Design Thinking and Fast-Fashion

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Louisanne Folligné Design Thinking and Fast-Fashion

Metropolia University of Applied Sciences BBA Degree

Degree Program in European Business Administration Bachelor’s Thesis 29/04/2020

Abstract

Author Louisanne Folligné Title Design Thinking and Fast-Fashion

Number of Pages 55 pages + 6 appendices Date 26th April 2020

Degree Bachelor of Business Administration

Degree Programme Degree Program in European Business Administration

Instructor/Tutor Senior Mickaël Keaney

This study is mainly theoretical and aims to see how Design Thinking can be improved when it is needed as a solution to the ecological challenges of the Fast-Fashion Industry. The interest of this study is to allow readers to better understand this revolutionary method stated earlier by the economist Herbert A. Simon in "The Science of Artificial" (1969) who was the first to consider Design Thinking as "a new way of thinking". In his book he refers to Design Thinking as "a way of solving problems that combines engineering and creativity". This method requires the ability to find a better balance between exploring and exploiting the innovation process. It aims to solve problems and create new products while changing the culture of the company. This study will place Design Thinking as a future solution for the Fast-Fashion Industry, which is experiencing major environmental problems and subject to many accusations from environmental parties and associations such as Greenpeace, WWF... The damage of mass consumption, manufacturing processes, factories relocations in Asia are becoming increasingly noticeable and governments, faced to the threat of natural disasters, are putting pressure on the Fast-Fashion Industry to move towards a more eco-responsible activity. Although these old techniques and product design processes have certainly allowed the fashion mastodons to grow up and consequently some economies to gain in power and value, it is time to "rethink the way we think". Through brainstorming, entertaining company seminars, reconfiguration of teams, roles and tasks, versatility of some jobs, role-playing and other methods, this thesis delivers an analysis of the universe of Fast-Fashion with concrete cases study of Design Thinking by entrepreneurs willing to work in an innovative way. The situations studied are those of the Bosch company adopting a new organization of posts, the LEGO company choosing to think collectively with all departments, thus adopting

Abstract a free expression of communities of pirates, consumer organizations, developers, and designers. Finally, the IBM company initiates a constructive dialogue by forming 10-minute discussion groups that run for an hour and an insertion of the so-called "godfather end- user" who is supposed to demonstrate the failures of the product at each stage of design.

Keywords Durability – Aesthetics – Sustainability – ethics – concrete - innovation - end-user-based – ideation – effectiveness - competitive advantage - risk-taking – experimentation - performance

Contents

1 Introduction 1

2 Literature Review 3

2.1 Fast Fashion Industry (F.F) 3 2.1.1 What’s Fast-Fashion? 3 2.1.2 Main issues of Fast-Fashion 12 2.1.3 Solutions 18 2.2 Design Thinking (D.T) 22 2.2.1 What’s Design Thinking 22 2.2.2 Expectations from Design Thinking 26 2.3 Design Thinking serves to Fast-Fashion model 28 2.3.1 Examples of departments we could notice D.T is applied to F.F Erreur ! Signet non défini. 2.3.2 Problems solved 29 2.3.3 Experts’ points of view 31

3 Methodology 33

3.1 Research Methods 33 3.1.1 Research Design: scientific observation 33 3.2 Research Sample: qualitative 35 3.3 Case Study: Design Thinking through new tasks organisation at Bosch 36

4 Research 39

4.1 Case Study on some companies which already made D.T fit with F.F 39 4.1.1 Before/After Results 39 4.1.2 Lego Case Study 40 4.1.3 IBM Case Study 41 4.1.4 « Keep the change » project Case Study 42

5 Discussion and Conclusion 43

References 45

1 Introduction

The Design Thinking method raises questions from CEOs and employees who see firstly the organizational change resulting from this method. Some companies are not ready to reorganize their way of working, and do not accept it despite the long-term benefits it brings. Design Thinking is an obvious and current topic in the more developed regions but remains a sensitive issue for emerging economies. Design Thinking is also the ability to recognize its wrongs, to "rethink your way of thinking" (Simon, 1969:1) and willingness to change. It comes from a responsible, ethical thought while keeping the aesthetic and pretty aspect of the product. This rather modern method shows that it is possible to combine durability and aesthetics. Helsinki, rightly the European capital of design, is proof of this. My research question is In what extend could Design Thinking method solve Fast-Fashion ecological issues? Indeed, it is interesting to study the link between the "short-sighted" Fast-Fashion Industry and Design Thinking, which promotes sustainability and ethics. Indeed, mass-and-fast production due to fashion trends does not promote sustainable development. For several years now, people have been waking up to these questions of ethics, fair trade, planet preservation, well-being for oneself. Environmentalists were the first to talk about it, then the media, finally the politicians got involved and now, all our daily life is confronted with this question of eco-responsibility: biodegradable plastic bags in supermarkets, the "green jeans" more and more marketed, the recycling of clothes more systematic and lucrative for the customers... However, all countries are not equal on these more responsible practices and in some regions, the words "reuse", "repair", "opportunity" remain taboo. In a first part, I will go over the different themes such as the Fast-Fashion Industry, its definition, its major issues and its vital necessity to become a more eco-responsible Industry. Then I will discuss Design Thinking as a solution to the problems of Fast- Fashion. Once having explained it, I will comment on the results of my in-depth comparison between Design Thinking and the different company strategies that have been taken to alleviate the current ecological problems, but which do not deal with the cause of the problem, since they mask it. In this section we will also look at the "utopia" of Design Thinking in terms of the obvious improvements it is likely to see in companies

2 that apply this new method. Finally, we will see in the third part the link between the Fast-Fashion Industry and the Design Thinking method, i.e. which problems are solved, which advantages are observed through case studies. This part will be the most concrete of the three.

2 Literature Review

2.1 Fast Fashion Industry (F.F)

2.1.1 What’s Fast-Fashion?

2.1.1.1 Beginning of the phenomenon

The first fashion theories agree that the clothing industry was imbued with these theories in order to stimulate the desire, the envy of the consumer. Sociologists Bourdieu (1984), Simmel, (1957) and Veblen (1899) connect fashion with this desire for social inclusion and differentiation. A phenomenon of group belonging was possible thanks to a set of codes, norms, and values shared by individuals. The Clothing Industry very quickly changed into the Fast-Fashion Industry, which appeared following the increase in clothing consumption in the 1990s. Indeed, after a long period of frustration and recession between the two wars, the post-war period was considered as a time of increasing freedom, relief, and wealth for individuals. The Consumer Society began in the 1950's through the "Glorious Thirty" period, which artist Duane Hanson depicted in his famous life-size sculpture "Supermarket Shopper" in 1969. Figure 1. Supermarket Lady by Duane Hanson in 1969, full size photorealistic sculpture

At that time, the value of money was rising again, the economy emerged stronger and more robust and people had a higher purchasing power. With the many social advances in terms of paid holidays, financial aid from governments, gender equality laws, minimum wages, people earn more by also having more free time. Thus, leisure activities such as family outings or shopping are becoming a norm, luxury is becoming popular and the demand for clothing is increasing. Fashion has always been very important for societies because it reflects the origin and evolution of cultures, traditions and social innovations, an imprint left by man voluntarily to show his passage on Earth. Fashion is a weave of symbols, aesthetic, and cultural motifs that people use to express their taste, way of life, social status and belonging to a community.

The industrial revolution had already begun this phase of eccentricity, frivolity, systematic fashion with the introduction of new technologies (e.g. sewing machine). Fashion became physically and financially accessible to many people and less expensive to produce with textile fibres cheaper than silk, linen, muslin... Clothing factories and workshops appeared on the outskirts of the cities. “Rapid fashion” finally made it possible to develop countries' economies locally (city development) then globally (relocation abroad, inter-country trade boosted by countries' commercial alliances). Hitherto reserved for a more mundane social category, fashion became vital for men in the aftermath of the 1939-45 war. The fashion industry was to play on this post-war craze with ingenuity by creating the need in people with patterns, utopias, dreams, sequins, idealized personalities through clothing. This process of "Fast-Fashion" reflects this desire to possess, this fear of lack initially shared by people who have experienced war and recession. For them, to possess is to live. Fashion then becomes more popular, allowing a form of personal expression, a liberation from thoughts, moods, and feelings. A quick wardrobe, cheaper and trendier: consumers feel like a new person every day.

