to how they tie in with the plastification of fashion and with waste colonialism.
Three from the audience were asked to intervene at the end, the first was Urska Trunk from Changing Markets Foundation, talking about the source for polyester for several fashion companies is still Russian oil.
Ingun Klepp, MEP Alessandra Moretti, and to the far right MEP Beatrice Covassi. The woman in the middle of th MEP-bouquet we haven’t yet identified…
Then Ingun Klepp was asked to comment on ‘quality’, and she explained how the only information consumers receive is price, and this isn’t necessarily directly related to quality. She then went on to say that with the EU’s strategy focusing on durability, plastics will win. This in light of the reality that people do not discard textiles because they are ‘used up’, and this is the problem facing the Global South and receivers such as The Revival. Especially as there is more and more polyester, and will be more, and these materials, when exported to the Global South rather than incinerated, will eventually end up as microplastics.
This was immediately picked up by MEP Beatrice Covassi, who clearly was frustrated with the fact that the consumer has so little information about the products available and thus struggles to make good choices, and wanted to applaud professor Klepp’s input.
The last person, who was asked to comment, was Nicholas Rochat, Founder of the plastic-free sportsbrand Mover, who said that with more recycled polyester – even fiber to fiber – will only contribute to more microplastics. He described being in the mountains at 2000 meters, and still encountering microplastics, and no longer being able to eat fish, as they are contaminated.
But the main take-away was that the Commission seems to have a belief that all the 16 plus different policy instruments will ‘even everything out’, but the reality is that they are in danger of making things worse in tandem, actually promoting synthetics, if the focus on durability continues alongside eco-modulating fees based on weight.
As the participants filed out, one of them sidled over to Klepp and said, simply: “Norway, douze points”.
Wardrobe studies have formed an integral part of my PhD research entitled Sensory Nourishment. I collaborate with people who are neurodivergent: people on the autism spectrum, people with ADHD, people who experience the sensations in our environments at amplified, and often unbearable levels. This can have a profound impact on their well-being, disabling their interactions with the world around them. As a fashion designer I am concerned with the sensory inputs from our closest environment, our clothing. My objective with the wardrobe studies has been to identify neurodivergent individuals’ clothing triggers and glimmers.
Background
One participant described her body as “being too porous so too many of the wrong sensations get through. This leads to sensory overwhelm which is exhausting to process and very distressing for my body” (Anna, 36). The author Katherine May, who herself is on the autism spectrum, writes about sensations “that scream so loud that you want to retreat”. And how she “inhabit(s) a body that simply stops responding when it reaches its point of overwhelm.” (May, 2018) On the flipside, another informant explained that “with heightened sensitivities, the reward is high. When the sensory input is right, it is wonderful!” (Eva, 55).
Context
My adoption of a wardrobe methodology was inspired by an encounter I had with Herman, an autistic teenage boy. When visiting his home, I laid out the early prototypes for a knitted textile I was developing. He screwed up his face and pushed them away. He left the room. Sometime later Herman returned with his mother’s cashmere sweater. His eyes lit up as he pressed it against his cheek. He placed the sweater in my hands and said, “I want it to feel like this”. I visited Herman several times and we developed a very fluid dialogue through tangible objects that he would collect for me to feel. This encounter completely shifted my way of working as a designer. Rather than projecting my solutions onto a user, I saw the importance of being guided by their lived experiences and learning through the objects they surround themselves with in order to live well.
Wardrobe study in a home Photographer: Anders Myklebust
Recruitment
Over the last two years I have interviewed a further 70 neurodivergent informants. For some it is simply a quick chat. For others it has been a series of intensive meetings spanning a couple of years; our collaborative dialogue and articulation of sensory experiences sharpening with each rendezvous. The informants range from non-verbal children to active teenagers, to young professionals, to a factory worker and a diplomat in their 60s. They are all in mainstream education or full-time employment. The wardrobes I examine are situated mainly in Northern Europe: physically, culturally, and climatically.
