Design for Longevity

TOPIC 6 DESIGN FOR LONGEVITY

SUSTAINABLE FASHION EDUCATOR PACK CREATED BY REDRESS DESIGN FOR LONGEVITY CONTENTS

OVERVIEW -- A note to educators -- Learning outcomes -- Why should students learn about design for longevity?

INTRODUCTION | 40 mins -- A note to educators -- What is design for longevity? -- How to approach design for longevity? -- Physical longevity 1. Durability & Quality ∙∙ Choice of materials ∙∙ Garment construction ∙∙ Colour and dyeing methods ∙∙ Special finishes ∙∙ Product testing 2. Size and Fit ∙∙ Measurement & fit ∙∙ Adding stretch ∙∙ Customisation ∙∙ Size alteration 3. Customer Use ∙∙ Care ∙∙ Repair

On the cover: Outfit designed by Redress Design Award CONSIDER THE ENVIRONMENT Alumni Cher Chan for the 2014/15 competition cycle. PLEASE THINK BEFORE YOU PRINT DESIGN FOR LONGEVITY CONTENTS

-- Psychological longevity 1. Building customer loyalty and engagement 2. Creating emotional links through storytelling 3. Style ∙∙ Timelessness ∙∙ Multipurpose ∙∙ Gender neutrality 4. Personalisation -- Learn more about design for longevity

CASE STUDIES | 15 mins each -- Classics Anew -- Eileen Fisher -- Fashion Clinic

EXERCISES | 30 mins each -- Assessing garment construction -- Uncovering our emotional connections with clothes

PROJECT BRIEFS | 1-3 weeks time frame -- Designing for multipurpose and maximum functionality -- Promoting the value of garment longevity through marketing and consumer engagement -- Challenging norms in consumer behaviour -- Understanding consumer behaviour through your own purchasing habits

On the cover: Outfit designed by Redress Design Award CONSIDER THE ENVIRONMENT Alumni Cher Chan for the 2014/15 competition cycle. PLEASE THINK BEFORE YOU PRINT DESIGN FOR LONGEVITY OVERVIEW

A NOTE TO EDUCATORS This pack contains entry-level educational materials to enable educators in higher education to deliver an introduction to the topic of a garment’s longevity. The pack provides tools and resources to introduce the topic to students, including ready-to-use slide shows with talking points, which aim to minimise time spent on research and preparation. Content within this pack provides a minimum of one-hour of teaching materials. In addition, out-of-class project briefs of varying lengths are also provided to supplement the content. We advise you to deliver this lecture along with the Lifecycle of a Garment, three design techniques, and Sustainability in Fibres in order to provide wider context on the environmental issues.

LEARNING OUTCOMES Students will: -- Obtain an understanding of the physical and psychological factors which contribute to a garment’s longevity. -- Gain a broad understanding of how to incorporate circularity when developing a brand concept. -- Explore how different brands approach longevity through design choices and through interaction with customers.

WHY SHOULD STUDENTS LEARN ABOUT DESIGN FOR LONGEVITY? -- To understand the needs and desires of the consumer during the clothing use stage. -- To build a holistic understanding of how their design choices can impact the consumer use phase and environmental impacts beyond the purchase point. -- To prepare themselves for future careers in the fashion industry where sustainability will increasingly feature as a critical factor across the entire supply chain, as well as influencing changes in consumer behaviour and the adoption of circular business models.

A NOTE TO EDUCATORS You are strongly advised to begin the lecture with Exercises 1 and 2 (p.41-45). This will provide students with a clear context and understanding of designing a garment for longevity. As with the main lecture content, you have been provided with a number of slides to support the introduction of the topic outlined below. You can find additional references using the links on p.26-28 for further reading.

WHAT IS DESIGN FOR LONGEVITY?

-- Everything that is made has a lifecycle and both the designer and the user play a critical role in determining its longevity. Longevity is the timespan across which the item remains relevant and useful. As designers it is important to understand that items change with age, and Slideshow #T6DL-01-1 that the use of an item can also evolve over time. -- The current linear model of production for fashion and textiles can be wasteful and often results in negative impacts to our natural world (as reviewed in Topic 1: A Garment’s Lifecycle). For example, every second, the equivalent of one garbage truck of textiles is landfilled or burned globally.1 The move towards a circular system enables designers and engineers to recapture and reuse resources including materials, energy, water and chemicals used in the production of textiles and garments. -- With this in mind, when considering how to design garments that withstand the test of time, a designer must also consider this new circular system of production and usage. It can be an exciting design challenge to create a garment by first studying how to extend a garment’s usage to ensure it remains actively used (and hopefully cared for) by the consumer. This also adds value to the designer, as no one wants their design creations to be disposed of early or to remain unworn in wardrobes. -- Extending the active life of half of all UK clothing by 9 months would decrease the UK’s carbon footprint by 8%, water footprint by 10% and textile waste footprint by 4%, per tonne of clothing.2 Simply put, if a customer is fully satisfied by their garment and it fulfils their needs for an extended period of time, the purchase of additional garments that fulfil the same need could be avoided, thus saving critical natural resources.

-- So, how can a designer actually control and influence how long the owner uses their garment for? Whilst there is no easy answer, by considering the many reasons why people discard garments and working backwards to solve these problems as part of the design process, a designer can Slideshow #T6DL-01-2 ensure that a garment has the best chance of long-term use. -- It is important to differentiate between making long-lasting clothing and making clothing last longer. Making long lasting clothing refers to the physical aspects of a garment, which can include the garment construction, fibre blend, colour fastness, and resistance to abrasion, odours and stains. Making clothes last longer refers to the psychological aspects which relate to how the user feels about their garment over its life and can include the comfortability of the garment over time, how it looks and feels as it ages (including surface damage and colour changes), the relevance of the style and the emotional link developed with the garment. -- Designing clothing with the intention for it to withstand time does not automatically mean that it will remain in the fashion loop. This depends on how the user cares for or customises the item and its function for them. At the design stage many designers do not consider how garments can remain in the fashion cycle longer through the user’s creativity. The Local Wisdom project (started in 2009), is a great resource for designers and showcases the many different ways in which consumers use clothes. It explores interesting practices and how garments evolve beyond the design stage through repair, shared use or adaptation for changing needs, demonstrating the power of users to ultimately control the lifespan of a garment.

