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What Is Sustainable Fashion? This is a repository copy of What is sustainable fashion?. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/99507/ Version: Accepted Version Article: Henninger, C.E., Alevizou, P.J. and Oates, C.J. orcid.org/0000-0001-8848-9178 (2016) What is sustainable fashion? Journal of Fashion Marketing and Management. ISSN 1361-2026 https://doi.org/10.1108/JFMM-07-2015-0052 Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. 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[email protected] https://eprints.whiterose.ac.uk/ Journal of Fashion Marketing and Management What is sustainable fashion Journal: Journal of Fashion Marketing and Management ForManuscript IDPeer JFMM-07-2015-0052.R1 Review Manuscript Type: Original rticle Keywords: Fashion, Marketing, Small firms, Textile industry Page 1 of 22 Journal of Fashion Marketing and Management 1 2 3 What is sustainable fashion? 4 5 6 Abstract 7 Purpose – The purpose of this paper is to examine what the term sustainable fashion 8 means from the perspective of micro-organisations, experts, and consumers. 9 Design/methodology/approach – This research is qualitative in nature, utilising a 10 11 multi-methods case study approach (semi-structured interviews, semiotics, 12 questionnaires). Grounded analysis was applied to analyse the data. 13 Findings – Findings indicate that interpretation of sustainable fashion is context and 14 person dependent. A matrix of key criteria provides the opportunity to find common 15 elements. 16 Research limitations/implications – Due to the nature of this research the sample 17 18 size is limited and may not be generalised. Data were collected in the UK and are 19 limited to a geographical region. 20 Practical implicationsFor – AnPeer important Reviewimplication is that defining sustainable 21 fashion is vital in order to avoid challenges, such as greenwashing, which were faced 22 in other industries that have a longer history in sustainable practices. Micro- 23 24 organisations should take advantage of identifying key sustainable fashion criteria, 25 which will enable them to promote their fashion collections more effectively. 26 Social implications – The criteria identified provide assurance for consumers that 27 sustainable fashion is produced with social aspects in mind (fair wages, good working 28 conditions). 29 30 Originality/value – The paper proposes a matrix that allows micro-organisations to 31 clearly identify their collections as sustainable. 32 Keywords – sustainable fashion, micro-organisation, sustainability, fashion, 33 sustainable fashion criteria, UK, case study research 34 Paper type – Research paper 35 36 37 38 1. Introduction 39 40 The second anniversary of the Rana Plaza factory incident marks an increased interest 41 in sustainable fashion and ethical practices in the industry (Westervelt 2015). With 42 43 sustainability emerging as a ‘megatrend’ (Mittelstaedt et al 2014) the fashion 44 45 landscape changes dramatically, whereby sustainable fashion becomes increasingly 46 47 mainstream (Watson & Yan 2013; Mora et al 2014). Extant research predominantly 48 49 focused on sustainable fashion consumption (e.g. Joy et al 2012; Cao et al 2014) 50 rather than on establishing an academic understanding towards sustainable fashion, 51 52 which is part of the slow fashion movement (Jung & Jin 2014). This article utilises a 53 54 social constructionist approach to address this gap. 55 56 Sustainable fashion is part of the slow fashion movement, developed over the 57 past decades, and used interchangeably with eco-, green-, and ethical-fashion (Carey 58 59 & Cervellon 2014). Sustainable fashion first emerged in the 1960s, when consumers 60 became aware of the impact clothing manufacturing had on the environment and 1 Journal of Fashion Marketing and Management Page 2 of 22 1 2 3 demanded the industry change its practices (Jung & Jin 2014). Although eco-fashion 4 5 was negatively perceived at first this changed with anti-fur campaigns emerging in the 6 7 1980s/90s, followed by an interest in ethical clothing in the late 1990s. Ethical fashion 8 9 is associated with fair working conditions, a sustainable business model (Joergens 10 11 2006), organic and environmentally friendly materials (Johnston 2012), certifications, 12 and traceability (Henninger 2015). 