Adaptation of methodology
I use the term wardrobe both literally and metaphorically (Klepp & Bjerck, 2014). My intention was to visit each participant’s physical wardrobe in their home. For most participants that has been the case. However, for some it felt too intimate. So, they packed up the contents of their wardrobes into shopping bags and brought them to nearby cafes. For a few, the loud background sounds of a cafe were too overwhelming, so they let me rummage through their drawers in the privacy of their work offices. I embraced every opportunity for a wardrobe study, even unpacking the contents of someone’s suitcase at a conference. Covid-19 restrictions meant that sometimes there was a computer screen partitioning me from the wardrobe. The adaptability of the wardrobe methodology was key, in particular with participants who are non-verbal or have communication challenges. The red thread through each adaptation was a sensory ethnographic approach that was “not so much to study other people’s sensory values and behaviours, but to collaborate with them to explore and identify these.” (Pink, 2009)
Stories from meetings with wardrobes
Stine, 26, Researcher Study Location: Community project & her home
Stine anticipated some knee and hip flexing as we shovelled the ground so some stretch in the trousers was essential. She also anticipated that the ground might be abrasive. Toughness was therefore an equally important characteristic to ease of movement. She had settled on a pair of jeans with a little elastic content. However, she now regretted that decision as the hardware from the waistband was digging into her abdomen as she loaded stones from the ground into a wheelbarrow. Her trousers restricted this bending action by tightening the fabric across her obliques. This particular sensation is a daily obstacle for Stine. It can become so overwhelming that she cannot concentrate on anything else. Over several meet-ups, in Stine’s home, we refined the description of this sensation as akin to that of a stranger slowly sliding their hand around your waist. The sensation approaches from behind. You can’t quite process it until it’s too late. Physically you feel restricted. Emotionally you feel violated. Socially you don’t want to cause a scene.
Left: Stine climbing trees in her jeans Right: Laila choreographing with her snowsuit Photographer: Anders Myklebust
Laila, 4, Barnehagebarn (Kindergarten-kid) Study Location: Her parent’s apartment
As Laila’s mother led me inside, Laila started to scream and cry. She lay down on the floor, clinging on with determination. Growing tired, Laila wandered off. Her mother nudged my gaze towards the porch. Laila pulled the snowsuit up over her legs and let it rest at her waist. She put her right arm inside a padded sleeve, and then her left. She shrugged it up over her shoulders. Ever so slowly and with great attention she pulled up the zipper with her tiny hands. She then pulled the hood over her head and sighed. As she blocked out the room the crying stopped, the incessant movement subsided, the screaming ceased. Then Laila reversed these actions. The snowsuit was around her ankles once again. She repeated the dressing actions. Then the undressing. Again, again and again.
Tom, 38, Innovation Manager Study Location: Many cafés
Given the snowstorm outside, it was quite peculiar to be greeted by a bottle of sunscreen placed in the middle of our table. Tom explained that he thought it would be helpful to begin with an abstract of sorts, an executive summary of his sensory dislikes. These were embodied in the bottle of sunscreen: perfumed smell, coldness, slimy texture, someone else must touch you to put it on your back. From under the table, Tom pulled out his comfort shirt from a shopping bag. He let me take it home so I could live with it. Its synthetic fibres and overlocked seams contradicted every other participant’s preference so far. The others exclusively wore natural fibres, covered up thick seams and cut out every label.
Some weeks later, Tom and I met so I could return the shirt. He had kept notes on a new tweed blazer he had bought. Standing in front of the mirror in the store, he had concluded that it fitted his body perfectly. Across the back there was an ease of movement, and the cut was flattering. It projected the confidence of the character he wanted to inhabit at Monday’s presentation. However, on Monday morning, the blazer inhabited him. Tom is very animated with his arms as he presents. The blazer was catching on the top of his inner arm. A catching that restricted him physically and distracted him mentally. This catching made a sound. The longer he wore the jacket the smell of the fabric became more potent. “I couldn’t find a way to decode the experience, it was eating me up, it was almost animalistic, like an animal on my back with the sound and the smell and the restriction to my arms.”
Tom’s sunscreen and comfort shirt Photographer: Anders Myklebust
Examples of insights
Cheap construction, as a result of fast fashion, is one of the main culprits for sensory overwhelm: synthetic fibres, roughly overlocked seams, careless labelling, restrictive cuts.
Natural fibres are overwhelmingly preferred because of tactility, smell, sound, and thermal regulation. However, tactile perception, preferences and vernacular vary between participants. For some cashmere is a “soft” fabric. For others cashmere has small hairy fibres that cling to the skin. Such participants describe a smooth shirting cotton as “soft”.
Dominant fashion design practices are traditionally visual and static in their conception of clothing (Skjold, 2018). The wardrobe studies allowed me to see clothing as an act of dressing, a practice of wearing, a series of dynamic actions. This has shifted the moving body to the forefront of my design process.