-- Extending the longevity of clothing through the psychological aspects - by understanding the user’s attachment to a particular garment - can be more difficult to tackle. This is due to the fact that it might not be related to the item itself, but to external forces such as the relevance of the Slideshow #T6DL-01-3 garment’s style within the owner’s peer group, or a sentimental value, for example, if the owner inherited the garment from a significant person in their life. -- Garments can also act as a visual cue to represent an identity or opinion which is developed through the user’s lifestyle and experience. For example, designers can take inspiration from Vivienne Westwood who achieves longevity by embedding a shared value into a garment to enhance lasting relationships between garments and their users. An activist and rebel, Westwood is known for using provocative political messages, which resonate with the values of her customers, which they wear as a statement. -- By examining both the physical and psychological elements related to the longevity of a garment, we open up the possibility for continuous use over many years and potentially even generations of wearers. On a commercial level this also provides an interesting starting place for designers to explore how designing with longevity in mind can help to cultivate relationships with their customers. -- Where may be limiting to add psychological aspects to design for longevity, for example in garments such as underwear, it is advisable to focus on other circular strategies such as design for recyclability instead.

HOW TO APPROACH DESIGN FOR LONGEVITY?

-- To maintain a clear vision when designing for longevity, it is important to analyse which qualities sit within the physical and the psychological aspects of a garment. -- The Ellen MacArthur Foundation’s Circular Slideshow #T6DL-02 Design Guide defines a product as being truly circular when there is no end to its life as the item continues to live on indefinitely in different forms. By understanding both the physical and psychological aspects, you will gain the knowledge to map a garment’s journey through its original form, as well as being able to provide users with potential options for other future uses.

PHYSICAL LONGEVITY -- It is important to keep in mind that designing for longevity will likely differ according to the type of garment in relation to its active use. For example, undergarments are worn regularly and washed after every use and therefore might deteriorate more quickly than a raincoat which is used less frequently and rarely washed. -- By identifying the garment’s purpose, function(s) and laundering requirements – the physical qualities that are important for the garment – and keeping them top of mind throughout the design process you are on your way to designing for longevity.

PHYSICAL LONGEVITY -- DURABILITY & QUALITY

-- First let’s consider the physical durability and quality of a garment. The decisions made by a designer can ensure the garment will withstand the test of time in terms of the quality of its construction and how it ages, as well as how it holds up to the pressures of its intended function. Slideshow #T6DL-03-1 For example, this raincoat by New Zealand brand Okewa is designed with fabric made from 100% recycled plastic bottles, with all seams sealed, giving it a waterproof rating of 10,000mm.The jacket is also made in a loose fit so the user can wear layers underneath to add warmth and includes a detachable hood so the style can be altered. In this way the designers have met both its function as a raincoat and extended it to a multi-weather condition coat.

1. Choice of materials: ∙∙ Understanding the physical traits as well as environmental impacts of fibres is extremely important for designers when considering longevity. (If you have not covered Topic 5: Slideshow #T6DL-03-2 Sustainability in Fibres with your students, we suggest you explore this subject to add deeper learning. Alternatively, there is a version of the fibre topic in a downloadable guide that you can direct your students to read at www.redressdesignaward.com/learn).

∙∙ Throughout the Local Wisdom project mentioned earlier, author Kate Fletcher found that most people kept garments made from natural fibres (predominantly cotton and wool), for longer. This observation can be attributed to the fact that when processed under best practices, these fibres can be delicate and fine, but also hard wearing and naturally resistant to abrasion and odours. Natural fibres are also sometimes preferred for their breathability and comfort in comparison to man-made fibres. ∙∙ It is worth noting that man-made fibres such as polyester and nylon can also carry benefits of physical durability and strength and are easy to care for due to their wrinkle resistant characteristics. For these complementary reasons, many fabrics found in garments are a blend of both natural and man-made fibres. However, while blended fabrics benefit from both fibres’ characteristics, bear in mind that using blended fibres directly affects a garment’s recyclability as it is currently very difficult to separate fibres at the end of life. Fibre recyclability is therefore an important consideration when selecting materials to ensure they can be used again and again for optimum sustainability. ∙∙ A helpful tool for designers to find the most environmentally suitable fibre or blend is the Higg Materials Sustainability Index (MSI) shown on p.8. Originally developed by Nike, in 2012 the Sustainable Apparel Coalition adopted and incorporated the tool into their widely used Higg Index. It was then expanded to include material scoring tools to help companies compare one material against another and now also has a public facing element to help consumers understand the environmental impacts of fabrics. Their ranking of fibres are based on seven key impact categories which include Climate Change, Water Resources, Human Toxicity, Ecotoxicity, Eutrophication (a high quantity of minerals and nutrients in a lake or other body of water, which can happen for example, when soil carrying fertilisers is washed off agricultural land by rain and enters waterways resulting in a dense growth of algae and plant life, and the death of animal life due to lack of oxygen), Abiotic Resource Depletion - Fossil Fuels (how fossil fuel dependant they are) and Land Occupation3.

2. Garment construction: ∙∙ Continuing with the theme of durability and quality is garment construction. The way in which a garment is pieced and held together in order to withstand the test of time and use is a key

Slideshow #T6DL-03-3 consideration of longevity. The choice of stitch types will also have impact on a garment’s length of life. It is critical to keep in mind both garment type and fabric type when deciding how to construct a garment. ∙∙ For example, reinforcing areas of a garment where high abrasion could occur such as the elbows or knees is suggested for garments with active use. This can include adding extra layers of textiles through layering or patching and reinforced stitching, and is common practice in childrenswear, workwear, uniforms and active sportswear. USA-based designer, Silvia Correia-Thomas has a childrens clothing line ‘Victornee’, which features unisex styles that use high-durability fabrics, with an additional focus on multi-layer reinforced knees. Silvia uses different techniques such as layering, quilting, raised seams and straight stitch designs to protect against tearing in the knees to increase the longevity of the trousers, ensuring they will last 6-9 months of a child’s growth, whilst creating interesting design features in the process. ∙∙ When using trims such as hooks or fastenings in a garment, designers should check the quality to ensure they will withstand long term wear and tear. If the trim breaks and is difficult to replace, it can be responsible for cutting short the longevity of the entire garment, even when the remainder of the garment is in excellent condition.

3. Colour and dyeing methods: ∙∙ Colour plays an important role when a user is deciding whether to keep a garment. It acts as an indicator of wear and garments with colour fading may be considered as damaged and therefore

Slideshow #T6DL-03-4 be discarded earlier. In addition to this, colour fastness is a common garment quality issue - not only can it affect the appearance of a garment, but it can also cause contamination problems for multiple other garments during washing. ∙∙ Dyeing methods are key to colour fastness. Depending on the type of fibre used, applying dyes can have varied results including brighter or duller shades. Synthetic dyes are the most common colourants used currently due to their high colour fastness, low cost and their colour consistency for dyeing multiple batches. However, many dyestuffs can include harmful substances for specific functions, such as heavy metals which are commonly used for colour pigments. Therefore, checking the label and substance contents is always recommended. ∙∙ To find the balance between performance and environmental impact, we have recently seen increasing innovation in the industry around dyeing techniques. Cosmos Studio, a Hong Kong based fashion and lifestyle brand, have used a dyeing technology called GiDelave™ to reduce water consumption and eliminate wastewater production. The technology uses 98 percent less water, 70 percent less chemicals and 50 percent less energy to create a washed down effect and only 0.9L of water is required to process each shirt. At the same time, with significantly reduced chemical processes compared to traditional dyeing, Cosmos Studio has been able to enhance the durability and colour fastness of their garments.

