DOCSLIB.ORG

Unfinished Stories

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Unfinished Stories UNFINISHED STORIES MASTER OF ARTS (M.A) 2016/2017 JONNA HAEGGBLOM Unfinished Stories Master Dissertation Master of Arts (M.A) Sustainability in Fashion 2016/2017 Esmod Berlin - International University of Art for Fashion Author: Jonna Haeggblom Evaluating professors: Anita Heiberg, Beata Wilczek, Rolf Heimann, Thorbjorn Uldam, Wickie Meier Word count: 18 456 (Introduction: 1736, Critical Studies: 4356, Textiles and Production: 4206, Design Strategies: 2418, Business and Marketing: 5740) Research conducted in collaboration with Swedish research institute Swerea IVF and within the Mistra Future Fashion programme funded by Mistra. Berlin 05.09.2017 Printed on SFC certified 100 % recycled paper ACKNOWLEDGEMENTS I would like to express my gratitude to a number of people for their valuable insights, support and guidance throughout the research and development of this research project. First, I would like to thank my professors: Wickie Meier, Anita Heiberg, Beata Wilczek, Rolf Heimann, Alexandra Woithe, Thorbjorn Uldam and Jasmina Benferhat. A special thanks is given to Christina Jönsson and Sandra Roos from Mistra Future Fashion, Marielle Kerber and Linda Ekström from Kerber and Ina Budde from Design for Circularity, for interesting discussions, input and knowledge from both academy and industry. Unbounded thanks to my family for endless support and engagement invaluable for this project. Finally, I want to thank my classmates whose knowledge, enthusiasm and creativity is of constant inspiration to me. CONTENTS 1. Introduction ................................................................................................................................................................................................. 10 1.1 Background ....................................................................................................................................................................................... 11 1.2 Purpose and Research Question ....................................................................................................................................................... 11 1.3 Research Methodology ...................................................................................................................................................................... 12 1.4 Project Overview ............................................................................................................................................................................... 14 2. Critical Studies............................................................................................................................................................................................. 16 2.1 Introduction ....................................................................................................................................................................................... 17 2.2 Systems Thinking .............................................................................................................................................................................. 18 2.3 The Current State of the Fashion Industry....................................................................................................................................... 19 2.4 Fashion Futures .................................................................................................................................................................................. 24 2.5 Bridiging the Paradigms .................................................................................................................................................................... 28 2.6 Conclusion ........................................................................................................................................................................................ 29 3. Textiles and Production ......................................................................................................................................................................... 30 3.1 Introduction ..................................................................................................................................................................................... 31 3.2 From a Linear Economy to a Circular Economy .......................................................................................................................... 33 3.3 Life Cycle Assessment ..................................................................................................................................................................... 34 3.4 Emotional Life Cycle Assessment ................................................................................................................................................... 36 3.5 What Makes the Difference? ............................................................................................................................................................ 45 3.6 Draft of a Practicable Model to Realize ............................................................................................................................................ 48 3.7 Individual Definitions ....................................................................................................................................................................... 51 3.8 Conclusion ......................................................................................................................................................................................... 52 4. Design Strategies .................................................................................................................................................................................... 54 4.1 Introduction ...................................................................................................................................................................................... 55 4.2 Design Strategies .............................................................................................................................................................................. 56 4.3 Design Concept ................................................................................................................................................................................ 