The potential for movement facilitates a physical freedom that is inextricably linked to emotional freedom: freedom of choice, freedom from judgement, freedom to move through the day free from distractions and restrictions.
Comfort is more than simply soft materials or a lack of constraint. It is being able to comfort yourself at times of great discomfort. It is being comfortable with how you are socially presented: “the embedded meanings so implied, can be a source of ease and calm – or its reverse.” (Twigg, 2010)
Clothing has the potential to activate pleasant sensory stimulation that overrides or dampens problematic sensory inputs from other sources.
Outcomes
The analysis of these wardrobe studies will be published in my PhD monograph (anticipated in 2024). A second component to my PhD is the translation of this analysis into my design practice. Currently I am working with three participants to create a garment each by designing out the depleting sensory inputs and indulging the sensations that nourish. The anticipated result is a series of iterative prototypes whose contribution is less about the final product and more about a way of working. Ethnography is no longer confined to defining design needs. I am now integrating applied ethnography within my design process.
The project has also received innovation funding from NTNU Discovery with the ambition of embedding the wardrobe study insights within the fashion industry by advising companies on more considered approaches to how we craft sensory experiences in terms of design, manufacturing, and shopping.
References
Klepp, I.G. and Bjerck, M. (2014) A Methodological Approach to the Materiality of Clothing: Wardrobe Studies. International Journal of Social Research Methodology, 17(4), pp. 373-386.
May, K. (2018) The Electricity of Every Living Thing. London: Trapeze.
Pink, S. (2009) Doing Sensory Ethnography. 1st edn. London: SAGE Publications Inc.
Skjold, E. (2018) Making sense of dress: On sensory perspectives of wardrobe research. Artifact: Journal of Design Practice, 5(1), pp. 4.1-4.15.
Twigg, J. (2010) Clothing and dementia: A neglected dimension? Journal of Aging Studies, 24(4), pp. 223-230.
Annebella Pollen, Professor of Visual and Material Culture, University of Brighton, UK
In 2019, I shadowed an English house clearance company who clear unwanted goods from homes to observe what happens to clothes at the end of a life, to understand commercial decisions about clothes’ value, and to follow garments’ afterlives. The company followed has a business model typical of the sector. Across a week, clothes are moved out of wardrobes, into the secondhand market, where they move through declining scales of value until they are given away for free. At the end of the process, unwanted garments are incinerated. This practice offers a microcosm of textile turnover; following each stage sheds light on how cultural and financial value is constructed, and how waste is classified and produced.
The study followed a single company on a single job relating to a single person (a recently deceased widowed woman in her eighties). Using a social biography method – considering commodities as persons with social and cultural lives (Kopytoff 1986) – I followed the contents of this woman’s wardrobe, as her garments moved through sequential stages. To interpret the clothes and the process, I utilised a material culture methodology that foregrounds the things with which the social and cultural world is populated and with which it communicates. Objects’ movements, meanings and status shifts are shaped by their materiality; what they are made of and how they are made, by whom, matters.
I considered ‘the wardrobe’ not only as an assemblage of clothing but as a container of meaning and as a mobile site through which clothing flows. Gregson and Beale (2004) demonstrate the utility of social biographical approaches in garments’ existences and afterlives when they reflect on the mobilities of accumulation and divestment. “Clothes circulate”, they argue. “They have lives with their initial possessors and lives which may exceed them.” Woodward (2007) argues that worn clothing not only narrates the lives of its wearers in its use and disposal but, by extension, that individual garments can be read as material archives or indexes; together they form a body of biographical material.
The dressing gown, 2019. Photo: Annebella Pollen
The study was underpinned by empirical observation of disposal and dispersal at three key points—the cleared house, the waste processing site, and the reselling location — and by interviews with those who make choices about what to keep and what to trade, as well as with those who buy it and sell it on. All involved – wearers, sellers, users and destroyers – were anonymised.
Findings
The clothes were mostly daily wear designed for comfort, bought new from middle-market British high street locations, particularly Bonmarché. I researched Bonmarché business practices, particularly its connection to the Rana Plaza garment factory that collapsed to devastating effect in 2013 in Bangladesh, killing 1,134 people and injuring 2,500 more. I thus traced garments from their production site – wherever labour is cheapest – to their life in a British woman’s wardrobe, then back into the secondhand market, where they may be bought and used locally, or be picked up by low-paid migrant workers who ship garments back to the Global South.
