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Sustainable Fashion's Response to Fast Fashion

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Sustainable Fashion's Response to Fast Fashion SUSTAINABLE FASHION’S RESPONSE TO FAST FASHION: INNOVATIVE PRACTICES OF YOUNG SUSTAINABLE CLOTHING COMPANIES by Hannah Orando Baldus A Thesis Submitted in partial fulfillment of the requirements for the degree Master of Environmental Studies The Evergreen State College March 2018 ©2018 by Hannah Orando Baldus. All rights reserved. This Thesis for the Master of Environmental Studies Degree by Hannah Orando Baldus has been approved for The Evergreen State College by ________________________ Kathleen Saul Ph. D. Member of the Faculty ________________________ Date ABSTRACT Sustainable Fashion’s Response to Fast Fashion: Innovative Practices of Young Sustainable Clothing Companies Hannah Orando Baldus “Fast Fashion” is a trend in the Conventional Clothing Industry characterized by decreased cost of production and price of product and increased turnaround time and production. This has caused numerous environmental and social problems including land degradation, pollution, unsustainable water and resource use, slavery, child labor, and unfair “legal” working conditions. Young small businesses can do a better job at innovating sustainability practices than most large corporations because they are not already entrenched in conventional systems. They offer alternative Sustainable Business Management (SBM) and Sustainable Supply Chain Management (SSCM) practices that address the impacts of “Fast Fashion.” Through informational interviews with an employee from each company (including founders, owners, designers, production managers, operations managers, and sourcing managers) and information gathered on company websites, this research explores the innovations that young clothing companies employ to remain disengaged from the conventional system and to incorporate sustainability in their organizational and sourcing practices. This research identifies seven different themes of innovative practices including Intentional Design, Intentional Fabric and Materials, Transparency in Supply Chains, Increased Producer Responsibility, Nimble Operations and Business Model, Value Consistency, and Stakeholder Engagement. Each theme has multiple sub-themes, and these can be useful for a small clothing company wishing to replicate holistic sustainability practices. More than the sub- themes, this research finds that personal values of the owners/founders affect the sustainability practices of these small clothing companies. It also highlights the need for collaboration and adaptability in sustainable business and adds to the discussion on what innovative scaling looks like in a sustainable context. Ultimately, the pursuit of holistic sustainable business—as opposed to a business that incorporates some sustainable practices— can cause a fundamental shift in how businesses act, operate, and produce instead of merely rebranding the conventional model. Table of Contents List of Figures……………………………………………………………………………. v List of Tables…………………………………………………………………………... viii Acknowledgements………………………………………………………………………. 0 Introduction………………………………………………………………………………. 1 Fast Fashion……………………………………………………………………… 2 More vs. Better…………………………………………………………………… 5 A Changing Sustainability Model………………………………………………... 7 Overview of Social Issues………………………………………………………... 8 Overview of Environmental Issues……………………………………………... 12 A New Paradigm………………………………………………………………... 16 Literature Review……………………………………………………………………….. 20 Setting the Scene………………………………………………………………... 20 Systems Thinking………………………………………………………………. 22 Sustainable Business Management (SBM) …………………………………….. 24 Sustainable Supply Chain Management (SSCM) ……………………………… 28 Corporate Social Responsibility and Certifications…………………………….. 31 Greenwashing…………………………………………………………………... 34 Circular Economy………………………………………………………………. 35 Consumer Behavior…………………………………………………………….. 37 Instagram as a Business Tool…………………………………………………… 40 Best Practices…………………………………………………………………… 41 Gaps in the Literature…………………………………………………………… 43 Methods…………………………………………………………………………………. 45 Interviews……………………………………………………………………….. 45 iv Identifying and Contacting Research Participants……………………………… 46 Identifying Questions to Ask…………………………………………………… 47 Gathering Data………………………………………………………………….. 48 Data Analysis Procedures………………………………………………………. 49 Results ………………………………………………………………………………….. 51 Part 1: The Businesses………………………………………………………….. 52 Brass Clothing………………………………………………………….. 52 Devinto…………………………………………………………………. 56 Dorsu……………………………………………………………………. 60 Elizabeth Suzann……………………………………………………….. 65 Hackwith Design House………………………………………………... 71 Harly Jae………………………………………………………………... 76 Hope Made in the World………………………………………………... 81 House of Gina Marie……………………………………………………. 