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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 Paper: Munken Lynx 120 g Typeface: Brandon grotesque Printed in Unigrafia Helsinki, Finland 2013 SUSTAINABLE FASHION: NEW APPROACHES Kirsi Niinimäki (ed.) TABLE OF CONTENT SUSTAINABLE FASHION Kirsi Niinimäki Tenents of Sustainable Fashion 12 ETHICS AND AESTHETICS Kirsi Niinimäki Values and Green Aesthetics 32 Maarit Aakko What is the Role of Aesthetics in Sustainability? 38 Kirsi Niinimäki Ethical Design 44 Maarit Aakko Artisanal and Slow : The Case of Anna Ruohonen 56 Maarit Aakko & Kirsi Niinimäki Experimenting with Zero-Waste Fashion 68 CRITICAL AND SOCIAL DESIGN Kirsi Niinimäki Design Activism: Critical and Social 82 Anu Corin Getting Critical “Why should I create anything?” 86 Kati Reijonen & Mari Krappala Changing the World with Fashion 92 4 TABLE OF CONTENT PRODUCT SERVICE SYSTEM Cosette Armstrong Product-Service Systems Design Thinking for Sustainable Fashion 102 Essi Karell Planned Continuity – Multi-life Garments through Modular Structures & Supplemental Services 110 INNOVATION FOR GREEN BUSINESS Kirsi Niinimäki New Values – New Business Opportunities 126 Anika Kozlowski Sustainability Driven Innovation and Fashion Design 134 Lisbeth Svengren Holm Innovative Fashion Concepts and the Communication of Sustainability 146 COLLABORATION Kirsi Niinimäki Open Collaboration 160 Dilys Williams The Making of a Social Object: Collaboration between Nike and Centre for Sustainable Fashion 164 Anja-Lisa Hirscher & Alastair Fuad-Luke Open Participatory Designing for an Alternative Fashion Economy 174 AT THE END: ENVISIONING THE FUTURE Kirsi Niinimäki 198 WRITERS 200 TABLE 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 presented fashion, ethics and aesthetics, critical and social ducing new knowledge on the sustainable fash- in this book show that a change in mindset is design, product-service systems, innovation for ion field. The book sets out some of the themes 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, col- in the area of sustainable fashion. While the new kinds of thinking or even question the cur- laboration and networks form the core, not fash- strategies for sustainability are complex and rent fashion system. ionable appearance and cheap prices. Enjoy the approaches are many, this publication presents This book presents sustainable fashion as 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 BSR Baltic See Region CEO Chief Executive Officer CSF Centre for Sustainable Fashion CSR Corporate Social Responsibility C2C Consumer to Consumer DfE Design for Environment DIT Do-it-Together DIY Do-it-Yourself DPC Designer-Producer-Consumer EMAS Eco-Management and Audit Schme EPR Extended Producer Responsibility LCA Life Cycle Analysis MSI Material Sustainability Index NGO Non-Governmental Organization PSS Product-Service System SAC Sustainable Apparel Coalition SME Small and Medium-sized Companies ZWF Zero Waste Fashion ZWPC Zero Waste Pattern Cutting 8 abbreviatiONS THE BALTIC FASHION PROJECT Despite dramatic changes within the last decade • analysed innovations within the industry, All information, either collected or generated in the resulting in a loss of a third of its volume and jobs, which are of relevance to Baltic fashion SMEs project, was fed into the Baltic Fashion Information the fashion sector still plays a highly important role in view of offering them unique selling points, Portal, the first-ever comprehensive web platform throughout the Baltic Sea Region (BSR): not only lowering production costs and/or expanding on Baltic fashion, accessible at www.balticfashion.eu. that it is characterised by a high number of small to new target groups, The Baltic Fashion project was supported by and medium-sized enterprises (SMEs) and female • strengthened business cooperation in the the ERDF-financed Baltic Sea Region Programme employees, but it is also an important source for BSR by compiling a comprehensive mapping 2007–2013 under the priority “innovation”. It creativity and identity-building throughout the of local production sites and organising BSR- was implemented between December 2010 and region. Recent innovations and transnational coop- wide business cooperation events. Based on December 2013. eration as well as trends towards sustainable con- current trends as well as strengths and weak- sumption offer important opportunities for Baltic nesses of each country, an analysis on pos- fashion designers and companies. sible scenarios for local production in the BSR Against this background, the Baltic Fashion countries was developed, project partnership, composed of representa- • collected information on the current support tives from government, industry and education, offer for fashion businesses and conducted ACknOWLEDGEMENTS explored possibilities for transnational coopera- direct surveys with fashion SMEs to enquire tion in Baltic fashion support. As part of the Baltic about their needs. Based on the results, they This publication was made possible through the Fashion project, they: developed and tested fashion business support support and contributions provided by the Baltic measures as well as training, Fashion partnership. • organised roundtables with national stake- holders 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. FOrewOrd 9 SUSTAINABLE FASHION Contemporary aesthetic norms are based in capital- intensive, highly automated, unsustainable proce- dures. These procedures tend to reduce the potential for fulfilling employment and often ignore social and environmental losses. (Walker 2007, 76.) Walker, S. (2007). Sustainable by Design Explorations in Theory and Practice. London: Earthscan. TENENTS OF SUSTAINABLE FASHION Kirsi Niinimäki INTRODUCTION To unpack some of the complexity surrounding In all these phases there are myriad possibili- 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 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 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, ques- ing processes tioning of current practices, and open collabo- • global logistics during
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