Fashions are often inspired by other previous fashions or trends, following a pattern of recommencement. The fashion-conscious individual may not necessarily be aware of all the other previous fashions and therefore feels that he or she is buying or adopting completely new trends. I think this is what characterises the fashion myth in a way; letting people imagine that each trend and each cycle embodies novelty and originality.

Then, fashion evolves at a frantic pace. As Jean De La Bruyère already wrote in the 19th century, "fashion has hardly destroyed another fashion until it is abolished by a newer one, which itself gives way to the one that follows it and which will not be the last" (De La Bruyère, 1841:352).

In the late 1990s and 2000s, low-cost fashion reached its peak. The Internet democratized online shopping and just-in-time production. Amazon is the best example of this. Fast fashion retailers such as H&M, Zara have taken over consumer fashion. These brands are seizing the looks and design patterns of the biggest fashion houses and distributing them in their stores quickly and cheaply. Now that everyone can buy fashionable clothes whenever they want, it is easy to understand how the phenomenon has spread. Will Kenton gives us a more topical definition of Fast-Fashion in an article in Investopedia in May 2019. For him, "Fast Fashion is a term used by fashion retailers to describe inexpensive designs that move quickly from the catwalk to the stores to respond to new trends. This trend challenges the tradition of introducing new fashion lines on a seasonal basis” (Kenton 2019). Today, it is common for fast-moving fashion retailers to introduce new products several times in a single week to keep up with the trend. A Fast- Fashion brand is easily recognizable through its thousands of styles inspired by new trends, the very fast time to market as soon as the garment appears on the catwalk, the "limited" collection, the overseas manufacturing which implies cheaper labour and the poor quality of some garments.

2.1.1.2 Macro-environment analysis

2.1.1.2.1 General State

In just a few decades, production and consumption patterns in the textile and clothing sector have been redefined by fast fashion: producing clothing quickly in large quantities, at low cost, for collections that are constantly being renewed. Ready-to-wear has become ready-to-waste: clothes are sold at a very affordable price and are designed for

6 a very short lifespan. In fact, the average shopping basket of clothes weighs 60% more and is nevertheless renewed more quickly than even 15 years ago. Indeed, contrary to what is observed for food expenditure, the budget share devoted to clothing in France in the 1960s or 1970s is much higher than that observed today in comparable European countries in terms of standard of living.

The three regions of the world with the largest clothing markets are the 28 Member States of the European Union, the United States and China, in descending order. With a world Gross Domestic Product (GDP) of 2%, the size of the global apparel and footwear market in 2019 was US$1.9 trillion, and by 2030, researchers predict that this figure will grow to US$3.3 trillion (source: Statista, Global Market of Apparel in 2019 analysis). Total apparel exports are estimated at US$1.29 trillion (source: Statista, 2016). Women account for the highest share of clothing demand ($621 billion in purchase volume) ahead of men (who weigh more in terms of shopping basket value) and children (dependent on parents).

In 2017, the apparel category with the highest level of growth in the global market was sportswear at 6.8% up from 2012. Indeed, sportswear brands are taking up more shelf space as these items are now in high demand as a result of this effervescence around wellness, feeling good about your body, sports programs, and monthly discounts on gym memberships. The sportswear market has become one of the world's largest apparel markets: it was valued at US$265 billion in 2019 and is expected to grow by about 80% by 2025. Nike was the world leader in sportswear in 2019, with sales of more than US$39 billion and a market value of nearly US$105 billion.

Figure 2. Diagram of the global apparel demand from 2012 to 2023- Statista 2020

Figure 3.Graph of the global apparel demand from 2012 to 2023- Statista 2020

Despite the ever-present "Made in China" on labels, which suggests that China (and surrounding region) almost overtakes the United States as the world's largest fashion market, leading economic indicators show that the global fashion industry could slow down by 2020. To date, the context of the health crisis against COVID-19 has not been reflected in the statistics. It is now apparent that the fashion industry will experience a sharp drop in turnover due to the sharp drop in sales, the increase in stocks and unsold items, the partial shutdown of certain production plants and the short-time working of its employees.

Consequently, buying a piece of clothing is a gesture that has become commonplace, perceived as a simple transaction, an exchange of money for a consumer good considered desirable. It is the last, indispensable act to conclude a cycle of value creation. From genetically modified cotton seeds to the invasion of the practice of "shopping" in city centres legitimized by omnipresent advertising propaganda, everything is methodically designed to transform the accumulation of merchandise into an accumulation of profits. The sector is, moreover, in full expansion. Geographically, the fashion industry is divided into three regions: U.S., Europe, and Asia.

2.1.1.2.2 Fast-Fashion figures

Based on the revenue figures from the company's financial year 2018, Spain-based retailer Zara (Inditex) ranked as the leading fast-fashion company in Europe. In that year, Zara generated around 22 billion British pounds, surpassing the annual revenues of British retailers Marks & Spencer and Primark combined.

Figure 4. European fast fashion brands ranked by worldwide revenue 2019-Statista 2020

In Europe, the textile and clothing market is worth more than 178,000 million (according to Euratex data for 2017 and 2018). A slight increase in turnover compared to 2017 but a drop in employment has also been observed (1687 jobs recognised in 2017 compared to 1660 in 2018, source: Euratex).

2.1.1.2.3 Fast fashion’s product suppliers

Zara and H&M, these two-giant fast-fashion companies, are known for driving overproduction of apparel, which is predominantly outsourced through supplier factories in developing countries. H&M’s two main suppliers are located in China and Bangladesh, for instance. While the former also happens to be where most of the Inditex Group’s products are manufactured, the Spanish fashion retailer also has suppliers around European countries, such as Portugal and Spain.

2.1.1.2.4 Europe’s textile waste problem

Fast fashion companies often receive criticism for a string of reasons, the main ones revolving around environmental and ethical issues. Besides concerns around materials used in the production of clothes, unsold apparel that may end up sitting in companies’ inventories and clothing products that reach consumers but end up getting discarded create immediate problems. Recent studies looking into discarded textile items demonstrated that in Europe total textile waste produced per person was as high as nearly 15 kilograms, most of which went to landfills to complicate the matter even further. (Sabanoglu, T., Statista.com,Mar 5, 2020). The evolution of the world production of raw materials mainly used in the textile and clothing industry still confirms the meteoric rise in the production of synthetic fibres over the period 1900-2017. Indeed, synthetic fibre reached more than 70,000 tonnes in 2017 against only 25,000 tonnes of cotton produced (see Table 2 Appendice 1-2(3).).

2.1.1.3 Fast Fashion: advantages & Inconveniences

Fashion deals more with symbolic and cultural meanings, as well as our emotional needs as individuals. According to Kawamura (2005:75), "fashion is the non-material dimension of modern culture" and can be used as a conceptual tool to understand the nature of people's relationship with cultural objects. However, the fast fashion industry is biasing the initial image of fashion as artistic expression by transposing it as a metaphor for over-consumption and pollution of the planet. Theorists such as Ahuvia (2005:171-184), Barnard (2002), Crane (2000) or Fletcher (2008) agree that fashion combines aesthetics, creativity, identity, and digitalization.

Fashion exists in various aspects of our lives and plays an essential role in defining consumer practices (Sassatelli, 2007). In addition, fashion-oriented design encourages ingenuity, imagination, and innovation (Walker, 2006), which are essential elements in advancing technological and social progress. Retailers and large distributors can only praise the development of Fast-Fashion, which allows for the constant renewal of seasonal collections in stores and allows for increased traffic at points of sale. Customers face new desires and buy more. The rapidity of the garment life cycle avoids making the style last too long in the store: there is less stock thanks to better calculations and precise demand estimates, fewer product markdowns avoiding a decrease in retailers' margins and a limited shelf life that influences more redundant in-store traffic.

Analyzing local and global market influences and trends is very thorough and vital for fashion masters who want to capture current influences and inspirations before their competitors in order to generate new profits and increase their margins. In the event of losses, fashion retailers can recover quickly by launching a new clothing line or a new product: consumers are never far away, looking for the latest sweater they have just seen on the front page of a magazine. However, the fashion industry does not escape the many criticisms levelled at it in that it encourages, indeed, a "disposable" attitude. Therefore, it is also called "disposable fashion" - clothes are cheaply made in a style that will change very quickly. Critics argue that fast fashion contributes to pollution, poor quality of work and poor working conditions in developing countries, where a large proportion of clothing is

11 manufactured. The fact that clothes are made abroad is also seen as a cause of the decline in US production. Indeed, since the beginning of the 21st century, Fast-Fashion has been facing new scandals and lawsuits every year confirming the abuses of this mass production that is generating and being generated by mass demand.