87 Iconable…………………………………………………………………. 92 Known Supply………………………………………………………….. 96 Lady Farmer…………………………………………………………… 101 Matter Prints…………………………………………………………… 107 Orgotton……………………………………………………………….. 111 Prairie Underground…………………………………………………… 116 Pyne and Smith Clothiers……………………………………………… 121 Study NY……………………………………………………………… 126 Tabii Just ……………………………………………………………… 132 The Fabric Social……………………………………………………… 137 Thread Harvest………………………………………………………… 143 v Uniform Handmade…………………………………………………… 148 Part 2: Categorizing Themes………………………………………………….. 153 Intentional Design…………………………………………………….. 155 Intentional Fabric and Materials………………………………………. 158 Transparency in Supply Chains……………………………………….. 160 Nimble Business Operations………………………………………….. 162 Increased Producer Responsibility…………………………………….. 164 Value Consistency…………………………………………………….. 166 Stakeholder Engagement……………………………………………… 169 Discussion of Results………………………………………………………………….. 171 Innovation Highlights…………………………………………………………. 171 Personal Values……………………………………………………………….. 176 Sustainability Trade-offs……………………………………………… 177 High standards & rigidity vs. Compromise & flexibility……………... 179 Durability vs. Compostable…………………………………………… 180 Utility vs. Art………………………………………………………….. 180 “Sustainable Synthetic” vs. Natural Fibers vs. Biodegradable Fibers… 181 Consumer Demand vs. Business Values………………………………. 184 MTO vs. Using Excess for Another Purpose………………………….. 185 Local vs. Global ………………………………………………………. 185 Short-term Issues vs. Long-term Issues……………………………….. 186 Trends vs. Mindful Consumption……………………………………... 187 Stay Small vs. Grow…………………………………………………... 188 Collaboration………………………………………………………………….. 189 vi Adaptability……………………………………………………………………. 193 Scaling…………………………………………………………………………. 195 Moving Forward………………………………………………………………………. 199 Change the Dominant Social Paradigm of “More is Better”………………….. 200 Shared Responsibility…………………………………………………………. 201 Recommendations for the Clothing Company………………………………... 202 Recommendations for the Consumer…………………………………………. 203 Further Research………………………………………………………………. 205 My Final Take-a-way: Hope…………………………………………………... 208 Bibliography…………………………………………………………………………... 209 Appendices…………………………………………………………………………….. 232 Appendix A……………………………………………………………………. 232 vii List of Figures Figure 1 Traditional vs. “Fast” Fashion ………………………………………....... 3 Figure 2 Changes in US Consumption and Production of Apparel (1960-2010)..... 6 Figure 3 Redefined “Triple Bottom Line”………………………………………… 8 Figure 4 Top 5 Products at Risk of Modern Slavery Imported into the G20…….. 10 Figure 5 Fashion Revolution Infographic on Labor Exploitation..………………. 10 Figure 6 Clothing Lifecycle Infographic on Resource Waste and Pollution.……. 13 Figure 7 Types of Pollution in Textile Production……………………….………. 14 Figure 8 Projected Global Fashion Consumption by 2030………………………. 18 Figure 9 Methods Schematic……………………………………………………... 49 Figure 10 Brass emphasizes Capsule Wardrobes………………………………….. 53 Figure 11 Brass’s Factory Floor…………………………………………………… 54 Figure 12 Brass’s innovative “Clean Out Bag”……………………………………. 55 Figure 13 Devinto’s designs over the years……………………………………….. 56 Figure 14 Devinto’s Made to Order custom design……………………………….. 57 Figure 15 Devinto’s values around Slow Fashion………………………………… 59 Figure 16 Information on Dorsu’s Core Collection on Instagram………………… 61 Figure 17 Dorsu highlights its ethical production processes……………………… 63 Figure 18 Dorsu collaborating in a pop-up………………………………………... 64 Figure 19 Elizabeth Suzann’s commitment to transparency………………………. 67 Figure 20 Elizabeth Suzann’s commitment to biodegradable fabrics……………... 69 Figure 21 Elizabeth Suzann’s “The Signature Collection”………………………... 70 Figure 22 HWDH’s studio production space………………..…………………….. 72 Figure 23 HWDH selects fabric design, beauty, and its natural properties..……… 74 Figure 24 HWDH collaborates with Eileen Fisher………………………………... 76 v Figure 25 One of Harly Jae’s manufacturing facilities with two seamstresses……. 78 Figure 26 Harly Jae emphasizes all-natural materials……………………………... 80 Figure 27 Harly Jae uses eco-friendly packaging…………………………………. 81 Figure 28 Hope Made uses natural fabrics, including alpaca wool……………….. 83 Figure 29 Child Labor Free is one of Hope Made’s certifications………………... 84 Figure 30 Hope Made is dedicated to value consistency………………………….. 86 Figure 31 House of Gina Marie participates in collaborations and forums……….. 88 Figure 32 Moorhead works with artisan tailors…………………………………… 89 Figure 33 Moorhead works with the organization Fashion Revolution…………… 91 Figure 34 Iconable only carries biodegradable natural material clothing…………. 93 Figure 35 Colombel uses Iconable’s Instagram to help educate consumers………. 94 Figure 36 The processes of producing the dress is as important as the dress itself.. 95 Figure 37 Known Supply’s employees sign the labels of the clothes they
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