4. Special Finishes: ∙∙ Finishes are the treatments and chemicals applied to garments which can change the feel or drape of a fabric, improve the appearance, enhance performance during usage and aid in

Slideshow #T6DL-03-5 care requirements. Application of these finishes can help to extend the active use of a garment. ∙∙ When considering finishes on the fabrics you are using, it is important to think of how the product will be used while also researching the environmental impacts of different types of finishes. For example, Durable Water Repellent (DWR) is a coating applied to outdoor water-resistant jackets to repel rain and decrease their drying time. But this treatment normally contains the perfluorinated compound (PFC) which is known to have toxic effects on both the environment and people. Using this finish also prevents the textile from being recycled at end of life. Awareness of the PFC problem has increased in the past few years within the industry, influencing new innovations to find alternative finishes and reduce environmental impacts. ∙∙ Nau, a sustainable performance apparel brand, launched their first PFC-free collection in Spring 2017 to eliminate the negative impacts of PFC on people and environment. Instead of PFC they turned to bio-based and hydrocarbon polymer- based chemistries to achieve the best water repellent performance with the lowest impact. ∙∙ New York based womenswear brand, Elizabeth & Clarke is another example of prioritising longevity through the use of finishes. They design chic essentials for working women, with a focus on technical fabrics and textile engineering. Adding special finishes to these frequently worn items, that need to stay smart to fit their function, they have created stain repellent fabrics with sweat-proof linings, thus reducing the chance of a shirt being disposed of early.

5. Product Testing: ∙∙ Once all the above design factors affecting durability have been considered, it is highly recommended that before selling to customers, that designers put garments to the test to assess

Slideshow #T6DL-03-6 how they perform. Through rigorous testing, designers and brands can identify and understand the weakest points of their designs and make adaptations and improvements to ensure increased longevity for the garment. ∙∙ Fashion brands often use third party laboratories to perform testing which can include physical testing of textiles, chemicals, colour fastness and flammability. Another method is to conduct wearer trials over a time period to identify how a product behaves under normal usage conditions. ∙∙ Fabric pilling and colour fastness testing assess how the appearance and colour of a garment changes, while seam rupture and tear strength testing check if the seams are strong enough to withstand the intended use. ∙∙ For designers using the techniques of up-cycling and reconstructing, product testing is key as it is often difficult to obtain a full or valid test report of the unwanted fabrics or garments, whereas when buying new fabrics, suppliers are obligated to provide detailed information, as an usual industry practice.

PHYSICAL LONGEVITY -- SIZE AND FIT

-- The second factor under physical qualities is how size and fit affect a garment’s longevity. Finding the right size and fit as a customer can be difficult and sizing issues are one of the most common factors in determining the early disposal of garments by the user. This is particularly common with the rise in online shopping where clothes are purchased without being tried on.

1. Measurement & fit: ∙∙ In order to fit a variety of different customers’ body shapes for ready-made fashion, garments are designed with standard size ranges, for example Small, Medium and Large, or size 8 to 18 etc. But

Slideshow #T6DL-04-1 of course with over 7.5 billion people on the planet these small ranges cannot fit all sizing needs, so in order to fit a wider group of customers, designers can consider adding detailing that ensures further variation, such as built-in size adjustments using special fastenings or leaving room for alterations. ∙∙ In recent times seams within garments have been made smaller to reduce costs and save time in production. By including a wider seam allowance, designers can enable users to more easily alter their clothing over time, for example, if their body shape changes or if the garment is inherited by a new person. The approach will depend on the garment type, so designers should consider how to include extra fabric while ensuring comfortability for the wearer. ∙∙ Danish designer Mette Julie Bundgaard-Nielsen creates a flexible sizing system through her Circle project (shown here) to increase the longevity of garments. One of her garments is a traditionally cut dress with visible hand-drawn grading lines. The hems and seams are covered with bias tape and the dress has extra seam allowances which enable adjustments for individual fit throughout its lifespan.

2. Adding stretch: ∙∙ Using fabrics with stretch encourages prolonged use of a garment by enabling it to adjust more fluidly to different body shapes. Elastane is the most common fibre used to blend with other

Slideshow #T6DL-04-2 synthetic or natural fibres to provide close fit and add comfortability, and can be widely found in undergarments, activewear and childrenswear. The addition of stretch also allows for garments to be knitted without seams for the benefit of the user’s comfort experience. ∙∙ Despite its value in extending the usage of a garment, it should be kept in mind that most commercially available elastane is not biodegradable and often hinders the recyclability of the garment in current recycling technologies once it is included in a blend, particularly if used in high percentage. Designers can look for sustainable alternatives of elastane, such as recycled elastane yarn. Designers may also consider fabric structures that give stretch to avoid elastane entirely. ∙∙ Stretch is especially important for clothing that ensures the user’s comfort, which is why it is often included in maternity wear. Swedish brand Boob, shown here, designs womenswear that transitions from pregnancy through to post pregnancy, stretching with a mother’s changing body, specifically around the stomach and chest areas. The top shown here is made of 92% organic cotton and 8% elastane with high usability pre and post birth. Many of their designs include discrete openings so mothers can easily breastfeed, further extending the garment’s functionality.

3. Customisation: ∙∙ For designers and brands, it is important to understand a customer’s preferences to ensure they will continue to take care of and wear the garment for a long time. The integration of new

Slideshow #T6DL-04-3 technology is now enabling some companies to produce clothing on demand instead of ordering large quantities of stock that miss the mark with customers. This can save time, money and most importantly precious natural resources. ∙∙ Inviting customers to take part in the design process enables their preferences from fabric to fit to be literally woven into the outcome. One such approach is utilised by Hong Kong robotics and apparel start-up Unspun, who use a Fit3D ProScanner to scan customers’ bodies to create fully customised denim jeans (shown here).4 ∙∙ While denim jeans are a staple in most of the population’s closets, they are also one of the most difficult garments for consumers to find a satisfying fit, and Unspun find that customers are willing to invest a little extra for a perfect pair. First, they allow the customer to select their individual fabric and style. After a full body scan, their fit algorithm “wraps” the denim fabric around the digital avatar to ensure the best fit and the unique manufacturing process begins.

4. Size alternation: ∙∙ Providing services for simple alterations on sizes post-production is another option for brands and designers to provide better fit for customers, for example with differing heights in garments like

Slideshow #T6DL-04-4 jeans, trousers or suits. UNIQLO offer length alterations instore on all their bottoms to create the perfect length for the customer.