The central garment case study was a stained polyester dressing gown. This was among the intimate wardrobe items selected by house clearers for waste processing; it did not even enter the secondhand circuit. As the clearer told me, it is more work to pack and unload such material, only to reload and dump it at the end of the market, than to dump in advance. I consequently examined garments whose meanings cannot be revalued in secondhand cultures of vintage shopping, typically bedwear, underwear and clothes associated with illness and death. I also scrutinised the dressing gown’s material, as a plastic polymer fibre garment whose deterioration is not marked by the wasted aesthetic effects of denim or leather, and which is not associated with garment recycling’s fashionable and pleasurable performances. As Stanes and Gibson (2017) observe, of artificial fibres in the recycling economy, “polyester’s materiality—its very plasticity— unleashes an unsettling set of contradictory relations” in its Western users and re-users, including discomfort, disgust, sweatiness and neglect. As such, polyester garments have become the overlooked stuff of fashion waste.
Implications
My study contributes new perspectives on the little-researched house clearance industry. While part of a wider secondhand practices that have been thoroughly documented, house clearances are particular. They can be unregulated operators at the bottom end of the secondhand chain, intersecting the antiques trade, refuse disposal and the death industry. Their operations may be opaque, but they are often the first brokers of goods as they move from first-hand usage to second-hand repurposing or disposal. The decisions clearers make about the value of clothing have fundamental effects on its later direction and meaning. The study also scrutinised garments that are not usually examined. Stained polyester bedwear is not a treasured item with vintage value; it lacks romantic patina. I argue, however, that is important to examine what is culturally unwanted. Together, my microcosmic study pays attention to bigger processes that are overlooked, whether for discretion, trade secrecy, or to hide the unpalatable truths of the global inequalities that sit beneath first world fashion pleasures.
The waste disposal site, 2019. Photo: Annebella Pollen
The research was firstly shared at a 2019 Design History Society conference panel dedicated to understanding fashion practices beyond mainstream systems of financial value. It was adapted for the 2021 conference and 2022 JOMEC journal special issue on Secondhand Cultures in Unsettled Times. It has been used to provide wider context for the artistic practices of Lloyd Corporation, an artist duo who examine the cultural movement of goods outside the mainstream. This has taken the form of a talk accompanying a 2022 exhibition at Centre for Contemporary Art, Brighton, and a commissioned catalogue essay, ‘The Social Life of Unwanted Clothes’, for the exhibition’s reiteration at Carlos/Ishikawa gallery, London (‘Today’s Gift is Tomorrow’s Commodity. Yesterday’s Commodity is Tomorrow’s Found Art Object. Today’s Art Object is Tomorrow’s Junk. And Yesterday’s Junk is Tomorrow’s Heirloom’). Finally, it formed a contribution to the 2022-23 workshops, ‘Overcoming Secondhand Challenges’, organised at University of Cardiff, which brought together academics and secondhand stakeholders to consider ways to reduce waste, strengthen systems of repair, and build community in the sector.
Wardrobe and Climate was the over-arching theme for a CHANGE event at the Norwegian Folk Museum in Oslo: how we can convey historical knowledge about resource thinking, crafts and wardrobe joy in the museum’s costume collections. An academic hybrid conference morphed into a hands-on evening.
“How did they do it?” was the big question posed during the hybrid seminar during the day, where around 25 attended in person and the same number joined us virtually; and where Ingun Grimstad Klepp and Ingrid Haugsrud, both from Consumption Research Norway (SIFO) at Oslo Metropolitan University, spoke about two forthcoming papers. These are: Variety in dress: Norwegian and Swedish clothing 1780-1880, co-authored by Bjørn Sverre Hol Haugen, Marie Ulväng, Pernilla Rasmussen, Ingun Grimstad Klepp and Ingrid Haugsrud, and Towards a closet full of clothes, but nothing to wear: Wardrobe planning regimes in women’s weekly magazines 1908-2023.Here the authors are Ingrid Haugsrud, Ingun Grimstad Klepp and Vilde Haugrønning.
Ingrid Haugsrud presented findings from Norway’s oldest women’s magazine.