This trend has also been criticized on intellectual property grounds, with some designers complaining about the illegal reproduction of their creations mass distributed by retailers. For example, one of fast fashion’s giants, FOREVER 21, filed for Chapter 11 bankruptcy on September 29, 2019. Inter Alia (Faculty of common law student Newspaper) reported in an article written in November 2nd, 2019 that the brand has embroiled in more than 50 lawsuits involving celebrities, luxury brands, union groups, its own employees, and independent designers (Gwen Stephani, Anna Sui, Gucci…). These brands complained being supported by the 26th article on Intellectual Properties’ protection from Marrakesh Agreement Establishing the World Trade Organization, signed in Marrakesh, Morocco on 15 April 1994 which says:

Article 26: 1. “The owner of a protected industrial design shall have the right to prevent third parties not having the owner’s consent from making, selling or importing articles bearing or embodying a design which is a copy, or substantially a copy, of the protected design, when such acts are undertaken for commercial purposes.”

Thus, the fashion industry has flouted the 2 among the 3 Sustainable Development’s main principles in the ethical/social and environmental fields. According to the Sustainable Development reports in 2019, "At the global level, we continue to exploit an ever-increasing volume of natural resources to support economic activity...Policies must be adopted to improve resource efficiency, reduce waste and integrate sustainable development practices into all sectors of the economy. "This report ends with the conclusion highlighting policies and giant industries problems." 63% of the policies and instruments reported examined their impact on air, soil, and water pollution, 45% on waste reduction and 43% on greenhouse gas emissions. Only 11% examined their impact on health and 7% on gender equality. Demonstrating the benefits of these policies for all sustainable development goals will be critical to understanding the overall

12 contribution of sustainable consumption and production to sustainable development, as well as to strengthening the coalition needed to support a transformative transition. (Source: Report on Sustainable Development Goals 2019, United Nations, Program 2030 for achieving the 17 Sustainable Development Goals).

Thus, it is important to ask what sustainability means conceptually and concretely and how it can be fashionably articulated. In the book Sustainable Fashion: Past, Present and Future (2015), Jennifer Farley discusses the definition of this concept: “The general definition of sustainability refers to an ecological system that is designed to maintain balance, meaning that no more should be taken from the environment that can be renewed. The terme sustainable fashion is typically used to encompass a scope of fashion production or design methods that are environmentally and/or ethically conscious – but it does not have a standard definition. (…) It is nearly impossible for the fashion industry to be truly sustainable. Fashion is guided by a cycle of style change, in which the old is rapidly replaced by the new”. (Farley Gordon, 2015:15;16)

2.1.2 Main issues of Fast-Fashion

2.1.2.1 Environmental issues

Long overdue, the consideration of environmental issues by the clothing industry is finally emerging, after a short decade. "Until the mid-2000s, the issues that were agitating the sector were rather social, on the exploitation of employees and subcontractors, says Nathalie Ruelle, professor at the French Fashion Institute at the Fashion Week show in Paris on September 25, 2018 (Le Monde, Valentin Pérez, 2018). There has also been the emergence of a new discourse, notably in the american documentary An Inconvenient Truth (Davis Guggenheim, 2006) inspired by Al Gore's fight against global warming. The industry has now taken the planet's distress signals seriously, and even more so the consequences that this can have on human health and living conditions.

Figure 5. Carbon, water, and waste from clothes consumed in the EU in 2015 - ECA

The use of cheap and toxic textile dyes is one of the first accusations levelled at Fast- Fashion. The fashion industry is the second largest polluter of clean water in the world after agriculture, and the second largest polluter after oil and ahead of the automobile industry. Associations such as Greenpeace or WWF are putting pressure on brands to move away from the systematic use of dangerous chemicals - faded jeans containing cancer-causing PFC substances that make them sterile. The REACH report (2008) on the risks and dangers to human health of commonly used chemical substances conducted by the Senate and the National Assembly has drawn up a table listing the various degrees of toxicity of the ethers of glycol, chemical molecules used in many industries including textile industry and dyeing. With a such risk of public health, the use of these molecules should be forbidden. The gap between the quality of the information given to the worker and the one given to the consumer is too important to the detriment of this last. But, at the European level, France is isolated in its demand an improvement on this point.

Figure 6. Table of degrees of toxicity for ethers Glycol into consumption from Senate

The chemicals found in the factory production process of textiles and component fibres can become toxic during the care methods of certain garments. For example, perchloroethylene from dry cleaning machines in laundries, which can be lethal if released at home from the cleaned textile. The same report also reports on the various products formerly used in the textile industry and now banned from the textile production chain: "Industrial cleaning products, detergents, emulsifiers including surfactants, textile cleaners [...] alkylphenol (AP) compounds : ethoxylates of nonylphenol (NPE) banned in the agents (e.g., cleaners in the European Union since 1992) [because they cause] impaired sexual development in fish, impacts on male sexual organs and fertility of mice." The use of certain dangerous products that have long been subject to the production of clothing that is increasingly in demand has led to the formation of a decree banning them (e.g. Decree on Azo dyes in Textiles and Leather effective by 11th September 2003 from European Parliament Directive 2002/61/EC of July 2002). This decree signed in 2003 stipulates "Considering the draft decree implementing the decree on the prohibition of dangerous substances in textiles, leather and furs presented by the Directorate-General for Competition, Consumer Affairs and Fraud Control, recommends that:

”The use of dyes likely to contain or release arylamines, carcinogenic substances in the European classification and listed in the amended Order of 7 August 1997, be prohibited for the dyeing of textile products, leathers and furs;”

Figure 7. Non-exhaustive list of Arylamines annexed to the REACH draft order- Directive 76/769/EEC

In the case of new clothes, they sometimes release dangerous substances, especially formaldehyde, when imported textiles are stored in large quantities. The ease of purchase of certain products also leads to significant waste on the part of consumers. Similarly, product obsolescence encourages a culture of "disposable" products, creating a constant sense of need to fill, replace and ultimate dissatisfaction. In the UK alone, 235 million garments are estimated to be in landfill in the spring of 2017 (article “The problems with unwanted clothes!”, ethicagear.com, 2017). The European Commission takes the cause of this waste very seriously, but each country acts differently by pursuing its own policy against consumer abuse on its territory. The UK government and the EU- backed agency has launched the Waste & Resources Action Program (Wrap) for reducing waste; they estimate £140 million worth (350,000 tonnes) of used clothing goes to landfill in the UK every year. In France, for example, a study by the French Environment

16 and Energy Management Agency (Source : Déchets-Chiffres-clés, 2017, ADEME) has made a comparative assessment of the plastic waste streams that make up the 3.3 Mt/year post-consumer waste stream in France (see table 1 Appendix 1 1(1).).

2.1.2.2 Social Issues

Fast fashion employs 75 million people around the world, some of them in poor conditions. Between dangerous environments, low wages, and lack of respect for basic human rights, men's health is at risk. Further down the supply chain, there are farmers working with toxic chemicals that can have devastating effects on their physical and mental health - The True Cost, a 2015 documentary film directed by Andrew Morgan, highlights the other side of the fashion coin. Child labour is also at the heart of the concerns of states, which are careful not to alarm the general public about the practices of the brands that generate the most turnover and increase the GDP of the countries in which they are domiciled. After the discovery of the scandal of the NIKE branches that employed children to sew footballs and clothes for sale in Asia before the World Cup in 1997, governments have enacted laws to ensure respect for fundamental human rights for all companies that have relocated their production mainly to the Asian cradle.

However, at the time of these scandals, although some brands denied the facts, others were unaware of the origin of their products, the existence of some of their branches and production plants, or even the workforce they employed. The collapse of Rana Plaza in 2013 confirmed what environmentalists and green associations were saying. Indeed, globalization has accelerated the flow of capital, production, imports and output, and this growing dynamism makes it difficult to have an ultimate knowledge of the entire production chain of a product. These incredibly complex and cross-borders do not allow full traceability of the materials used and the conditions of production.

2.1.2.3 Economic Issues

Fast-Fashion also leaves behind economic imbalances that make it a non-sustainable industry. Indeed, the study on the management of corporate non-food unsold goods, published in 2014 by the Agency for Donation in Kind, in partnership with ADEME, shows that “out of €140 billion consumed by households in non-food durable consumer goods, €6 billion are actually gross unsold goods, [but that among the] €800 million of residual unsold goods, nearly €630 million of products are destroyed each year and only €140 million are donated. Textiles and shoes, for example, account for €49 million of this destruction. This phenomenon is exacerbated by the phenomenon known as "fast fashion", which increases the turnover of collections and therefore their obsolescence”. This quote paints a picture of an unethical world where companies prefer to destroy their unsold products and preserve their rare and expensive brand image rather than make their brands accessible and popular by giving them to associations.