PHYSICAL LONGEVITY -- CUSTOMER USE

-- Lastly under physical aspects, we will review how customer use can affect a garment’s longevity. 1. Care: ∙∙ Designers and brands can provide direction to customers regarding how a garment’s fibre, fabric, trims and general construction aid in extending the durability. This can be communicated in Slideshow #T6DL-05-1 marketing materials (as covered in Topic 1: A Garment’s Lifecycle – Case Study 3 Patagonia), but can also be included on the care label alongside washing instructions. Additional information can also cover topics such as how to manage pilling through to how to recycle the garment after use. ∙∙ If users follow the care instructions, garments can be maintained in a better condition, without inappropriate or over-treatment. For example, if the user does not follow the care label on a coat that is dry clean only due to mixed fibre content and washes it in a normal washing machine, the fabric surface may be damaged or change shape and the coat’s lifespan will be significantly shortened.

∙∙ Proper care can prevent the creation of extra carbon emissions too. According to Waste & Resources Action Programme (WRAP), the carbon footprint in the UK was reduced by 700,000 tonnes CO2 between 2012 and 20165, due to consumer reduction in ironing, tumble drying and reduced washing temperatures which was achieved through an increase in consumer education and the improvement of care information on clothing labels. ∙∙ WRAP’s Love Your Clothes campaign, launched in 2014, is one such example of this education, developed together with industry organisations to help accelerate a change in the way the UK consumers buy, use and dispose of their clothing. Supported by retailers and fashion brands such as M&S, Tesco and Ted Baker, it shares care and repair tips to raise awareness on how customers can make a huge difference by taking small steps in their daily clothing care practices.

2. Repair: ∙∙ Some brands offer repair services to help prolong the lifespan of their garments and build customer loyalty. Norrøna, a Norwegian outdoor brand offers such a service to their customers

Slideshow #T6DL-05-2 for all of their products, for example fixing tears or replacing zips. They have repair centres in their flagship stores across Norway, Sweden, Switzerland, USA and Germany. ∙∙ Open source information sharing is now growing online, with individuals and organisations sharing advice and information on how to repair at home. This is creating a revitalisation in the value of skills which have seen a decline over the last two to three generations and brands are increasingly tapping into this content and directing their customers to learn more. Examples include numerous YouTube ‘how-to’ videos on garment repair, platforms such as the Love Your Clothes campaign shared earlier, and in DIY Tailor discussion forums on Reddit.

PSYCHOLOGICAL LONGEVITY -- With the consideration of all the physical factors we have covered, designers can ensure that a garment has the physical ability to be long-lasting. Next, we will explore the psychological aspects that can extend the longevity of garments and how designers can contribute to the creation of emotional attachment to garments and their long term use on a deeper level.

PSYCHOLOGICAL LONGEVITY -- BUILDING CUSTOMER LOYALTY AND ENGAGEMENT

-- Designers and companies do not just create products, the most successful also create brands with a strong identity and values, as well as creating experiences for their customers in accordance with these values. In order to build brand loyalty with their audience, designers and brands should aim to Slideshow #T6DL-06 understand what is important in people’s lives while also forecasting what will grow to be more important in the future such as environmental concerns and connections to people. -- To create the ultimate garment, the designer must both empathise with the user’s needs, as well as consider the circular design process, which takes into account an extended chain of users and how the garment will evolve from first user to those who may inherit the garment in the future through repair and DIY for example. Increasing numbers of designers and brands are beginning to use such an approach but it is still rare in the industry due to the complexities of these considerations.

-- Chinese womenswear brand JNBY offers a broad range of contemporary products and its brand portfolio creates a lifestyle ecosystem that addresses customers’ needs at different stages of their lives. Each piece is designed and cut to be classic, comfortable and unique - ideal characteristics which directly contribute to ensuring longevity in the use phase. Additionally, JNBY often creates ‘convertible’ clothing that can be worn in different ways, allowing the user to interpret the clothing in accordance with their personal style. With the slogan ‘Just Naturally Be Yourself’ deeply rooted in the hearts of its customers, JNBY has successfully built a large and loyal customer base.

PSYCHOLOGICAL LONGEVITY -- CREATING EMOTIONAL LINKS THROUGH STORYTELLING

-- Secondly we will review how a brand and/ or designer can use storytelling to create an emotional connection with the user through a garment. -- It is important to recognise that many of Slideshow #T6DL-07 the factors that impact use are actually out of a designer’s control and a completely different journey begins after the customer takes home an identical product. However, designers and brands can work with their customer base, for example, through gathering feedback to better understand their values, needs and aspirations in order to create concepts which resonate with them. -- A large part of a user’s experience in connection to a certain garment is built from events, experiences and emotional milestones, but the roots of these connections can also be tied to the embedded values of a garment which begin in its production and with the maker.

-- For example, a designer working with textile waste through up-cycling has a unique opportunity for story telling with their customers. Textiles with interesting previous lives such as kimonos, or textiles from a particular era hold value for some customers. Through a designer’s other values and standpoints on issues such as human rights through fair living wages or working conditions, additional emotional ties can be established through sharing stories with customers about the individual maker of a garment. -- Jesse Lee, the Second Prize winner of the Redress Design Award 2018, only used textiles sourced from around his home. Inspired by family photos of his parents when they were young and in love, he created a collection of oversized outerwear, reflecting his mother’s habit of wearing his father’s jackets. The collection was made from non-traditional sources - curtains, socks and broken umbrellas – all deeply embedded with memories. A quilted bomber jacket and skirt set made of socks (left) and a raincoat made of umbrellas (right) shown on p.20 are Jesse’s modern and sustainable take on his mother’s cherished habit. It is an example of how a designer can drive customers’ emotional ties by sharing a personal part of themselves in the designs and through great storytelling.

PSYCHOLOGICAL LONGEVITY -- STYLE

-- Thirdly, different approaches to the style of a garment can play a part in extending its life. 1. Timelessness: ∙∙ Throughout history, we can see how styles of clothing have reflected the zeitgeist and people’s Slideshow #T6DL-08-1 changing values. Back in the 1970’s fashion started to move from formal to more casual with items such as bell-bottoms entering the

mainstream, reflecting a relaxation of strict values and a change towards modern attitudes of living. The broad shoulders created with padding in 1980’s womenswear was not random but a physical representation of the rise of women in the workplace and mimicked the square, broad shoulders of male colleagues. The look demanded respect, attention and power and was representative of the changing times. ∙∙ With growing environmental concerns among the broader population, we are now seeing a trend towards timeless items, with garments designed to survive decades – making a stand against the fleeting pace of fast fashion and constant shifting trends. ∙∙ Think about which garment styles have survived the last 30 years? No one can deny the comfort of pairing a cotton t-shirt and denim jeans. No matter where one travels across the world, these garments can be found across different cultures and social status groups and continue to be two of the most pervasive and iconic garments from the twentieth century. ∙∙ US womenswear brand VETTA was founded in 2016, and experienced great success with an initial kickstarter campaign. The brand helps women simplify their wardrobes by offering versatile capsule collections - each made up five items that can be mixed and matched to create 30 different potential outfits. With great flexibility for styling, the user can experiment to find their preferred mix of styles, crossing both work and leisure. VETTA continue to launch new collections but they are all designed with simplicity in mind using unpatterned, neutral coloured fabrics which can be also combined across other capsules for further flexibility.

