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Sustainable Fashion: New Approaches SUSTAINABLE FASHION: NEW APPROACHES Kirsi Niinimäki (ed.) Aalto University publication series Art + Design + Architecture 9/2013 Aalto ARTS Books Helsinki, Finland books.aalto.fi ISBN 978-952-5572-5 ISBN 978-952-60-5573-2 (pdf) ISSN-L 1799-4853 ISSN 1799-4853 ISSN 1799-4861 (pdf) This book is produced in cooperation between Aalto University’s School of Arts, Design and Architecture and the Baltic Fashion partnership. The publication is produced with the assistance of the European Union. Its content is the sole responsibility of the authors and can in no way be taken to reflect the views of the European Union. © The authors and Aalto University Graphic design: Anja-Lisa Hirscher SUSTAINABLE Paper: Munken Lynx 120 g Typeface: Brandon grotesque FASHION: NEW APPROACHES Printed in Unigrafia Helsinki, Finland 2013 Kirsi Niinimäki (ed.) FOREWORD SUSTAINABLE FASHION PRODUCT SERVICE SYSTEM Kirsi Niinimäki Cosette Armstrong Tenents of Sustainable Fashion 14 Product-Service Systems Design Thinking for Sustainable Fashion 104 ETHICS AND AESTHETICS Essi Karell Kirsi Niinimäki Planned Continuity – Multi-life Garments through Values and Green Aesthetics 34 Modular Structures & Supplemental Services 112 Maarit Aakko INNOVATION FOR GREEN BUSINESS What is the Role of Aesthetics in Sustainability? 40 Kirsi Niinimäki New Values – New Business Opportunities 128 Kirsi Niinimäki Ethical Design 46 Anika Kozlowski Sustainability Driven Innovation and Fashion Design 136 Maarit Aakko Artisanal and Slow : The Case of Anna Ruohonen 58 Lisbeth Svengren Holm Innovative Fashion Concepts and the Communication of Sustainability 148 Maarit Aakko & Kirsi Niinimäki Experimenting with Zero-Waste Fashion 70 COLLABORATION Kirsi Niinimäki CRITICAL AND SOCIAL DESIGN Open Collaboration 162 Kirsi Niinimäki Design Activism: Critical and Social 84 Dilys Williams The Making of a Social Object: Collaboration between Anu Corin Nike and Centre for Sustainable Fashion 166 Getting Critical “Why should I create anything?” 88 Anja-Lisa Hirscher & Alastair Fuad-Luke Open Participatory Designing for an Alternative Fashion Economy 176 Kati Reijonen & Mari Krappala Changing the World with Fashion 94 AT THE END: ENVISIONING THE FUTURE Kirsi Niinimäki 200 WRITERS 202 4 tabel OF CONTENT tabel OF CONTENT 5 FOREWORD The idea for this publication emerged while or- I hope the publication offers inspiration on how value, as transformative and re-directive design ganising the international seminar and exhibition to make positive change in current practices and envisioning the future, as design and business “Sustainable and Innovative Fashion” in Aalto how to effect new mindsets, creating transfor- strategy, as change agent experimentation, and University, Finland, on 2–3 October, 2013. The mative fashion. as reframing business thinking. The content is di- event was part of the Baltic Fashion project, Theoretical texts and the individual design vided into six themes: the basics of sustainable where Aalto University focused strongly on pro- cases and real-life business examples present- fashion, ethics and aesthetics, critical and social ducing new knowledge on the sustainable fash- ed in this book show that a change in mindset design, product-service systems, innovation for ion field. The book sets out some of the themes is possible. They illustrate how we can challenge green business and collaboration. presented in the seminar and exhibition. Addi- our traditional thinking and make manifest new I wish to thank all writers, researchers, de- tionally it focuses on new sustainable design and ways to frame the problem and seek creative so- signers and companies who contributed to this business thinking while opening views on experi- lutions. Moreover when problem areas are seen publication with their best knowledge, writing, mental design and green business approaches as opportunities where design thinking can help visuals and photos, and brave experimentations through real-life cases. create successful outcomes, the chapters offer in the field of fashion. This publication is intended to be used as examples of how to do fashion and business dif- And before you start this literary journey I a source of inspiration for designers and com- ferently. Even the wildest design experimenta- want to emphasise that sustainable fashion is a panies, and all stakeholders whose interest lies tions are beneficial and meaningful if they open creative process where design, quality, value, in the area of sustainable fashion. While the new kinds of thinking or even question the cur- collaboration and networks form the core, not strategies for sustainability are complex and rent fashion system. fashionable appearance and cheap prices. Enjoy approaches are many, this publication presents