13 14 Sustainable fashion as part of the slow fashion movement is often 15 16 misleadingly described as the opposite of fast fashion. Slow fashion is based on a 17 18 philosophical ideal that centres on sustainability values, such as good working 19 conditions and reducing environmental destruction (e.g. Bourland 2011; 20 For Peer Review 21 Pookulangara & Shephard 2013). It challenges the fast fashion paradigm by breaking 22 23 down existing boundaries between the organisation and its stakeholders, slowing the 24 25 production process to a more manageable timeframe, moving away from the self- 26 27 concept, and focusing on empowering workers by offering a choice that enables 28 change (Clark 2008). According to ‘The True Cost’ movie (2015) sustainable fashion 29 30 is more than a simple fad, but rather considers the social, natural, and economic 31 32 ‘price’ paid in fashion production. Yet uncertainty remains around what the term 33 34 ‘sustainable fashion’ entails and what might be the guidelines for producing 35 sustainable garments (Watson & Yan 2013; The True Cost 2015). 36 37 The slow fashion movement and sustainable fashion are increasing in 38 39 importance (Battaglia et al 2014), yet consumer awareness remains low (Gonzalez 40 41 2015). Past research on sustainable fashion focused on consumers’ perceptions and 42 43 attitudes (Goworek et al 2013; Shen et al 2013; McNeill & Moore 2015), and its 44 impact on consumer purchasing behaviour (Shen et al 2013). Although research has 45 46 investigated aspects of sustainable fashion, current studies lack an academic 47 48 understanding of what sustainable fashion is from a holistic perspective. This article 49 50 contributes to literature by investigating two research questions from a social 51 constructionist point of view: 52 53 1) What are the underlying principles of sustainable fashion from the point of view 54 of micro-organisations, experts, and consumers? 55 2) How is the concept of sustainable fashion related to aspects of social 56 constructionism? 57 58 59 Understanding underlying principles of sustainable fashion is vital, in order to avoid 60 negative connotations such as greenwashing (e.g. Rahman et al 2014). Theoretical 2 Page 3 of 22 Journal of Fashion Marketing and Management 1 2 3 contributions focus on establishing an understanding of sustainable fashion as 4 5 discussed and practiced by slow fashion companies. Future research could extend 6 7 these preliminary results and test their applicability on a wider scale. 8 9 10 11 2. Literature review 12 2.1 Slow fashion movement and sustainable fashion 13 14 The slow fashion movement emerged as a response to fast fashion cycles and 15 16 ‘unsustainable’ business growth. It promotes ethical conduct, reduced fashion 17 18 production and purchasing quality over quantity clothing (Fletcher 2010; Ertekin & 19 Atik 2014). Slow fashion and more specifically sustainable fashion seek to empower 20 For Peer Review 21 workers throughout the supply chain, utilise upcycling, recycling, and traditional 22 23 production techniques, and incorporating renewable and organic raw materials 24 25 (Johnston 2012). Thus, slow fashion moves away from current industry practices of 26 27 growth-based fashion, which requires a change in system thinking, infrastructure, and 28 through-put of goods (Fletcher 2010). Key to the slow fashion movement and 29 30 sustainable fashion is a balanced approach to fashion production, which fosters long- 31 32 term relationships, builds local production, and focuses on transparency (Ertekin & 33 34 Atik 2014). The latter aspect has received increased attention since the Rana Plaza 35 incident, which called for enhanced supply chain check-ups and transparency 36 37 throughout the manufacturing process (e.g. Pookulangara & Shephard 2013; Jung & 38 39 Jin 2014) 40 41 The original meaning of slow fashion highlights sustainability values and 42 43 ethical conduct, yet media only seem to promote sustainable fashion as garments that 44 are somehow ‘less fast’, which is enhanced by the fact that slow fashion companies 45 46 usually produce collections only twice a year for Spring/Summer and Autumn/Winter 47 48 (Pookulangara & Shephard 2013). Although changes in the environment have already 49 50 occurred, for example introducing organic materials or promoting sustainable 51 collections (e.g. H&M conscious line), which should make it easier for organisations 52 53 to promote sustainable fashion, the “mobilization of a sustainable fashion system is 54 55 both complex and difficult” (Ertkin & Atik 2014: 8). Various barriers to mobilizing 56 57 sustainable fashion emerge: first, transparency in a globalised supply chain may not 58 59 always be feasible. In order to stay competitive manufacturers are pressured into 60 lowering their prices and at times cut corners. Second, increased production and availability of garments enhances a ‘fashion appetite’ that strengthens the attitude- 3 Journal of Fashion Marketing and Management Page 4 of 22 1 2 3 behaviour-gap of consumers who want ideally to purchase sustainable fashion, yet 4 5 may not always follow through in their behaviour (e.g.
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