2. Multipurpose: ∙∙ Considering the user’s lifestyle is important when developing the design of a garment. Consider social changes such as the increased migration to urban environments, non-traditional

Slideshow #T6DL-08-2 working hours and decreasing prices of global travel. With lifestyles moving further towards a blend of professional and personal time and space, garments must also reflect this change. ∙∙ The decline in the use of occasionwear opens the door for more multi-purpose, multi-occasion garments that can be actively used throughout the changing seasons, as well as across a variety of events and activities. Another element that contributes to this trend is changing lifestyles and available storage space. More people are now living in smaller urban living spaces, so a well-functioning wardrobe filled with garments that are appropriate for multi occasions is key. Designers are now taking this into account and creating options, for example, layering, to suit changing tastes together with the restrictions of space. ∙∙ Encircled is a Canadian clothing brand that promotes a ‘less is more’ lifestyle, creating thoughtfully designed, comfort-based and stylish garments. All of their clothing is made locally in Toronto from sustainable fabrics. The Chrysalis Cardi is one of their signature versatile pieces, which completely transforms into multiple garment types with eight ways to wear it, from a one-shoulder gown, to a classic scarf and more. The multiway clothing is made to wear well and can simplify the user’s life by taking them from day to night, and from work to weekend.

3. Gender neutrality: ∙∙ A societal shift toward growing acceptance around gender fluidity is also being reflected in today’s garment styles. People are increasingly rejecting traditional representations of gender

Slideshow #T6DL-08-3 and cultivating their own styles based on personality and what suits their body type. ∙∙ This is prevalent on the fashion week runways with couture brands using androgynous or male and female models for traditionally one gender collections, and can already be seen in retail with brands starting to create non-gender specific collections. These collections are often loose or boxy in their construction allowing more possibility for sharing and re-use across a broader variety of body shapes. ∙∙ Danish brand Carcel, focuses on creating gender neutral garments. With a brand ethos focused on providing work opportunities for women in prison in Peru and Thailand, they also select fibres from those regions to maintain total local production. As their goal is to create sustainable garments through high quality textiles and construction, they seek a broad audience whose values align with theirs and they style garments to be accommodating of many body types, while using models of many genders.

PSYCHOLOGICAL LONGEVITY -- PERSONALISATION

-- Lastly, let’s look at how design for garment personalisation can add to the overall longevity. This design element enables customers to feel an emotional connection with their garments and allows them to use their fashion choices to express their own style, self-image and values. Slideshow #T6DL-09 According to The State of Fashion 2018 report, the number one consumer shift is a growing demand for personalisation. Reacting to this increasing demand for authenticity and individuality, brands and designers can tap into consumer data to inform authentic, unique experiences and deliver personalisation at scale with the use of technology. -- Collaboration with the user enables them to add their own mark to the garment and has the potential to add to the value and longevity of the garment. Personalisation can range from pre-designed items with options to select unique colours or material combinations through to simply adding personalised embroidery in store. -- American outdoor brand L.L.Bean offers monogram services for their classic items like button-up shirts, robes and travel bags. They receive extremely positive online customer reviews, with many people commenting that they keep their L.L.Bean products because of the traditional style and physical durability, and customers note they often recommend them to their friends for the brand’s reliability.

LEARN MORE ABOUT DESIGN FOR LONGEVITY These additional resources can be used by educators and students alike, to enrich knowledge and understanding. Ellen Macarthur Foundation (n.d.), What is the Circular Economy? www.ellenmacarthurfoundation.org/circular-economy -- Foundation with a mission to accelerate the transition to a circular economy. Access to resources about what a circular economy is and how it can be achieved. Danish Fashion Institute (n.d.), Design for Longevity | designforlongevity.com -- Platform to browse news, images, articles and videos on topics regarding design, sustainability and technology. Ellen MacArthur Foundation and IDEO (n.d.), The Circular Design Guide www.circulardesignguide.com -- This site offers resources, activities and case studies to help you understand, define, make and release circular innovation within design fields. Kate Fletcher (2016), Craft of Use | craftofuse.org -- The Craft of Use is a curation of work by Kate Fletcher discussing how we use and mend our clothing. This site also covers topics of durability, consumerism and sustainability in fashion. iFixit (n.d.), Patagonia Product Care | www.ifixit.com/Wiki/Patagonia_Product_Care -- Access to information on methods and technologies used to care for clothing products, from chemical finishes and recycled fabrics to caring for natural fibres. The Waste & Resources Action Programme (WRAP) (2017), Sustainable Clothing Guide 2017 www.wrap.org.uk/sites/files/wrap/Sustainable%20Clothing%20Guide%202017.pdf -- This guide outlines how to design and produce garments for longevity. This includes how to create durable garments, as well as how to repair and reuse.

The Waste & Resources Action Programme (WRAP) (2017), Valuing our clothes: the cost of UK fashion | www.wrap.org.uk/sites/files/wrap/valuing-our-clothes-the-cost- of-uk-fashion_WRAP.pdf -- This guideline identifies the environmental impact of the whole journey of clothing and highlights opportunities to add value to a garment in order to increase its lifespan. Annie Gullingsrud (2017), Fashion Fibers: Designing for Sustainability -- This book is an accessible reference tool which can be used by students and designers to inform decisions about enhancing the sustainability of garments. The Waste & Resources Action Programme (WRAP) (n.d.), Why Love Your Clothes? www.loveyourclothes.org.uk/about/why-love-your-clothes -- This website provides tips and inspiration on loving your clothes: how to buy thoughtfully, use carefully and make them last longer. Alison Gwilt (2014), A Practical Guide to Sustainable Fashion -- This book is an useful tool to explore a range of ways in which designers can reduce the negative impacts associated with the life cycle of fashion garments. Kate Fletcher (2016), Local Wisdom Project | localwisdom.info -- It is an on-going project that explores the ‘Craft of Use’ and offers a vision of a new type of prosperity in fashion that is not based on buying and selling more garments. It provides a platform for these practices to flourish and inspire other users and the design and production community. The Business of Fashion (BoF) and McKinsey (2017), The State of Fashion 2018 www.mckinsey.com/industries/retail/our-insights/renewed-optimism-for-the- fashion-industry -- It was created to provide a comprehensive view of fashion industry, including current and projected performances as well as the influences driving fashion. Nike (2019), Circularity: Guiding the Future of Design | www.nikecirculardesign.com -- Working on the principle that design has a powerful role in making the world a better place, it is a guide and workbook that supports a call to action for the industry.