64 4.4 Design Process ....................................................................................................... ......................................................................... 70 4.5 Collection Overview ......................................................................................................................................................................... 72 4.6 Conclusion ........................................................................................................................................................................................ 79 5. Business and Marketing Plan ............................................................................................................................................................ 80 5.1 Introduction ..................................................................................................................................................................................... 81 5.2 Business Model Innovation: Why, What, How.................................................................................................................................. 83 5.3 Business Plan ..................................................................................................................................................................................... 93 5.4 Marketing Plan ................................................................................................................................................................................. 100 5.5 Conclusion ......................................................................................................................................................................................... 1 0 4 6. Concluding Summary ......................................................................................................................................................................... 106 7. References ............................................................................................................................................................................................... 110 8. Appendixes ...............................................................................................................................................................................................114 List of figures 1.1 Project Overview (2017), author’s own 4.22 Design Process (2017), author’s own 2.1 The Iceberg Model (2015), North West Institute 5.1 Transparent Pricing (2017), Asket 2.2 Fashion Evolution Timeline (2017), author’s own 5.2 Lease (2017), Filippa K 2.3 Well-Tempered City (2017), author’s own 5.3 Denim (2017), RE/DONE 2.4 The Kinfolk Home (2015) 5.4 Fast and Slow Speed Systems (2017), author’s own 2.5 Bridging the Paradigms (2017), author’s own 5.5 Unfinished Stories Strategies (2017), author’s own 3.1 Circular Economy Systems Diagram (2017), Ellen MacAr- 5.6 Kerber (2015) thur Foundation 5.7 Swot Analysis (2017), author’s own 3.2 A Garment’s Life Cycle (2016), Clara Vuletich 5.8 AW17 (2017), Kerber
Load more

Recommended publications
  • Code of Conduct
    Code of conduct Inspections and Compliance Group 1 Bachelor dissertation Authors: Jenny Helge FEC 685, Autumn 2005 Therese Lein Thylin International Business Jenny Lööf Department of Business Administration & Economics Tutors:Carl-Michael Unger Viveca Fjelkner 1 Acknowledgements This dissertation concludes three and a half years of studies in the field of international business at Kristianstads University. We would like to give special thanks to our tutor Carl-Michael Unger for his support and guidance throughout the dissertation. He has encouraged us and given us suggestions on improvement. We would also like to thank Viveca Fjelkner for her help with the English language. In addition, we would like to thank Anna Nygren at Filippa K, Renée Andersson at Indiska, Ann-Marie Heinonen at KappAhl and Katarina Ekeroth at JC for their participation and commitment. Without these companies the aim of the dissertation could not have been reached. Furthermore, we would like to thank Lorenz Berzau at BSCI for his availability. Finally, we would like to thank our proofreaders for their time and assistance. Kristianstad 2005 Jenny Helge Therese Lein Thylin Jenny Lööf 2 Abstract In many of the developing countries the working conditions are poor and unfair. Many of the clothes are bought from these countries where murder, violence and arresting of the workers are common. Neither the employers nor the employees know the laws of their countries entirely and therefore have no knowledge of fundamental rights. The purpose of the dissertation has been to study the inspections and the compliances of the codes of conduct. Companies use codes of conduct to improve the working environment at the supplier.
    [Show full text]
  • Swedish Household Name Filippa K's Timeless Aesthetic Feels More
    Swedish household name Filippa K’s timeless aesthetic feels more relevant than ever, 26 years after it was established. We spend a day with brand founder Filippa Knutsson in her London home. By EMMA HOLMQVIST DEACON Photos by OLIVER MARTIN is for Karisma 110 SCANDINAVIANTRAVELER.COM APRIL 2019 Filippa Knutsson London life. Knutsson is back in the city that she grew up in. APRIL 2019 SCANDINAVIANTRAVELER.COM 111 Filippa Knutsson s far as Swedish brand recognition goes, Filippa K is almost up there with fat- A pack giants and fare-wear- ing pop groups. The fashion purveyor is that much of an institution in its homeland. At frst glance, its minimal- ist aesthetic may be the epitome of Swedish -ness, but dig deeper and you’ll realize there’s much more to it. The same goes for brand founder Filippa Knutsson, who’s now descending the stairs of her Islington home to greet us – a blonde vision, enrobed in a white trouser suit. THE MODERN BREED of multicultur- al eclecticism that defnes Knutsson’s Georgian home – which is dotted with artwork from the likes of André Bloc, Mamma Andersson and Le Corbusier – has found its way into the Filippa K aes- thetic, however subtle these infuences may be. “Most people describe Filippa K as uber-Scandinavian, since the look is quite minimalist, but there’s a defnite hint of Parisian elegance to it, as well as an element of London creativity,” Knuts- son says. This might be a product of the fashion fgure’s slightly divided upbringing. She WHO SHE IS grew up in the UK capital, to which she returned in 2016 after a couple of decades AND WHAT in Stockholm and a three-year stint in Paris.