The headline was “Unused resources for CHANGE: Fashion, history and sustainability”, and the question was why does history matter? Why do we need to talk about historical practices in the discussion around the environmental impact of textiles and clothing? asked Professor Ingun Grimstad Klepp, before she then went into how dress-practices from Norway and Sweden during the 100-year period spanning from 1780 till 1880, could offer clues to variety without excessive wastefulness. The red thread being that when we have less clothes, we take much better care of them and assign them high value.
This was followed by Ingrid Haugsrud speaking about “A closet full of clothes, but nothing to wear. Wardrobe planning in Norwegian weekly magazines 1908-2023”, where her analysis of three time-periods in the history of Norway’s oldest surviving women’s magazine which is KK (Kvinner og klær), that started out as Nordisk Mønstertidning. The three main themes that emerged for early 1900s, 1970s and 2020s were: Making do with what one had and at the same time creating variety, mix and match wardrobes (creating an illusion of having more than one actually does) and finally “the capsule wardrobe” and cleaning out/ridding oneself of unused things. The latter having led to a waste colonialism issue in the global south as an unforeseen problem.
Else Skjold led the panel, engaging both the physical and the digital audience.
After the two talks speakers were done, they were joined in a panel by Bjørn Sverre Hol Haugen, Marie Ulväng and Pernilla Rasmussen, monitored by Else Skjold. Here Marie Ulväng pointed out that in the 19th century, a household-budget for apparel was as much as 1/4th of the total. Which is a far cry from today’s share.
Later the same day, many of the participants joined others for a hands-on behind-the-scenes deep-diving into old wardrobes and textile know-how. Participants guessed what materials were hidden in jars based only on how they felt to touch, and also the weight of two garments, an old wool skirt which had belonged to Åse Roe from Tinn in Norway and a silk dress woven in the 1750s, with several reincarnations in the 1800 and 1900s.
Hands-on research: Is it silk, viscose or…?
The audience was also invited to talk about their own wardrobes and clothes with Ingun and Ingrid in what evolved as a deep-dive in a theme that was brought forward during the hybrid seminar: a need for a better language about our wardrobes and what makes them sustainable. Watch and listen to the hybrid webinar by clicking here
Engaged participants discussing with Ingun and Ingrid.
We need to activate knowledge to unravel today’s environmental tangle, and we need to come together in these trying times. On Thursday November 9th, the SIFO Project CHANGE and the Norwegian Folk Museum will collaborate and will be visited by our talented Swedish and Danish colleagues. There will be an academic seminar (physical and digital) and later the same day a whole evening with a hands-on approach both to the museum’s archives and to research. In between the two, there will be opportunities for mingling, food and drink.
We need you to register, as there is limited space. If you want to take part in everything, you must register both for the seminar, the mingling and buy a ticket for the evening (two separate links). When registering for the academic seminar, you can also choose to have a link sent to you for digital participation.
Hybrid academic seminar:
Unused resources for CHANGE: Fashion, history and sustainability
14:30 – 14:45 CHANGE – why does history matter?
Why talk about historical practices in the discussion around the environmental impact of textiles and clothing?
Professor Ingun Grimstad Klepp Consumption Research Norway (SIFO) at OsloMet.
14:45 – 15:15 How did they do it? Variety in clothing without excessive wastefulness, Reflection on today’s environmental strategies inspired by dress practice in Norway and Sweden 1780-1880. Professor Ingun Grimstad Klepp Consumption Research Norway (SIFO) at OsloMet.
(Based on Variety in dress: Norwegian and Swedish clothing 1780-1880 Bjørn Sverre Hol Haugen, Marie Ulväng, Pernilla Rasmussen, Ingun Grimstad Klepp & Ingrid Haugsrud)
15:15 – 15:45 A closet full of clothes, but nothing to wear. Wardrobe planning in Norwegian weekly magazines 1908-2023
Ingrid Haugsrud Consumption Research Norway (SIFO) at OsloMet.
(Based on Towards a closet full of clothes, but nothing to wear: Wardrobe planning regimes in women’s weekly magazines 1908-2023. Ingrid Haugsrud, Ingun Grimstad Klepp and Vilde Haugrønning.)
15:45 – 16:00 Q&A
16:00 -18:00 Mingling and opportunity for physical attendees to buy refreshments (registration required).
Click here for participation in the academic hybrid conference, either physical or digital).
For participation in the evening event (6:00-8:30 PM) you need to buy a ticket directly from the Folk Museum (only physical participation possible). Click here for tickets.