These brands can provide inspiration...... Boob Design, About Boob - An innovative story www.boobdesign.com/about-boob-design/an-innovative-story Carcel, About | carcel.co/pages/about Cosmos Studio, Colour Diffusion Technology www.cosmosstudio-store.com/gidelave Denim Unspun, Mission | denimunspun.com/pages/mission Elizabeth & Clarke, About Us | www.elizabethandclarke.com/about Encircled, About us | www.encircled.ca/pages/about-us JNBY, Brand Story | www.jnby.us/history L.L.Bean, Monogramming www.llbean.com/llb/shop/510626?lndrNbr=510618&nav=leftnav-cust Mette Julie Bundgaard-Nielsen, About | www.bundgaardnielsen.com/pages/about-1 Nau, PFC-FREE DWR | www.nau.com/our-fabrics/pfc-free-dwr Norrøna, Repairs | www.norrona.com/en-GB/help-me/repairs/ Okewa, About | okewarainwear.com/pages/our-story UNIQLO, HELP / ALTERATIONS www.uniqlo.com/uk/en/company/faq/alterations VETTA, About | www.vettacapsule.com/pages/capsulewardrobe-about-us Victornee | victornee.com Vivienne Westwood, Our Approach | www.viviennewestwood.com/en/our-approach/

Additional Reading References www.redressdesignaward.com/learn/additional-resources -- This website provides additional resources across multiple sustainability topics.

A NOTE TO EDUCATORS You can choose to present any, or all, of the following three case studies as examples of best practice in improving garment longevity. You have been provided with slides and talking points to support each case study. After presenting a case study, you are encouraged to discuss with students the successes of the brand or designer as well as the potential limitations of their particular approach to a garment’s longevity. These questions will help guide your discussions: -- What is their approach to ensure the design team creates physically durable products? -- How does the brand consider the user during the design stage and how does this affect the longevity of the product? -- How does the brand engage with the customer to further communicate maintenance of the garment throughout its lifetime? -- How does the brand interact with its customers post-purchase? -- How does the brand engage with customers outside of traditional retail means to encourage longevity? -- How do you think this brand will perform in the future within the changing landscape, and can you suggest how they could develop to further encourage garment longevity?

CASE STUDY 1 | CLASSICS ANEW

Slideshow #T6DL-10-1 Image credit: Classics Anew

Classics Anew is a Hong Kong based brand founded in 2014 by Redress Design Award Alumni Janko Lam. Early in her career, while working for a TV station designing costumes for a Chinese period drama series, Janko became inspired by the style of loose form robes and Slideshow #T6DL-10-1 wide sleeves. This exposure to traditional clothing led her to adopt Chinese tailoring techniques to create the heritage inspired, modern cheongsam dresses and separates that form her design collections.

Classics Anew incorporates elements of Chinese garment construction and uses traditional fabrics such as woven silk, as well as non-traditional fabrics such as denim (as shown here on the left). Janko sources her denim from overstock that would otherwise be discarded – an action that is Slideshow #T6DL-10-2 in alignment with her sustainability goals. While she does not market herself as a sustainable designer, Janko believes that it is her responsibility as a designer to use quality textiles that will be valued and withstand time. With this in mind she also makes the most of her materials by choosing to create buttons from fabric scraps that would otherwise be thrown away, as shown here on the yellow floral blouse. Janko’s studio offers alterations for all of the Classics Anew collection pieces, and to ensure further longevity also offers a custom-made service with a view that customers will treasure items more over their lifetime if they are a perfect fit.

By engaging directly with her customers Janko has been able to better understand their desires and needs. Her Classics Anew collections include modern detailing which enables them to be easily mixed and matched with existing items in the customer’s wardrobe. Many pieces are also cut with Slideshow #T6DL-10-3 a looser fit in comparison to the traditional fitted cheongsam, which creates greater comfort for the wearer, as well as additional flexibility if the wearer’s body size changes over their lifetime.

Classics Anew regularly organises workshops for both children and adults in their Hong Kong studio, during which participants can learn how to create traditional Chinese pieces such as custom cheongsam dresses and handmade fabric flower buttons. Janko began offering these courses in Slideshow #T6DL-10-4 order to educate the public about the impacts of the fashion industry and to encourage a recognition of the skilled work that goes into making clothing, having frequently been questioned as to why a cheongsam dress has such a high price tag. She has found that after the workshops, her students have a deeper understanding of the craftsmanship that goes into this price, together with greater appreciation of fashion overall. Janko’s focus on heritage design, well-tailored garments and handmade details, together with the workshop experiences she offers, bring the Classics Anew customers closer to their garments, thereby creating a sense of loyalty and personal attachment to the brand.

ADDITIONAL RESOURCES Classics Anew - About | www.classicsanew.com/designer Redress Design Award Alumni Janko Lam www.redressdesignaward.com/alumni/2011/janko-lam/

CASE STUDY 2 | EILEEN FISHER

Slideshow #T6DL-11-1 Image credit: Eileen Fisher

American designer Eileen Fisher started her namesake womenswear brand in 1984 as a result of her own frustrations in trying to find the right clothing for herself. Eileen created a brand based on quality fabrics in a range of great colours, with classic flattering shapes and a strong Slideshow #T6DL-11-1 focus on their ability to be worn easily together. The company’s vision is rooted in sustainable actions within the supply chain to ensure the production leaves minimal impact on the environment, ensures the garment workers worldwide are fairly compensated, and that her customers are made aware of the importance of garment longevity.

Eileen Fisher’s holistic approach is reflected in the company’s design thinking methods which pay close attention to their customer. “Design is what drives us and our business. We find that good design is a result of paying attention to what women want and need. The women who Slideshow #T6DL-11-2 wear our clothes want to experience the magic that happens when you put on a piece of clothing that has been pared to its simple, pure essence. It comes alive on your body. It makes you move differently. It changes the way you think and feel about yourself.”6 In order to support this vision, the team relies on research and product development, together with building strong partnerships with suppliers who can provide quality materials and workmanship.