    [Show full text]
  • Service-Based Business Models & Circular Strategies for Textiles
    SERVICE-BASED BUSINESS MODELS & CIRCULAR STRATEGIES FOR TEXTILES CONTENTS Foreword 3 Executive Summary 4 Context Finland 6 Introduction 7 Business Model Framework 11 Deep dives 18 Closed Loop 19 Reuse 24 Recycling 29 Repair & Warranty 38 Renting & Leasing 43 Demand Management 52 Co-creation 60 Acknowledgements 65 About Circle Economy 66 This document was prepared by Circle Economy for Sitra and finalised on August 21st 2015. It contains an overview and evaluation of service based business models & circular strategies in textiles that are currently present or emerging on a global scale. Circle Economy has made every effort to ensure that the data and information in this document are correct. However, do to the nature of the research and sources employed, much of the information is subject to subjectivity. © Sitra 2015 2 FOREWORD Service-based business models & circular strategies are increasingly "Happiness recognized as key to delivering greater social and environmental sustainability in the industrial system. However, the understanding of the subtleties in variation and feasibility of options available (especially in the relation to the is a place textile industry) is limited, with few comprehensive or exemplary overviews available. At the same time, innovative examples of successful service-based between too models in the textiles industry do exist and it is from these examples that we can learn how to move the textile industry forward towards greater impact little and too in environmental sustainability, increased competitiveness of the supplier/ manufacturer and an increased access to high quality, affordable products for the consumer. much" In this report you will find 10 deep dive cases that represent the most promising Finnish Proverb and innovative service-based business models & circular strategies available today.
    [Show full text]
  • Social Report 2011
    Social Report 2011 “Inspired by my own needs and of those around me, I set out to build a brand that had substance and truth, not dependent of the superficial trends of the fashion industry.” www.filippa-k.com Member of FWF: March 2008 Social report – Filippa K – October 2011 Contents About Filippa K 3 Facts and figures 3 History in brief 3 Filippa K organisation 3 Chart: Filippa K organisation 3 Summary: Social goals and achievements 4 Sourcing strategy 5 Sourcing strategy & pricing 5 Chart: Production by country based on cost 5 Production in Europe 5 Organisation of the sourcing department 5 Production cycle 5 Selection of new factories 6 Restricted Chemicals list 6 Integration of monitoring activities and sourcing decisions 6 Coherent system for monitoring and remediation 7 China 7 Factory A 7 Factory B 7 Factory C 8 Previous audits in Turkey and Romania/Italy 8 Complaints procedure 8 Training and capacity building 9 Staff members – information activities 9 Figure: CR Framework 9 Trading companies – information activities 9 Manufacturers and workers – information activities 9 Transparency and communication 10 Forthcoming CR work – 2012 10 Social Report 2011 2 About Filippa K About Filippa K Filippa K is a leading Swedish high quality fashion brand with 45 own stores, 25 shops-in-shops and 600 selected retailers. Our larg- FACTS AND FIGURES: est market is Sweden and the head office is located in Stockholm. Headquarter: Stockholm, Sweden Besides Sweden, Filippa K is represented on six core markets (Nor- Brand established, founded: 1993 By Filippa Knutsson and way, Denmark, Finland, The Netherlands, Germany and Belgium) as Patrik Kihlborg well as on ten additional export markets.
    [Show full text]
  • Filippa K Sustainability Report 2014
    SUSTAINABILITY REPORT 2014 THIS REPORT IS OPTIMIZED TO BE VIEWED ON YOUR LAPTOP SCREEN. PLEASE DO NOT PRINT IT. IT’S BEST ENJOYED VIEWED IN FULL SCREEN MODE. TABLE OF CONTENT 1. COMMENTS FROM CEO AND SUSTAINABILITY MANAGER 2. THIS IS US 3. FILIPPA K STAKEHOLDERS 4. OUR MANIFEST – LONG LASTING SIMPLICITY 5. OUR COMMITMENTS 2030 I. CONSCIOUS DESIGN FOR A BETTER FUTURE II. SUSTAINABLE SOURCING AND MANUFACTURE III. RESOURCE EFFICIENT BUSINESS IV. PEOPLE IN OUR VALUE CHAIN ARE RESPECTED V. LONG-TERM SUSTAINABLE SUCCESS 6. INITIATIVES AND CO-OPERATIONS COMMENTS FROM CEO AND SUSTAINABILITY MANAGER BACK TO TABLE OF CONTENT Sustainability has always been part of our DNA and values. To make ways to update the wardrobe, like second hand or the possibility to rent clothes that can last for a long time in both quality and style has been clothes. Another important part is to help our users to care more for their our strategy from the very beginning. We offer garments that can be products. used season after season and that represent a style rather than a trend. Circular Design is a concept inspired by ecosystems. Circular Design That is one of our greatest contributions to sustainability. is about changing our models from linear ones, where we take resources We want to be part of the solution. Being part of the solution means like for example cotton from one end and that ends up as waste in the having a business model that works in the long run. Filippa Knutsson other. Instead we need to change to circular models.