Figure 8. Graph on National Recycling Report 2005-2014, ADEME (French Environment and Energy Management Agency) of the destruction of unsold goods according to the different industries

In the case of France, despite incentives to donate, none of these sectors seems to really seek to take advantage of the provisions of Article 238 bis of the General Tax Code (Updated by the law: LOI n° 2018-1317 du 28 décembre 2018 - art. 148 (V), which provides that companies may deduct from their taxes donations up to 60% of their amount within the limit of 0.5% of their turnover. For example, it is used by only one in

18 five companies for shoes and clothing. (Source: Bill on the fight against waste and circular economy, July 9, 2019.)

Figure 9. National Graph on the fate of unsold goods according to the different industries, 2014, ADEME (French Environment and Energy Management Agency)

2.1.3 Solutions

Some companies take individual but essential environmental measures when they are repeated by others. This willingness to act on the part of managers is part of a Corporate Social Responsibility (CSR) framework that allows the brand to "soften" the negative externalities of the brand on the environment. Through this CSR approach - which also takes into account ethical and economic criteria - companies have a better knowledge of their industry and their supply chain: the country of production, the purchasing channels, the type of products (particularly materials and production processes), supplier relations and the signals sent out by the various players.

2.1.3.1 Reinventing current production methods for "greener" factories

As an example, in response to energy damage and its ecological footprint, the H&M brand has launched its Conscious collection for sustainable fashion. The brand is

19 committed to using recycled polyester or organic cotton for this collection, which can be identified by a green label. H&M has also started collecting used clothing. This service was launched in 2013 and H&M has already collected more than 32 million tonnes of textiles worldwide, significantly reducing the waste of natural resources. At the same time, other brands, such as Zara, have also followed suit, enabling consumers to choose a more environmentally friendly and equally economical option.

2.1.3.2 The principles of human-centred design - and where recycling goes wrong

Some companies are also investing in systems and alternatives for recycling their clothing. However, this solution is biased in a world where production and consumption are in a race against time and consumer behaviour is far from responsible. Before getting to the heart of the matter, let us look at the characteristics of a good design solution. The four principles of human-centred design are as follows:

• Focus on people. • Solve the underlying problem, not the symptoms. • Everything is part of a system: Design for the system. • Prototype ideas, test and refine them, repeatedly.

These previous principles come from the works of the scientists Friedman and Al (2014), Norman and Stappers (2016) and Norman, D. et Spencer, E. (2019). The real culprit in the history of recycling is the failure to identify the central and underlying problem. Recycling is a symptom of this. The underlying problem is the design and manufacture of so many things that must be thrown away. Recycling is a poor attempt to solve the symptoms. It is obvious that recyclers do not focus on people and are unaware of the ecological impact that it causes on a personal level, in every purchase of daily life. Not everything about recycling is intended to make it understandable and make it easy for people to obey the appropriate rules. We find it difficult to find the rules that apply to where we live. The rules are constantly changing. The rules that apply where we live are often different from those that apply where we work - or where we might be. And even when we find the rules, we can't always understand them. This would explain the emergence of the 7th continent. Is this an empirical reality or an

20 empirical illusion? Even if climate sceptics such as Donald Trump or the two Nobel Prize winners Ivar Giaever and Kary Mullis like to think that "the concept of global warming was created by and for the Chinese to make American industry uncompetitive" (Donald Trump at the Paris Agreement on June 1st 2017), the phenomenon really exists. “We face the unique challenge that we don’t only have to develop technology to solve a problem, but at the same time also have to work on understanding the problem itself”.

According to a study by the Ocean Cleanup organization published in the journal Scientific Reports (L.Lebreton and A. Andrady, article in peer reviewed journal, Nature, Palgrave Communications, January 2019), this "seventh continent" of plastic occupies 1.6 million km² in the Pacific Ocean. The Great Pacific Garbage Patch (GPGP) is the largest of the five plastic build-up areas off the world's oceans. It is located halfway between Hawaii and California.

Figure 10. The five offshore plastic accumulation zones in the world’s oceans, 2019, Ocean Cleanup Organization

It was during his solo crossing of the Atlantic Ocean in a rowing boat that Patrick Deixonne, navigator, and explorer, discovered plastic waste pollution in the very heart of the ocean. He then set off on an expedition to study this phenomenon and alert the public and politicians to the seriousness of the situation. In 2013, during his North Pacific expedition, accompanied by the biologist Claire Pusineri and the photographer Soizic

Lardeux, he discovered the existence of the 7th continent, the countless floating wastes encountered and the quantity of plastic microparticles collected. He bears witness to his discoveries on numerous television sets, on the radio and in the written press. (Summary of the press conference of October 24th, 2019). Later the work of Brach et Al (reported in the article "Anticyclonic eddies increase accumulation of microplastic in the North Atlantic subtropical gyre", Marine Pollution Bulletin in Elsevier, 2018) determined the presence of "strong accumulation of microplastics in subtropical gyres" (Brach et Al, 2018). Using satellite observations, they found that these polluting particles move through eddies "[...] concentrations of microplastics were up to 9.4 times higher in an investigated anticyclonic eddy than in a cyclonic eddy. Although our sample size is small, this is the first suggestive evidence that mesoscale eddies could trap, concentrate, and eventually transport microplastics" (Brach and Al, 2018). These interpretations complemented previous research by the Australian Research Council and published on American Institute of Physics (2015) on the existence of mesoscale ocean eddies that allow the circulation of plastics, "These eddies, or whirlpools, measure from a few hundred metres to several hundred kilometres in diameter [...] They also disrupt currents and thus significantly alter the trajectories of the water and the plastic it carries" (Erik van Sebille, on Physics Today Newspaper 68, 2, 60. 2015).

The vortex studied is located halfway between Hawaii and California and is constantly spreading out at the mercy of human stupidity. Indeed, recycling is only a small part of the whole system. It starts with mining and drilling, which allows to extract raw materials from the earth. It then includes the complex mechanical and chemical processing that makes the raw materials usable. To reduce costs and improve performance, new materials are invented as well as intelligent combinations of existing materials. Wood and leather, paper, plastic, metal, and fabric are merged. When manufactured products are shipped, they are often placed in complex boxes and packaging made of materials that are not necessarily recyclable. The system is not designed to solve the problem: the system is the problem. Recycling is therefore not the solution, but Design Thinking does get to the source of the problem: producer-imposed scrapping and the rapid standardization of a disposable culture.

2.2 Design Thinking (D.T)

2.2.1 What’s Design Thinking

2.2.1.1 General Definition

The origin of the appearance of Design Thinking is still very unclear, but some scientists agree that the thinking behind this method comes from the 1960s, a period when the virtues of science and design were recognised. These researchers describe Design Thinking as a scientific method for creating new products, new knowledge, and a reorganisation of product creation processes. Design Thinking refers to the set of methods and tools that would solve a problem or an innovation project in the same way a designer would have. It is an approach to innovation and its management that emanates from the combination of analytical and intuitive thinking. It relies heavily on a process of co-creativity involving feedback from the end user. These methods were developed in the 1980s by Rolf Faste based on the work of Robert McKim.

The vision of Design Thinking has been criticized by many people, especially in the way it is applied. Indeed, some researchers such as Herbert Simon qualify this method as a "Design Science" (1969) because of its scientific approach to the analysis and resolution of existing, well-defined problems to be solved. From this point of view, the application of Design Thinking is concrete, based on statistics, experiments, and observed results in the image of Natural Science. However, other researchers such as Schön (1983) opt for a more artistic and intuitive interpretation of Design Thinking. In this approach, Design Thinking aims to solve problems arising from situations of uncertainty, ambiguity, and instability. Proponents of Schön's theory point to the need to adopt a designer's attitude to solve these problems (e.g., Boland & Collopy, 2004; Lawson, 1994:30-37; Rowe, 1987). In contrast to Simon's theory, Schön's theory points to the existence of ill-defined, poorly structured design problems (Buchanan, 1992:5-21).