If you are interested in the findings presented during the hybrid seminar, the video and the presentations are now available.
Both the volumes of textile waste, and the interest in what to do with it, is growing. Fortunately, knowledge about what textile waste consists of is also growing, as is the interest to regulate the sector.
In this webinar, we will summarize several recent reports on textile waste in Norway and other countries, as well as a report that examines whether environmental strategies take seriously the fact that if the textiles are to be used up, then less must be produced. The clothes we dispose are often used – but far from used up.
– How can disposed textiles be used in the best possible way to ensure new use, and what kind of knowledge enables us to reduce the amount of used but not used up textiles? – How much textiles, especially synthetics, are disposed in Norway? What does wasted textiles consist of, why and how are they disposed? – Which regulatory measures will can be implemented in order to reduce the volumes of textile waste?
Click here to find the PDFs of the presentations (link).
This is an open dissemination seminar under the Wasted Textiles research project at SIFO, OsloMet, funded by the Research Council of Norway and the Norwegian Retailers Environment Fund.
The ethical issues are often discussed separate from environmental issues, it is high time they are discussed in the same room. Therefore, a huge thanks to EcoAge who arranged an important roundtable, and in the Parliament in Brussels, with the heading Calling for a fair phase-out of fossil fuels from the fashion industry.
Livia Firth, founder of EcoAge, introduced and moderated the roundtable. The will to find a common solution for the two issues was the most important element in the meeting, namely a just transition and the phasing out of the over-reliance on synthetics or fossil fuels in fashion. This was manifested with an alternation between people who worked in the different fields and with different ways in to the themes on the agenda. The seminar’s first two presentations were both from the Global south, Betterman Simidi Musaia and Yayra Agbofah, from Ghana and Kenya, virtual presentations that so obviously show the necessity of talking about a plastic reduction, and system change towards more global justice as one and the same. It was very clear from their talks that the environmental and health consequences are grotesque in the countries who receive our unwanted clothes and footwear.
While the fashion industry is heavily reliant on fossil fuels for energy and transport, what is less known is that most of the clothes we wear are also made from oil and gas. Synthetic fiber production uses the equivalent amount of oil per year as the entirety of Spain, and polyester production alone produces the equivalent of 180 coal-fired power-stations annually. What is more, synthetic fibers and plastics are emerging as the fossil fuel industry’s cash-cow – accounting for up 95% of future growth in demand for oil.
There is broad agreement and many good perspectives that the change we need is a systemic change and not a change of individual products. The systems perspective combines the need for change with a global equality perspective, and the need for reduction in quantity and plastification.
The presentation from SIFO was the one that most directly included a criticism of the EU strategy. Irene Maldini explained why the durability discourse falls short for clothing, by referring to research on clothing consumption as a system. This is based on Irene’s own work with clothing consumption and the ongoing work in Change. Ingun Klepp took over the baton by presenting the findings in Plastic Elephant (link here), with an emphasis on how the EU strategy’s emphasis on improvements at product level supports plastification and avoids addressing the main problem: Quantity. In conclusion, she explained how it is possible through regulation to target quantity, and used TPR (link to Targeted Producer Responsibility here) as an example of this. For all good regulation, knowledge is needed. It is therefore urgent to understand the problems better and develop methods suitable for this.
Through the EU’s focus on material durability (synthetics are stronger, and durability leads to accumulation if production volumes are not addressed), weight (synthetics are much lighter) and recyclability (plastics are easier to recycle, and recyclability promotes monomaterials, hence more plastics used), among others.
Many of the participants contacted Maldini and Klepp afterwards, saying that the focus they had was something they had not seen before, with the “proof” that focusing on durability, recyclability and other parameters the EU Textile Strategy does, will increase the amount of synthetics rather than reduce the influx. Also, other aspects of EU policy that is very much ignored in the Textile Strategy was also mentioned – how lack of a holistic approach is problematic. If we are to have “good clothes”, policy really needs to address the right issues.
Saskia Bricmont, MEP, who is Member of the Group of the Greens/European Free Alliance and the event sponsor, was clearly very engaged in the theme and it will be interesting to see how this can be brought forward in the EU.
Using waste as a resource for knowledge seems like an important way to go, and at Waste Norway’s seminar on October 23rd (link to event here), the latest we know about waste will be presented, from Svalbard in the north and of course also from other parts of Europe.