This book presents sustainable fashion as the experimental journey! only a few ways to approach sustainable fashion. an approach that encompasses future-oriented In Tuusula, Finland December 2013 Kirsi Niinimäki FOREWORD 7 ABBREVIATIONS THE BAltiC FASHION PROJECT BSR Baltic See Region Despite dramatic changes within the last decade • analysed innovations within the industry, CEO Chief Executive Officer resulting in a loss of a third of its volume and jobs, which are of relevance to Baltic fashion All information, either collected or generated in the CSF Centre for Sustainable Fashion the fashion sector still plays a highly important role SMEs in view of offering them unique sell- project, was fed into the Baltic Fashion Information CSR Corporate Social Responsibility throughout the Baltic Sea Region (BSR): not only ing points, lowering production costs and/or Portal, the first-ever comprehensive web platform C2C Consumer to Consumer that it is characterised by a high number of small expanding to new target groups, on Baltic fashion, accessible at www.balticfashion.eu. DfE Design for Environment and medium-sized enterprises (SMEs) and female • strengthened business cooperation in the The Baltic Fashion project was supported DIT Do-it-Together employees, but it is also an important source for BSR by compiling a comprehensive map- by the ERDF-financed Baltic Sea Region Pro- DIY Do-it-Yourself creativity and identity-building throughout the ping of local production sites and organis- gramme 2007–2013 under the priority “inno- DPC Designer-Producer-Consumer region. Recent innovations and transnational ing BSR-wide business cooperation events. vation”. It was implemented between December EMAS Eco-Management and Audit Schme cooperation as well as trends towards sustainable Based on current trends as well as strengths 2010 and December 2013. EPR Extended Producer Responsibility consumption offer important opportunities for and weaknesses of each country, an analysis LCA Life Cycle Analysis Baltic fashion designers and companies. on possible scenarios for local production in MSI Material Sustainability Index Against this background, the Baltic Fashion the BSR countries was developed, NGO Non-Governmental Organization project partnership, composed of representa- • collected information on the current sup- PSS Product-Service System tives from government, industry and education, port offer for fashion businesses and con- ACknOWLEDGEMENTS SAC Sustainable Apparel Coalition explored possibilities for transnational coopera- ducted direct surveys with fashion SMEs SME Small and Medium-sized Companies tion in Baltic fashion support. As part of the Bal- to enquire about their needs. Based on the This publication was made possible through the ZWF Zero Waste Fashion tic Fashion project, they: results, they developed and tested fash- support and contributions provided by the Baltic ZWPC Zero Waste Pattern Cutting ion business support measures as well as Fashion partnership. training, • organised roundtables with national stakehold- ers to discuss actions to further support the Baltic fashion industry in the future, and • explored how cooperation within the Bal- tic Fashion project could be continued in the future. 8 abbreviatiONS FOREWORD 9 Contemporary aesthetic norms are based in capital- SUSTAINABLE intensive, highly automated, unsustainable proce- dures. These procedures tend to reduce the potential for fulfilling employment and often ignore social and FASHION environmental losses. (Walker 2007, 76.) Walker, S. (2007). Sustainable by Design Explorations in Theory and Practice. London: Earthscan. INTRODUCTION To unpack some of the complexity surrounding In all these phases there are myriad possibili- TENENTS OF the sustainability issues in the fashion field, this ties to lessen environmental impact. Recently chapter briefly discusses some of the principles ethical and sustainability issues have entered the behind sustainable fashion. The chapter begins discussion and have received a lot of attention, with manufacturing and consumption, moves to as fashion manufacturing has moved to lower SUSTAINABLE design principles, discusses the use phase and cost and mainly Asian and Far East countries CSR (Corporate Social Responsibility) issues, during the last 25 years. and finally moves to new technologies. Current design and manufacturing systems FASHION as well as economic models lead to unsustainable The environmental impact of garments can be fashion consumption. The whole situation can be decreased during: seen as a complex problem that needs creative • fibre production, finishing, dyeing and print- problem solving, brave design thinking, questioning ing processes of current practices, and open collaboration be- • global logistics during manufacturing
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