    [Show full text]
  • A Brief Introduction Swedish Fashion Labels
    Stockholm January 2010 Fashion in Sweden today – a brief introduction The Swedish fashion industry has gone from strength to strength over the past six years, with doubled exports. Known for its character of understatement, it is now maturing, daring to build a stronger profile. The foundation is simple lines as a reflection of Swedish design on the whole – functional and clean. It’s said that Swedish fashion tends to showcase – rather than upstage – the wearer. That is, if you don’t notice the details which make all the difference. Swedes want clothes that fit their lifestyle, daytime or evening – good-looking and cool, without being too conspicuous. This has proven to be a recipe for international success, as Swedish fashion is becoming renowned for its functionality, quality and price. Strong profile or not, functionality is key. Denim brands especially, such as Acne, Cheap Monday, Nudie and Hope, have been huge hits internationally. Newcomers like The Local Firm, Dr Denim and Denim Demon have continued to highlight the wearability of jeans – nowadays a must-have part of any Swede’s wardrobe. Well-made with clean lines and personal detailing, they have become the new ”little black dress”. There are styles for every individual; fully on-trend or just classic, with a few prominent details. Many contemporary Swedish collections are built up around a simple base wardrobe with mandatory jeans, tops and durable pieces. In combination with a creative twist and style consciousness, they create a unique and exotic feel. At the same time, Swedish fashion incorporates elements from Swedish culture by injecting symbolism and material objects; sometimes bordering on historicism and folklore, as in the cases of Odd Molly, Nygårdsanna and Ewa i Walla.
    [Show full text]
  • Creating Shared Values by Integrating UN Sustainable Development Goals in Corporate Communication—The Case of Apparel Retail
    sustainability Article Creating Shared Values by Integrating UN Sustainable Development Goals in Corporate Communication—The Case of Apparel Retail Linnea Olofsson 1 and Cecilia Mark-Herbert 2,* 1 Ethos International, Karlavägen 40, 114 49 Stockholm, Sweden; [email protected] 2 Department of Forest Economics, Swedish University of Agricultural Sciences, Box 7060, 750 07 Uppsala, Sweden * Correspondence: [email protected]; Tel.: +46-703-661-419 Received: 22 September 2020; Accepted: 16 October 2020; Published: 23 October 2020 Abstract: The textile and apparel industry, while endowed with enormous potential related to the development of countries, is continuously drawing attention to its negative sustainability impacts along their value chains. While apparel retail has been an early adopter to integrate the Sustainable Development Goals (SDGs) into sustainability reports, critics point to the fact that linking sustainability activities to the SDGs is not enough, and cherry-picking low hanging fruit goals is insufficient. To address this potential discrepancy between action and communication, the aim of this study is to explain the perceived value of SDG integration in sustainability reporting in apparel retail. A comparative case study has been conducted of two Swedish apparel retail companies, Lindex and Filippa K, where six sustainability reports from 2015–2017 were reviewed. Empirical findings suggest that there is a correlation between SDG integration, communication maturity, and SDG contribution. The study points to the guiding role the SDGs may have to expand the scope of corporate impact and value in sustainability communication. Keywords: discourse analysis; sustainability reporting; SDG; textile industry; value creation 1. Introduction In September 2015, the world leaders gathered to endorse seventeen Sustainable Development Goals (SDG), demonstrating a paradigm shift for people and the planet built on “shared values, principles, and priorities for a common destiny” [1] as stated by the UN Secretary General Baan-Ki Moon.