Among their 2020 Vision goals, Eileen Fisher has pledged to use more sustainable fibres in collections, including organic cotton, linen and responsibly sourced wool. Partnering with bluesign®, the brand is measuring the environmental impacts of dyeing processes. Slideshow #T6DL-11-3 By 2020, they aim to have 40 percent of their products bluesign® certified or using bluesign®- approved chemicals. In order to reduce chemical usage and embrace natural hues, the company has also launched an Undyed Cashmere collection, which requires less processing.7 To ensure that garments withstand wear and tear, the design team fits the samples to real women multiple times to ensure best fit and strong construction detailing. Through their garment take back programme, “Renew”, the team studies Eileen Fisher items that have been returned by customers, taking note on performance wear and tear, as well as how the construction has held up. This insight is then reviewed and incorporated by the design team when developing new garments, for example the designers may rethink details such as which seams are most suitable for a certain type of garment. The durability of seams can vary depending on the type of textile and fibre and selecting the right type can be a key to increased longevity. Shown here are four types of durable seams used by the Eileen Fisher design team, from top left going clockwise: busted seam, clean seam, french seam and flat felled seam. To educate their customers on garment care, the Eileen Fisher website includes guides on how to hand wash knitwear and how to launder at home in a more environmentally conscious manner. To further extend the life of their garments during usage, the company also offers a free repair service for even the most basic repairs, such as missing buttons through to darning moth-eaten sweaters, in order to keep their garments in active use.

On a psychological level, Eileen Fisher and her team work to ensure customers find meaning in their clothing. “As manufacturers, we want to treasure the resources we’re using, to make clothing that lasts and can be repurposed. We want customers to value our clothes.”8 Slideshow #T6DL-11-4 The Renew take back programme takes the approach to circularity one step further. Established in 2009, and paying customers five dollars per returned Eileen Fisher garment, no matter the condition, the programme has collected over one million garments to date.9 The collected garments are sorted - checking for wear, stains and holes and then washed, and where necessary repaired, re-dyed, or reworked and sold for a percentage of the original price. This programme not only reduces the environmental impact of old clothing, these renewed garments bring in an additional US$3 million in annual sales, proving that repurposing garments can also be profitable. To take this one step further and encourage a conversation about over consumption with the public, Eileen Fisher and her team created “Waste No More”, a project that uses salvageable scraps from the take back programme and creates homeware, art and other non-traditional uses for textile waste. The art pieces have been part of a travelling exhibition in the United States, France and Italy, and continues to inspire the public to think twice before throwing textiles away. The brand has transformed from a linear “Cradle to Grave” production system to a circular model that has created an active community of customers and artisan makers. The company’s forward thinking business model proves that closed loop design is both possible and profitable, and that garments are not static but are valuable resources that can be transformed over time if the physical quality allows.

ADDITIONAL RESOURCES Eileen Fisher: Behind the Label www.eileenfisher.com/behind-the-label-overview Eileen Fisher Renew | www.eileenfisherrenew.com/ Eileen Fisher: Waste No More | www.wastenomore.com/

CASE STUDY 3 | FASHION CLINIC

Slideshow #T6DL-12-1 Image credit: Fashion Clinic

Launched in 2017 by two fashion activists, Toby Crispy and Kay Wong (who have both worked in the fashion industry for over 10 years), the Hong Kong based Fashion Clinic strives for fundamental change in the fashion industry. Pushing against a global acceleration in the Slideshow #T6DL-12-1 production and consumption of clothing, Fashion Clinic works to create a new system through providing service over product. Fashion Clinic advocates for consumers to ‘choose well, buy smart and re-experience fashion’, in order to close the loop on the consumption cycle. “We feel the same exhaustion from chasing the seasons, for more, cheaper and faster, till the point we both think the fashion industry is sick, and some big fundamental change has to happen. This is the background or catalyst that sparked our change in career and launch of Fashion Clinic.” Kay shared with us when we asked for their mission and inspiration.

Through providing services of repair, reshape (alterations) and redesign of preloved garments Fashion Clinic prolongs the lifespan of garments while encouraging their customers to take better care of their clothing. They bring garments back to life, creating magical transformations through Slideshow #T6DL-12-2 embellishment and extreme redesign. For example, mixing traditional darning stitches with sashiko or boro patchwork and contemporary embroidery, or transforming a garment from a pair of jeans into a jacket, or from a man’s shirt into a maternity dress. To ensure clothing longevity Fashion Clinic focuses on simplicity and good design in each of the pieces they rework.

With their strong vision Fashion Clinic is gaining growing attention and a loyal following. Many of their customers come to them with pieces full of sentimentality (such as gifts from loved ones or items that have emotional memories), with the aim of extending their life. Kay and Toby have Slideshow #T6DL-12-3 observed that the major reasons for people to stop loving and wearing their clothing is due to changing styles and trends, fitting issues, or stains and other types of damage to the garments. Fashion Clinic encourages their customers to first do a complete tidy up and re- organisation of their wardrobes so that they can see what they have before coming to them for them. This ensures that they keep only what they love and take better care of the pieces because they are more aware of what they own.

To further promote ‘Choosing Well’ and ‘Buying Smart’, Fashion Clinic offers a private restyling service, helping customers to identify the most flattering styles for their body type and personality, as well as workshops to rearrange wardrobes for more active and efficient use, using Slideshow #T6DL-12-4 a combination of theories that put emphasis on living simple and decluttering, such as those from Marie Kondo, Danshari or L’art de la Simplicité.

ADDITIONAL RESOURCES Fashion Clinic - About | www.fashionclinic.co

A NOTE TO EDUCATORS For each exercise, you are provided with guidelines including goals, length and instructions to execute. You are advised to complete the exercises with students in class. You can complete exercises before you introduce the lecture content and case studies to allow initial engagement with the subject through practical exploration. Where applicable, exercises are supplemented with exercise sheets and slides to help with delivery. Each exercise is complemented with questions to guide the debrief with your students.

TOPIC ASSESSING GARMENT CONSTRUCTION

TIME TOOLS 30 mins -- Clothing -- Paper DISCIPLINE -- Pens or Pencils All fashion related courses

GOAL To understand how the physical aspects of clothing design affect longevity.

INSTRUCTIONS FOR EDUCATORS 1. In advance of this exercise, ask the students to bring in a recently purchased garment from their own wardrobes. 2. Each person will have 10 minutes to answer the following questions individually: a. How long do you expect your garment to last and why? »» Think about your choice of style and the fit of the garment and how these will impact its durability. »» Think about possible factors that might lead to disposal of the piece in terms of physical durability, e.g. weakening of fibres, splitting seams, breaking zips, coatings breaking down/peeling, staining, pilling and general wear and tear. b. What do you think will be the first physical factor identified in part a that will prevent you from using the garment and cause you to dispose of it? 3. Split the class into groups of 4-5 and ask them to select one to two of the factors uncovered above and discuss how one or more of their garments could be designed differently to address these factors and ensure increased longevity. Allow 10 minutes for discussions. 4. Ask each group to give a two-minute presentation to share their findings.