The application of the Design Thinking method allows the designer (now fully integrated in the entire product realization chain) to find the appropriate solution through a

23 diagnosis of current trends, aesthetic and useful, simple and technological and as close as possible to what the consumer is looking for. This synthesis process has been described as a process of abductive thinking aimed at collecting, organising, pruning, and filtering data in order to produce a potential solution (Jon Kolko, "Abductive Thinking and Sensemaking: The Drivers of Design Synthesis", MIT's Design Issues: Volume 26, Number 1 Winter 2010). The author and designer Jon Kolko (2010) describes it as abductive reasoning that collects, organizes, and filters data in order to provide a potential solution. “During synthesis, designers attempt "to organize, manipulate, prune, and filter gathered data into a cohesive structure for information building." (Jon Kolko, "Information Architecture and Design Strategy: The Importance of Synthesis during the Process of Design" IDSA 2007 Educational Conference Proceedings, San Francisco.) Designers are thus very quickly immersed in the heart of the project and are not limited to the schematization of the product. They approach the feasibility of their product realization in terms of budget, management, production capacity, evaluation of the demand...

Design Thinking is first and foremost an internal problem-solving tool with positive external repercussions. Consumers feel a better harmony within the brand they buy. It works effectively for innovative companies that want to gain a competitive advantage. This approach is defined in three main steps:

• Inspiration: understanding one's environment and defining an issue • Ideation: finding the concept or idea that will solve it • Implementation: designing the form that will embody this concept

Well-known authors such as Tim Brown and Roger Martin have addressed this method of Design Thinking in their books in order to provide a precise definition and explanation for anyone who would like to apply it and to know the feedback of this method. Tim Brown, CEO of a major design company IDEO has written a book on Design Thinking to prove that it is possible to apply design techniques and strategies at all levels of the company. In his book "Change by Design" Brown (2009) explains design thinking, the collaborative process by which the designer's sensibilities and methods are used to meet people's needs, not only with what is technically feasible, but also sustainable in the long

24 term. Design thinking transforms need into demand. It is a people-centred approach to problem solving that helps people and organisations become more innovative and creative.

Martin (2009:26) agrees with Brown but interprets Brown's definition in a different way by talking about "an interaction of analytical and intuitive thinking". This definition can be translated as the pursuit of new knowledge (innovation) and the exploitation of existing knowledge (effectiveness). This balance would be the miracle cure for companies seeking to differentiate themselves from others by gaining a sustainable competitive advantage.

2.2.1.2 In what extend this solution could be relevant

2.2.1.2.1 Differences between other alternatives approaches

Design Thinking provides tools for thinking about design and solves the recurring problems of innovation in companies. But the use of such tools can also influence the cultures of the organisations in which they are used by affecting the norms, values, and dogmas on the right way to work in these organisations. Several design thinking tools can redefine organisational culture if used by all employees in the same structure; this takes time but proves to be very fruitful for the company and the social cohesion that emerges from it. Seidel and Fixson (2013:19-33) examine 3 categories of tools such as: Needs research tools (e.g. ethnographic observations, in-depth contextual interviews, field experiences - such as travel, dinners, public/private events - of employees to understand the needs of end users), Idea generation tools (e.g. brainstorming and co-creation/creation/design used to generate possible solutions to problems), Idea testing tools (e.g., rapid prototyping and experimentation used to test ideas on a small scale to determine their appropriateness, technical feasibility, and commercial viability).

Integrating design thinking within a company is not just a matter of calling on a few designers to design a product but encompasses a whole corporate dynamic that provides a solid and lasting basis for innovation. Indeed, it is all employees who must share the new methods of this Design Thinking initiative thanks to a strong knowledge on the subject. Design Thinking affects all stages of product realization: techniques, methods, case studies, staff skills, the ability to store new databases and initiation programs (Body, 2008: 60). The company may even reconfigure the roles of each person, thus affecting the structure of the company by developing new positions such as "user researchers" who are responsible for carrying out "contextual research to identify the strategic context of the design and the main user segments" (Body, 2008: 61). Without necessarily reviewing the roles of each, integrating new idea generation tools such as group brainstorming or co-creation/design activities with clients helps to reinforce this new culture of openness to risk-taking, spontaneity, collaboration and sustainability and helps to build client loyalty. Design Thinking thus instils in the whole company a desire to anchor the user at the basis of their research and design, creating products and services that are easier, cheaper, and more personalised. Today's managers are more aware of the fact that someone is using the product and therefore focus more on researching the potential wishes and needs of customers. However, integrating new ways of working on top of existing methods that have already been successful is like going into a forbidden zone where minefields as obstacles would represent sceptical employees in design thinking.

Take the case of IBM, which has long practiced the "Agile" method, which is nothing less than a concept of continuous idea generation based on the criteria of speed, quality and efficiency a method that was very successful with the demand (through the continuous delivery service) and of which the developers were very proud. However, the Agile technique, common to many companies such as Amazon for example, only works in a limited time frame. Where social changes and consumer attitudes are changing, this method only becomes derisory and loses its long-term relevance. Indeed, pro-design Thinking people such as Phil Gilbert observed that teams practicing the "Agile" method repeated the wrong problems with the data they usually collected from a single source: monitoring through data analysis. He cites "tracking through data analysis": "Agile [may be] an underlying execution mechanism, but it has no soul, no compass, and no morals"

(North-western Engineering, 2018). It is also on this point that managers tried to bring the perspective of the sponsor's users and make their experience the measure of all things. But instead of adopting design thinking, IBM engineers were sceptical about this, even rejecting the generic explanatory models of IBM's Design Thinking 1.0 - initiated by Adam Cutler (program director of IBM's design studio), Phil Gilbert (managing director of design), David Kelley and Tim Brown (co-founder and CEO of IDEO). Thus, instead of revisiting existing approaches and frameworks for developing better software, the Design-thinking-sceptics subscribed to other "iterative" working methods (Agile, DevOps and PMOM). However, IBM a fortiori reaffirmed its Design Thinking orientation with the IBM Design Thinking 2.0 project and was able to reframe the teams in such a way as to integrate Design as a general philosophy into all existing practices, in project teams that are already operating at high speed, and without provoking turf wars or religion wars around methodologies.

2.2.2 Expectations from Design Thinking

2.2.2.1 Which evidence are supposed to be noticed if Design Thinking is applied to Fast-Fashion?

The use of specific design thinking tools (e.g., experimentation or prototyping) has contributed to the development and support of specific types of organizational cultures (e.g., cultures defined by values, norms or assumptions related to experimentation or openness to failure).

On the other hand, cultures defined by values, norms and assumptions such as collaboration and experimentation supported the use of specific design thinking tools (i.e., prototyping, co-creation and customer journey mapping tools), while opposing cultures defined by productivity, performance and silo specialization hindered the use of these tools. Taken together, these first two results suggest a reciprocity between the use of design thinking tools and the development of cultural values, norms, and assumptions. Cultural change (Trice & Beyer, 1984:653-669) and "cultural

27 appropriateness" (Ansari, Fiss, & Zajac, 2010:67-92; Schein, 2010) are strongly linked if it is argued that work practices can both change organizational cultures and be adapted to current cultures. Corporate cultures based on collaboration and user orientation are driven by empathic, good-natured feelings between employees and designers. For example, in Ewenstein and Whyte's (2007:689-708) study of design thinking implemented in an architectural firm, the authors describe how empathy helped newly hired designers to understand the cultural values and "common sensibilities" of the firm. This group empathy reveals a true harmony of work, collaboration, and idea generation. Ewenstein and Whyte explain that new designers find more meaning in what they do when they gain a better understanding of their craft (Ewenstein & Whyte, 2007: 704). This desire to share the customer experience should not be limited to employees who are in direct contact with the customer, since it is a question of a product imagined upstream before it is put on sale. So, it is the entire company that must be driven by this desire, as Kolko explains (2015). Kolko states that in these organisations, designers 'discuss the emotional resonance of a value proposition [with users] as much as they discuss the utility and requirements of the product' (Kolko, 2015:68).

At the same time, some researchers have observed that waves of surprise, enthusiasm, and customer reaction to something new have an impact on the innovative capacity of designers. Encouraged to continue their tests, they take pleasure in designing quick and simple prototypes according to the mood waves of the desired user target. Michlewski (2008: 373-392) found that senior designers in companies using design thinking approaches found that the experience of pleasure was important in revealing a culture of innovation and experimentation that was critical to their success.