    [Show full text]
  • STILL FASHION VICTIMS? Monitoring a Ban on Sandblasted Denim STILL FASHION VICTIMS? Monitoring a Ban on Sandblasted Denim
    STILL FASHION VICTIMS? Monitoring a ban on sandblasted denim STILL FASHION VICTIMS? Monitoring a ban on sandblasted denim INTRODUCTION 3 AIM, METHOD AND SELECTION 3 DEVIL IN DISGUISE 4 LACK OF SUFFICIENT SANDBLASTING REGULATION 5 A MAJORITY OF THE CLOTHING COMPANIES NOW HAVE A SANDBLASTING BAN 5 PREVENTIVE MEASURES 6 APPLICATION OF POLICY 6 MOVING AWAY FROM THE FADED “WORN-OUT” DESIGN? 7 USING LEAD TIMES AS A PREVENTIVE MEASURE 8 MONITORING A SANDBLASTING BAN 8 CLOTHING COMPANIES’ CHALLENGES IN MONITORING SANDBLASTING BAN 9 SANDBLASTING MONITORING SYSTEMS IN PLACE 9 MONITORING SUBCONTRACTORS 10 COOPERATING WITH NGOS AND UNIONS IN THE MONITORING PROCESS 11 DIFFICULT TO TEST DENIM PRODUCTS FOR SANDBLASTING 11 THE RISE OF ALTERNATIVE METHODS 12 HEALTH AND SAFETY TRAININGS AND THE USE OF PERSONAL PROTECTIVE EQUIPMENT 14 REMEDYING FORMER SANDBLASTING WORKERS 15 DETAILED INFORMATION ON CLOTHING COMPANIES’ POSITION ON SANDBLASTING IS LACKING 15 SUMMARY & DISCUSSION 16 RECOMMENDATIONS TO COMPANIES 19 RECOMMENDATIONS TO GOVERNMENTS IN DENIM PRODUCING COUNTRIES 19 RECOMMENDATIONS TO CONSUMERS 19 REFERENCES 20 SURVEY RESPONDENTS, CLOTHING COMPANIES 20 OTHER INTERVIEWS 20 OTHER SOURCES 20 Fair Trade Center December 2012 Catrin Rosquist Fair Trade Center is a non-governmental organisation (NGO) that promotes ethical trade by monitoring Swedish companies that trade with low-income countries. We aim to promote socially and environmentally responsible trade through dialogue, campaigns and consumer information. http://www.fairtradecenter.se/english The study is funded by The Swedish Consumer Agency. Fair Trade Center bears full responsibility for the con- tent. STILL FASHION VICTIMS? - MONITORING A BAN ON SANDBLASTED DENIM | 2 INTRODUCTION andblasting - the deadly method used to create the fashionable pre-torn look on denim - has been widely Spracticed for more than a decade within the garment industry1.
    [Show full text]
  • 2009 Year End Report Axel Johnson
    Press release Stockholm, February 26, 2010 “A good year in the face of a challenging economy” . Five of seven group companies performed better than last year, and several companies increased their market shares in declining markets. Within Axfood, Willys defended its low-price offering, and steadily increased its number of customers. Hemköp reversed its trend of earnings during the year and reported a profit. As a result of its focus on fashion, Åhléns became the fourth largest fashion player in Sweden during the year. In December, the first two Åhlens Apoteken (pharmacies) opened in Norrköping and in the department store at Skanstull in Stockholm. Mekonomen reported record-high earnings and increased its shares in a weak market. Mekonomen Direkt, the new telephone service, has achieved a strong impact and more than 80 percent that have used the service are new customers. Sales by Servera rose by 7 percent in a declining market. The companies within Axel Johnson International were impacted severely by the economic downturn. However, the market for spare parts and service, as well as offshore and wind power, showed continued favorable growth. Svensk BevakningsTjänst reported an 81 percent increase in operating profit, compared with 2008, and is approaching its long-term objective of becoming Sweden’s second largest security company. Novax completed a favorable transaction in WeSC through the divestment of 50 percent of the shares in the company. Financial information . The Axel Johnson group’s consolidated sales totaled SEK 20,073 million (19,881). Operating profit amounted to SEK 914 million (993) and profit after net financial items to SEK 916 million (909).