2.3 Design Thinking serves to Fast-Fashion model

2.3.1 Applying design thinking to Fast-Fashion in practice

Design Thinking is not just a matter for designers but must concern the entire product design chain. Designers often lack skills in teamwork, mutual discussion and compromise when confronted with other departments. Indeed, when we all speak the same language with the same jargon, it is more tempting to group together by profession. But designers must learn to make compromises with programmers, engineers, sales, marketing, service, manufacturing and, of course, management. Many do not want to do that. But then why are some reluctant to cooperate?

Designers' reluctance comes from their academic background in Art and Design schools most often. However, believing that design is only an art would only distort its true definition. Design is all about values and skills that are different from each other and that add value to a product. Thus, a designer must understand the world, business models (margins, basic finance, and accounting), marketing, sales, manufacturing, services, and design technology that people can use, understand, and appreciate. If the designer develops a service or business model, he or she must consider all the myriad of people, organizations and executives that must come together to produce harmonious, consistent, and enjoyable results. No one discipline, neither design nor service, can achieve this alone: they must form collaborative teams with other disciplines. Design Thinking attempts the value chain of the product as “it flows from the consumer” (Feller, Shunk and Callarman, 2006:1) and not from the producer decision as “the total flow of goods from suppliers to the ultimate user” (Feller, Shunk and Callarman, 2006:3). It means that the value brought by introducing Design Thinking methods into the realisation steps of the project could have more value for customers as the design are inspired from the real customers’ needs than the traditional supply chain does. “Value has meaning in a number of contexts, including trading relationships, consumer purchases, and the interests of company shareholders” (Feller, Shunk and Callarman 2006:2).

The interest of an organization to properly meet the needs of the customers is to increase the product value to attract the demand and then increase the price in a long-term vision, rather than short-time period/ trend effects. Design Thinking leads to find the value of the product. “The degree to which the needs that are met exceed the price paid in the exchange is one objective way that value can be measured” (Feller, Shunk and Callarman, 2006: 2).The organization's goals must be at the forefront of the minds of employees, whether they are designers, engineers, marketing managers or executives. Each discipline usually focuses on one dimension of the complex mix of issues important to the business. What are the needs of customers? This is one of the questions designers must ask themselves. What do customers want, and how much will they pay? These are questions for marketing. Will the product work well, be reliable and be delivered at a reasonable cost? These are important questions for engineers. Will the price be fair and will the result benefit everyone? This is a question that everyone needs to focus on. Will it be easy to understand and use, especially if something goes wrong? This is where good design can reduce service costs, not to mention customer frustration.

Thus, all aspects of the product, encompassing its entire value chain, from its origins to end user and beyond via production, are involved in Design Thinking and not only the designers.

2.3.2 Problems solved

Design Thinking would thus make it possible to direct the traditional product design chain from the customer to the producer. While supply chains used to discuss upstream the different advantages of particular suppliers and producers in terms of productivity, cost reduction or partnerships, value chains would allow reversing the order of this design process by seeking to create the value of the product first. The value then educates the entire production process.

It is interesting to study in parallel the speech by Michael L. Eskew, retired CEO of USP at the 2007 Longitudes conference presented by UPS and Harvard Business School, which complements the work of Feller, Shunk and Callarman (BPTrends, March 2006:4).

It confirms the undeniable character of the evolution of our current production systems benefiting consumers and, consequently, all international companies in the long term: « Consumer pull requires one-to-one solutions and supply chains that can deliver them. The world is no longer driven by producers pushing products through their supply chain. Increasingly, power is in the hands of consumers who now pull products through the system. They pull what they want, when they want it, from whomever they choose anywhere in the world. And consumers want and expect a personal, relevant, individualized experience. This is a big shift that will only intensify » ("Longitudes 07 “Competitiveness and the Global Supply Chain”, June 20–21, 2007, Toronto, Ontario. UPS and Harvard Business School Publishing, 2007 : 5).

According to this analysis, value results from the different points of exchange and interaction between different internal departments and with consumers. Design Thinking, by enabling a value orientation of the product, acts on the long-term evolution of the company, its sustainability, and its performance. “There are a number of significant trends that are now driving the need for operations-oriented analysis from a value chain perspective. These include:

• Increasing competition and an increasing focus on innovation as an element of strategy • Evolving governance models for the extended enterprise • The trend towards globalization of supply and production • Benefits already wrung out of manufacturing and the supply chain • Trends in Management Discourse » (Feller, Shunk and Callarman, 2006: 5).

Design Thinking would thus make it possible to solve the problems of innovative idea generation due to the lack of a too rigid hierarchical structure which causes some employees to fear the expression of their ideas. In fact, brainstorming analysed according to Osborn (1957) allows through four fundamental rules to stimulate the creative soul of everyone:

• Propose all the ideas that come to mind, even the craziest ones. • Do not criticize other people's ideas and show active listening and constructive criticism.

• To seek out the quantity of ideas in order to better select them afterwards. • Combine and develop the proposed ideas.

Brainstorming allows the development of an idea without real ambition and without a clear initial orientation towards something that makes more sense because it has been thought through by several people who have studied the plausible hazards during the discussions.

2.3.3 Experts’ points of view

To date, there are very few sources that focus directly on the relationship between design, fashion, and sustainability. Walker (2006) describes the positive and negative effects of fashion-oriented design. On the one hand, it encourages fashion because it promotes the vitality, creativity, and originality of design; on the other hand, it discourages fashion because it sometimes leads to greed, overuse of resources and is highly destructive to the environment. Given the positive and negative effects of fashion, a key challenge for interacting designers and researchers is to identify productive strategies for embracing fashion in a way that facilitates sustainable interaction design.

In his Design in Tech annual report for 2019, John Maeda condemns the wrong designer “Years later now, I’m in a phase where I realize that [advocacy] was really important, but in reality, design is not that important”. For technology companies, the wrong type of designer can be pernicious, but the right type of design (and designer) is essential. He explains that all disciplines - marketing, sales, technology, manufacturing, service, etc. - are important to the business, but no one aspect of a business is the most important. The best products come from a close-knit team with strong collaboration and listening skills. According to Maeda, bad designers are those who impose their will on the company by placing themselves above everyone else. This does not promote exchange, building trust among some team members and reduces the angles of analysis that could be emitted by other people from different departments. In conclusion, Maeda's speech is neither an attack on innovation nor a criticism of Design Thinking, on the

32 contrary, his message is addressed to designers to make great products that solve people’s problems.

3 Methodology

3.1 Research Methods

3.1.1 Research Design: scientific observation

This thesis is based on the observation of Fast-Fashion and Design Thinking as the irrevocable solution to today's ecological problems. This technique provides us with data that will allow us to confirm or revise our initial hypotheses. It has a qualitative rather than quantitative purpose as it allows the collection of verbal and especially non-verbal data. In this thesis, observation proposes to the investigator to focus on the behaviour of Fast-Fashion companies through case studies, rather than on their statements. The key to success is the ability to study the states of thought, interactions, assumptions, and evolutions of companies that have adopted Design Thinking without intervening. The technique of observation makes it possible to explain a phenomenon through the description of behaviours, situations, and facts. To achieve this scientifically, the description of the observation must be faithful to the real situation and it is important to report systematically. "Observation is not reserved a priori for the sociologist: other professionals (journalists, documentary film-makers, doctors) observe, take notes. Observation does not require any instrument other than the researcher himself, nor does it require the use of sophisticated data processing techniques". (Arborio, 2007). Arborio explains that observations are not easy and informal. Observation only becomes a research method if it is combined with reporting, description, analysis, and interpretation.

3.1.1.1 Types of observations

However, there are different types of observations. For example, as an observer, I may be involved in the observed situation and the observation may be structured. There are four types of observations:

• Participatory observation • Non-participating observation • Structured observation • Unstructured observation

This thesis, entirely built on case studies and scientific journals, meets the criteria of a non-participant and unstructured observation. Indeed, non-participant observation excludes the investigator from the social framework studied. I am not seen by the observed individual(s) and may use video images. This type of observation does not influence the observed situation: it remains faithful to the reality of the phenomenon being studied, which increases the reliability of the results. This observation technique was useful to define my research subject, in order to form the basis of my study. Non- participant observation can be followed up with other research methods later. However, since it does not allow me to intervene, it is possible to miss some information.

On the other hand, this observation is unstructured. Unstructured observation makes it possible to accurately observe an individual's behaviour. Through this observation technique, I was able to gather as much information as possible without an observation scheme. The interest of this observation is to make a narrative report of the observed behaviour. The absence of a well-defined observation framework allows me to have an overall view of the situation or behaviour to be studied. However, the risk of making erroneous and unscientific interpretations should be considered.

3.2 Research Sample: qualitative

This thesis provides a basis for qualitative research for those who would like to understand or attempt to explain this phenomenon of conceptual thinking as an innovative solution to the ecological and ethical problems of the Fast-Fashion industry. It is a more descriptive research method that focuses on interpretations, experiences, and their meanings. This type of study is based on the collection of data obtained through the method mainly deployed here: Observation.

The data, which are not statistically measurable (qualitative research), have been interpreted subjectively, based on interpretations by scientists and lecturers specializing in the subject, and expressed in words. Qualitative research became more evident from the 1920s onwards (Van Royen P, Introductory Course on Qualitative Research. Brussels Institute of Tropical Medicine, December 2007). Anthropologists and sociologists were the first to conduct research on human phenomena in their natural environment and from a holistic perspective. Since the 1950s, marketing has used data collection techniques specific to qualitative research, such as interviews and focus groups. Health researchers began using these methods in the 1990s. The term MESH (MEdical Subject Headings, an international thesaurus used as a basis for interrogation in Medline) for qualitative research appeared in Medline in 2003 (Van Royen P., 2007).

The study population is widely sampled in order to explore the widest possible diversity of cases of integration of Design Thinking methods within Fast-Fashion companies. It is this diversity that is the source of the richness of the data. Qualitative research is particularly well suited to certain types of primary care research questions. Often opposed to quantitative research, it is complementary to it, with a richness that is specific to it, and can be combined with it in many ways (Corbin J, Strauss A., Basics of qualitative research, Third edition, Los Angeles: Sage Publications 2007:1- 312). Like all research, it must be the result of a rigorous scientific process. To achieve this, internal and external validity criteria can be applied to it with specific modalities.

3.3 Case Study: Design Thinking through new tasks organisation at Bosch

Interview with Uwe Raschke, member of Robert Bosch's board of directors, who shared his ideas on the company's transformation process. Uwe Raschke has been a member of the board of management of Robert Bosch GmbH since July 2008. In that capacity, he is responsible for the Consumer Goods business sector, including the Power Tools division and the BSH Hausgeräte GmbH.

Figure 11. Uwe Raschke at d.confestival, 14-16 sept. 2017

He is also responsible for coordinating activities in Europe including Russia, the Middle East, and Africa, as well as for the corporate function User Experience.

The IT and digital advances of the 2000s have had a positive effect on companies because, by precipitating them towards global competition, they now enable them to demonstrate creativity and originality, thus meeting the highest demands in terms of the pace of innovation and focus on users. The Internet has also developed in individuals a more individual spirit, a desire for independence, autonomy, meaning and purpose in their jobs and a more evident participation in company decisions. New internal and external communication tools such as e-mail, social networks, instant messaging, blogs, and other private and public websites, both commercial and non-commercial, have been observed. The digital revolution is also characterized by the development of artificial intelligence and the growth of the field of robotics. The new organizational structure of the Bosch Power Tools Division has led to the creation of 60 sales teams, originally grouped into 6 business units. It is through this structural change in the company that Design Thinking manifests itself.

"This enables us to react and make decisions faster and more flexibly. The newly created sales teams are responsible for the entire company, from product ideation to sales and marketing. At the heart of this model is a cross-functional team in which people with

37 expertise in different disciplines, such as engineering, marketing, quality management and - in the future - design, work closely together” (Uwe Raschke, 2017). Applying the principles of Design Thinking within an organization also means reducing the number of hierarchy levels in order to fluidify communication and allow for better employee participation and adherence to the life of the company. Design Thinking makes the difference between feeling part of the company's decisions and taking part in the company's decisions by openly exchanging with managers and other co-workers. Uwe Rashke tells us how Bosch has put Design Thinking into practice by first educating these employees about new working methods, ways of thinking and knowledge of the tools available to them. "We support our associates in different ways, offering everything from training and feedback to agile working methods and, very importantly, team building. In addition, each sales team is supported by 'agile coaches' who help implement these new ways of working. These coaches play a central role. » The first effects of the restructuring of an organization are not immediately apparent in the exponential growth of the company's sales and turnover, but rather in the employees who recognize themselves better in their profession and come out even more motivated and invested in their missions. "There is no doubt that this idea has triggered a huge wave of enthusiasm" (Uwe Rashke, 2017). This enthusiasm that the author talks about is only beneficial to the company because it precipitates an effervescence of good ideas and innovations that contribute to the economic growth of the brand.

First, every company must formulate a solid and achievable goal. Second, conceptual thinking teaches us that the best solutions are created by diverse teams. The creation of permanent, cross-functional teams is an essential part of the drive to become more innovative. Secondly, the number of hierarchy levels must be reduced in order to establish stronger and more lasting contacts with employees. A new understanding of leadership is needed. Tomorrow's leaders need to put things in context and remove any obstacles in the path of their teams. They must formulate strategies and give their teams the freedom to put them into practice. They must also reduce control and, based on their own expertise, work on solutions. Finally, Uwe's fifth principle is based on more direct communication. This means moving from a cascading transfer of information to a regular and complete flow of information for everyone, from top to bottom and from

38 bottom to top. Open communication is a great source of motivation and enables associates to deliver excellence in their respective situations. Finally, Raschke reveals the keys to Bosch's success in implementing conceptual thinking within the company. First, every company must formulate a solid and achievable goal.

Secondly, the diversity and number of teams helps to generate better solutions later. Indeed, the creation of permanent, cross-functional teams is an essential part of the drive to become more innovative. Secondly, the number of hierarchy levels must be reduced in order to establish stronger and more lasting contacts with employees. Raschke realized that a new understanding of leadership was needed when undertaking a major renovation of the organizational system that had been successful before. Tomorrow's leaders need to put things in context and remove any obstacles in the way of their teams. They need to formulate strategies and give their teams the freedom to put them into practice. They must also reduce control and, based on their own expertise, work on solutions. Finally, Uwe's fifth principle is based on more direct communication. This means moving from a cascading transfer of information to a regular and complete flow of information for everyone, from top to bottom and from bottom to top. Open communication is a great source of motivation and enables associates to deliver excellence in their respective situations.

4 Research

4.1 Case Study on some companies which already made D.T fit with F.F

4.1.1 Before/After Results

Needs search tools contribute to a user-centred culture. Needfinding has been defined as "a set of activities to determine the requirements of a new concept, based on a user- centred framework" (Seidel & Fixson, 2013:20). What is meant by needs assessment tools is consultation with users, considering their opinions and the prospects for improvements that they envisage. This can take the form of interviews with potential customers for a product launch, ethnography (e.g., observing and tracking a company's employees to define the initial requirements of a new human resource management system), or developing an overall understanding of the user experience through mapping the customer journey (e.g., engaging in a real customer experience to better understand their strengths and weaknesses, such as flying with a certain airline before redesigning the customer experience on board). These tools enable an honest understanding of the user experience by the company's executives.

Some authors argue that the proper use of these tools contributes to the development of user-centric (i.e. user-focused) organizational cultures (Bailey, 2012 ; Beverland, Wilner, & Micheli, 2015; Deserti & Rizzo, 2013; Kleinsmann & Valkenburg, 2008; Kumar, Lodha, Mahalingam, Prasad, & Sahasranaman, 2016; Liedtka, 2014b; Price & Wrigley, 2016; Rau, Zbiek, & Jonas, 2017; Smith, 2015). Customer journey mapping would thus provide employees with the keys to understanding the customer experience and its relationship to the brand, in that it provides a foundation for enhanced customer-centric design.

4.1.2 Lego Case Study

There are many examples that show the virtues of Design Thinking when it is instilled throughout the company. The toy company LEGO has adopted the tool of co-creation - very often used - with consumers in order to guide designers on current trends and developments in society. This project led to the creation of a new line of "Technic 30" toys inspired by their customers. Nevertheless, the company had to reinitiate its traditional design-product approach by liberalizing innovation (Deserti and Rizzo, 2013:47). LEGO has reconnected with its customers, which implies a new user-based business philosophy. Traditionally granted by internal functions (e.g. R&D and marketing), the innovation process is now the result of interactions between the different departments of the company. In the case of LEGO, innovation is made possible by the free expression of pirate communities, consumer organisations, developers and designers with brand knowledge and technical competence (Deserti and Rizzo, 2013:47).