    [Show full text]
  • Applying Circular Economy to the Fashion Industry in Scandinavia Through Textile-To-Textile Recycling
    Applying circular economy to the fashion industry in Scandinavia through textile-to-textile recycling Ida Marie Sandvik | APG5849/APG5850 MASTER OF INTERNATIONAL DEVELOPMENT PRACTICE School of Social Science, Monash University, 23 October 2017. Contents ! LIST OF FIGURES!............................................................................................................!3! LIST OF TABLES!..............................................................................................................!3! ACKNOWLEDGEMENTS!.................................................................................................!4! CHAPTER 1: INTRODUCTION!.........................................................................................!5! 1.1#! Structure#of#condensed#thesis#........................................................................................................................#7! CHAPTER 2: MAIN FINDINGS FROM LITERATURE REVIEW!.........................................!8! 2.1#! High#level#of#consumption#resulting#in#generation#of#waste#...............................................................#8! 2.2#! Pressure#on#resource=dependent#companies#...........................................................................................#9! 2.3#! Circular#economy#current#application#to#the#fashion#industry#.......................................................#10! 2.4#! A#system#of#textile#recycling#........................................................................................................................#14!
    [Show full text]
  • Filippa K Sustainability Report 2019
    SUSTAINABILITY REPORT 2019 TABLE OF CONTENTS 1. COMMENTS FROM THE CEO 2. WE ARE FILIPPA K 3. A MISSION OF MINDFUL CONSUMPTION 4. THE CIRCULAR FASHION FRAMEWORK 5. RESPECT FOR MATERIALS 6. RESPECT FOR PEOPLE 7. RESPECT FOR THE ENVIRONMENT 8. LOOKING AHEAD THIS SUSTAINABILITY REPORT COVERS THE YEAR 2019 AND THE LEGAL UNIT FILIPPA K GROUP AB. THE SUSTAINABILITY REPORT IS PREPARED IN ACCORDANCE WITH THE REQUIREMENTS OF THE SWEDISH ANNUAL ACT, CHAPTER SIX. 1. COMMENTS FROM THE CEO Kristofer Tonström CEO Our purpose and promise at Filippa K is to inspire a movement of mindful consumption by showing that simplicity is the purest form of luxury. Since our beginnings in 1993, we’ve continuously worked hard to create clothing that meets the real needs of everyday life – with outstanding quality, timeless style, and a perfect fit. By ensuring that each piece is designed to last, we can shift the industry and cultural mindset from temporary to permanent for a better future. Because mindful consumption involves every stage of a garment’s lifecycle, our approach to sustainability is holistic and rooted in longevity. Our efforts in 2019 helped us gain progress towards our goals in many areas. For example: we’ve increased our use of more sustainable fibres, recycled polyester, and mono fibres, which enable us to design for recyclability. Our highest used material in our products in now organic and more sustainable cotton. Our energy emissions continue to decrease each year, as well. Constantly aiming to find sustainable solutions to obstacles in the industry, resource efficiency was a key area of focus this year.
    [Show full text]
  • Company Presentation
    Filippa K Philosophy Company Company Milestones Presentation Timless simplicity / Contemporary edge Philosophy Style, Simplicity, Quality The Filippa K philosophy is based on the concepts of style, simplicity and quality. We apply these values to every detail of everything we do; the look and feel of our fashion, the design and ambience of our stores, the direction of our shows, the artistic photographs of our ads and the way in which we meet our customers in the store. Fashion By combining timeless simplicity with a contemporary edge, we make distinctive fashion for modern urbanites who possess personal integrity and an eye for good design. People who are confident enough to be sophisticated, yet curious enough to be fashionable. We cherish the beauty of a simple line, a gentle touch and perfect balance. Our design is clean, our materials subtle and the minimal details of our clothes imbue a strong sense of purpose and beauty. Great effort is put into giving our clothes an exceptionally flattering fit and making sure they are particularly comfortable to wear. Never compromising on materials and tailoring, we want to create garments that become people’s personal favouri- tes: those beloved, well-fitting and comfortable clothes you wear over and over again. Stores The Filippa K store is a carefully planned environment for fashion and customers to meet in an atmosphere that breathes style, simplicity and quality in every detail. Sharing consistent design principles, the architecture and interior of each store is specifically developed for each particular location. The timeless and sophisticated aspects of Filippa K are represented by straight lines, clean surfaces and simple colours.
    [Show full text]