This ability to discuss and carry out a project together is not only found physically in the development of the product, but is reflected in this series of changes in mentality and mindset of the management, which is more open to the feelings of the users. Still other examples can be seen on a smaller scale in the daily gestures and responsible behaviour of certain entrepreneurs. Thomas Huriez, a young entrepreneur from Romans- sur-Isère, in the Drôme region of France, has announced his project to produce 100% eco-friendly jeans. He is in dialogue with a representative from each department such as marketing, finance, communication, human resources, logistics, etc. to come up with a product that meets the social, economic, and environmental criteria of today and tomorrow. Jeans are one of the key components of the Fast-Fashion Industry and the demand for them is exponential (see table 2-3 Appendice 1 2(3).). His jeans are made entirely in France, in organic cotton. The dyeing is carried out in the Loire. And even in stores, it remains competitive: its price is less than 100 euros.

4.1.3 IBM Case Study

IBM has adopted the Design Thinking method through several key steps that managers and designers follow in their product conceptualization process (Catmull, E., & Wallace, A. (2014), Cutler, A., Northwestern Engineering (2018), Rauth, I. (2015), Ries, E. (2017).

Key 1: Constructive dialogue It is about dialogue in clear and precise language about design. This involves constructive criticism from all members of the company together, eliminating hierarchy and silos. IBM's design team has developed frequent and open dialogues where, in small 10-minute team sessions, concepts and ideas are reflected upon and constructively critiqued. In addition to these frequent confrontations, so-called stage confrontations are organised, in which senior managers also participate. This also extends the culture of respectful and constructive criticism beyond the main design team and creates alignment with the project sponsors.

Key 2 : Hill The hills are declarations of intent. They were inspired by military commanders who declare an intention, such as "take that hill", to give the troops a general direction and objective, but without saying how to do exactly what they are supposed to do. IBM made some adjustments by breaking the process into three parts, each with different objectives leading up to the final goal, to help the team focus its efforts. A hill frames a problem as an expected outcome for the user without a predetermined solution.

Key 3: sponsoring user "Sponsor users are a way of measuring whether we have recruited people against the hills," says Phil Gilbert. Sponsor users are typically potential or actual users from paying customers who commit 10 to 50 hours of co-design time with IBM teams while the project creation phases. They are added to the team because not only do they represent the problem, but they can also help validate solutions and complement the team's field research and personalities with their on-site knowledge.

4.1.4 « Keep the change » project Case Study

Two Bank of America vice presidents, Faith Tucker and Ray Chinn, brought together a team of product managers, financial experts, software engineers and operations experts for a brainstorming session. The team held 20 sessions and generated 80 product concepts. They came up with one idea: the "Keep the Change" program. This is a service that automatically collects all purchases made with a debit card. These rounded cents are transferred to a savings account. To test a prototype of the idea, the team created a cartoon video showing the rounding service and tested it in an online survey of 1600 participants. After an overwhelmingly positive response, "Keep the Change" was presented to the Consumer Division and approved. The product development team added three features: a summary of rounded transactions on the account; a feature to prevent overdrafting; and a promotion. As a gift, Bank of America is offering 100% savings for the first three months, up to a certain amount (source from Bank of America website).

5 Discussion and Conclusion

By learning from the effects of interpersonal and intrapersonal motivations, fashion can function as a social pressure, forcing people to appropriate things that everyone else has. Therefore, as designers interested in fashion and sustainability, it may be important to recognize the power of using fashion as a positive social force to change attitudes over the long term. Tomlinson (2008:42-45) has proposed that designers should try to find ways to direct ostentatious consumption towards more sustainable ends. For a long time, models paraded on the catwalk with completely different outfits for each seasonal collection, which encouraged over-consumption; now the trend is more towards buying recycled, handcrafted clothes, a return to "haute couture" in an ecological version. Thus, it may be important to be able to link fashion to public health and environmental issues in order to change attitudes in the long term. Following all the readings, as diverse as they are (scientific and political journals, magazines, theses and dissertations, studies by researchers and sociologists), I would like to attempt a connection between Design Thinking and Fast-Fashion: "Design Thinking is the possibility of making sustainability a popular fashion".

In conclusion, during this study, we can see that the terms "Design Thinking" and "Fast- Fashion" together do not ring false. It is possible to use fashion as a way of thinking to encourage sustainable design. Fashion is involved in personal identity and helps people express their own tastes, personality, and lifestyle. Likewise, fashion gives product owners a deep identity that allows them to establish a deeper connection with objects. For the designer, developing a sensitivity to the power of fashion can help make sustainable design intentions and choices more visible, and therefore more compelling and thoughtful. More empirical research is needed to discover how fashion is already influencing Sustainable Interaction Design. - There is a need to examine more critically the consequences of fashion on the design of sustainability related products and services in relation to the individual user, organisational objectives and the common good. More concretely, for companies, it is essential to prepare plans to deal with a possible global value transformation. Producing, in the chain, sometimes non-quality items that we know will end up in the garbage, polluting rivers by "laziness" since there are new

44 innovations that allow us to do otherwise, buying "organic cotton" while keeping the same frequency of purchase... This is no longer possible. Indeed, fashion and clothing go hand in hand and are co-dependent but are not the same thing. Fashion appears as an intangible phenomenon whose main object is clothing. However, clothing is not necessarily a fashion object. It can simply exist in its materiality without constituting a symbolic or representative element participating in the phenomenon of fashion. "Items of clothing must go through the process of transformation to be labelled as fashion "(Kawamura, 2004:1). The context of COVID-19 showed us that a simple global pandemic could endanger the entire world economy and, through tensions and commercial uncertainties, revealed the flaws of the biggest industries. In a few years' time, it will be said that the crisis period of 2020 was a springboard for innovation, creativity and awakening of consciences, revealing new opportunities for global consumption. The leverage point for the Fast Fashion industry could be to take a strong position on social and environmental issues, as this is very much in demand by the younger generation. In view of the environmental and social impacts of production and consumption methods, this subject is becoming more and more passionate and, above all, is the subject of controversy and scrutiny regarding the practices employed. "Accordingly, sustainable fashion is a growing subject of interest to a wide range of people, including environmentalists, fashion students and conscientious consumers" (Farley Gordon, 2015:16). This desire is reflected in all the discourse and practices that question current behaviour and the future of fashion…

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Appendix 1 1 (3)

Fast-Fashion: Environmental issues

Table 1. A study by the French Environment and Energy Management Agency (ADEME) has made a comparative assessment of the plastic waste flows that make up the 3.3 Mt/year post-consumer waste stream in France.

Source: Waste - Key Figures 2017 – ADEME, available on: https://www.senat.fr/leg/etudes- impact/pjl18-660-ei/pjl18-660-ei.html

Appendix 1 2 (3)

Table 2. This graph shows clearly the still current cotton and synthetic fibres demand in Textile Industry.

Cotton and Synthetic fibres massive use are some causes of the environmental damages since cotton needs chemicals and water, and synthetic fibres are issue from oil extraction.

Appendix 1 3 (3)

Table 3. This statistic illustrates the world denim market value from 2019 to 2023. In 2019, the global denim market was valued at approximately US$90 billion.

Source: Statista, available on: https://www.statista.com/statistics/877056/denim- market-value-worldwide/

Appendix 2 1 (2)

Table 4. This table shows us the European Textile and Apparel sector companies’ turnover, investments and job offers.

Title: European textile and Apparel sector companies’ turnover, investments and job offers in 2017 and 2018

The overall of this 2-years analysis (2017-2018) reveals in 2018 there was a decrease of the number of companies on the market, a little decrease in job offers, a little increase of turnover and an increase in investments. The synthesis would be in the Textile and Apparel sector, some businesses are going bankrupt in the face of increased competition in a saturated market, the numerous European laws and standards that jeopardise their activity and unstable economic contexts. However, there is a slight increase in turnover despite the new and recent environmental standards affecting the sector. Thus, one could submit the hypothesis that new and more responsible consumption patterns and purchasing behaviour really make it possible to make a figure. The Desing Thinking methods that some companies are applying could be the cause of this.

Source: 2017 revised data and 2018 estimated data- Euratex

Appendix 2 1 (2)

Table 5. Leading 10 European fast fashion brands based on total revenue worldwide in 2019

Source available on: https://webaccess.esc-rennes.fr/https/esc-rennes/gw-esc- rennes/www.statista.com/statistics/1094176/european-fast-fashion-brands-ranked-by- revenue/

Appendix 2 1 (2)

Table 6. Global figures about the revenue by seconds the greatest brands generated by transactions. In 3 minutes, the most important group TJX has already generated €20.362 turnover. Sources: asktraders.com