We recommend conducting this exercise together with Exercise 2 as it focuses solely on the physical aspects that are related to longevity, whereas Exercise 2 explores the psychological aspects. Therefore we suggest curtailing any aspects of discussion within the groups that might stray into the psychological parameters for this exercise. You can adjust the time and format of the exercise depends on the number of students. The time suggested here is based on a class size of 25 students.

DEBRIEFING NOTES -- Please refer to the ‘Garment Construction’ section on p.10 for guidance on debriefing. -- You could also ask your students how they think they might shift their own purchasing habits after exploring these areas of physical durability. -- For design students: Ask students how they think the exercise will change their approach when they design garments in future?

TOPIC UNCOVERING OUR EMOTIONAL CONNECTIONS WITH CLOTHES

TIME TOOLS 30 mins -- Clothing -- Post-it notes DISCIPLINE -- Pens or pencils All fashion related courses

GOAL To explore the psychological aspects of clothing in relation to a garment’s longevity.

INSTRUCTIONS FOR EDUCATORS 1. In advance of this exercise, ask your students to bring in a garment that has been in their own wardrobes for a long time and has a story or memories behind it. 2. Ask each person to take 5 minutes to write down information about their most memorable story related to their garment on Post-it notes, considering how the garment makes them feel, what memories they associate the garment with, how often they wear it (if at all), why they think it has been in their wardrobe for as long as it has etc. 3. As an icebreaker, ask students to sit in a circle in the order of the length of time they have owned their items – this may be surprising based on the condition of the garments. 4. Ask each person to talk for one minute about their garment and why they have had it for so long. 5. Then ask the students to work together to categorise the Post-it notes into similar themes to identify the top three most common reasons as to why we keep clothes for a long time.

We recommend conducting this exercise together with Exercise 1 as it focuses on the psychological aspects that are related to longevity, whereas Exercise 1 explores the physical aspects. Therefore we suggest curtailing any aspects of discussion within the groups that might stray into the physical parameters for this exercise. You can adjust the time and format of the exercise depends on the number of students. The time suggested here is based on a class size of 25 students.

DEBRIEFING NOTES -- Please refer to the ‘Creating emotional links through storytelling’ section on p.20-21 for guidance. -- If it doesn’t come up naturally in student discussions it is important to highlight that if a garment has been kept for a long time, this is only a case of true longevity if it has been in active use, rather than simply kept in the wardrobe. There are various reasons why people hold onto garments but by not wearing them they are preventing them from being circulated in the fashion system and fulfilling their purpose. -- To take the discussion one step further ask students how they think brands could make use of the common emotional factors uncovered to connect with their target users?

A NOTE TO EDUCATORS You can choose any of the following four projects to help instil a deeper understanding of the topic with students. For each project brief, you are provided with guidelines which include the brief itself, the goal of the project and the deliverables. The layout of the brief is in a ready-to-print format, which you may choose to print directly and share with your students. Or, you may prefer to adapt the content, changing the length and adjusting the deliverables of the project to fit in to your own syllabus. You can also add assessment criteria depending on your course requirements. We advise that you ask students to give a presentation at the end of the project to allow them to reflect and review on their learnings and share these with one another.

TOPIC DESIGNING FOR MULTIPURPOSE AND MAXIMUM FUNCTIONALITY

TIME DISCIPLINE 3 weeks Design

GOAL To explore approaches that are applicable when designing for different purposes, while recognising the innovation and possibilities of multipurpose, functional clothing.

BRIEF Climate change is making our weather more extreme and unpredictable. With the world starting to experience shifts in seasonal patterns (both big and small), companies are struggling to determine when to stock the ‘right’ seasonal wear and as a result sales and deadstock levels are being affected. This unpredictability is challenging the more traditional notion of seasonal fashion and inevitably we will see the emergence of more seasonless and trans-seasonal clothing in the market. For this project, you will be working in teams of two or three and will be challenged to design a multipurpose outfit for specific types of environment, weather and function. Each team will have to choose two ‘Environment’ cards and two ‘Situation’ cards from the deck.

DELIVERABLES -- One mood board or theme board of design concept -- A sketch book documenting research and design development including information and answers that address the following: ∙∙ Who is your user and what are their specific clothing needs? ∙∙ What fabrics are you proposing for use and how do they meet the requirements on the cards? ∙∙ What design considerations did you take into account when designing for these particular environments and purposes? -- One presentation board of design line-up drawings -- One final outfit mock up

NOTE TO EDUCATORS You can make this project more challenging by: -- Requiring students to select more ‘environmental’ and/or ‘situation’ cards for the same design brief and deliverables. -- Requiring students to conduct a wearer’s trial of their outfits with their target user and make adjustments according to feedback.

MATERIALS Environment cards: -- Showers – Unpredictable light rain -- Hot – Regular high temperatures -- Windy – Erratic movement of air -- Stormy – Frequent heavy rain -- Snow – Intermittent sun and snow blizzards -- Cloudy - Sporadic sunlight with cooler periods -- Humid - High moisture levels -- Sunny – Dry weather with direct sunlight -- Cold – Constant cooler climate temperatures -- Extremes – Frequently interchangeable between cold and hot temperatures

Situation card*: -- Active life -- Frequent traveller -- Capsule wardrobe -- Holiday wardrobe -- Office wardrobe -- Casual -- Occasion-wear -- Party -- Maternity -- People with disabilities -- Age associated

*The exact requirement of the situation cards can be decided by the students. For example, occasion-wear can be for a wedding or a religious ceremony.

REFERENCES Seervat Verdi | www.redressdesignaward.com/2018/seerat-virdi The Redress Design Award Alumni Seerat Verdi designs up-cycled and zero-waste multifunctional outfits, including removable parts that can be interchanged across the collection. Methodology | www.notjustalabel.com/methodology Hong Kong emerging designer, Glori Tsui, designs clothes with multifunctional uses which enable unlimited possibilities for the wearer whilst reducing the need to purchase multiple new fashion items. Understanding the shifting seasonality of apparel edited.com/blog/2018/08/shifting-seasonality-apparel An article analysing the impact of climate change on the fashion industry.

Worksheet #T6DL-13-1 Design for Longevity Project Brief 1: Designing for multipurpose and maximum functionality

Worksheet #T6DL-13-2 Design for Longevity Project Brief 1: Designing for multipurpose and maximum functionality

Worksheet #T6DL-13-3 Design for Longevity Project Brief 1: Designing for multipurpose and maximum functionality

TOPIC PROMOTING THE VALUE OF GARMENT LONGEVITY THROUGH MARKETING AND CONSUMER ENGAGEMENT

TIME DISCIPLINE 2-3 weeks Marketing and Communications

GOAL To understand how fashion brands can best use storytelling to communicate the sustainability of a product and where it can add value to the business.

BRIEF How a brand communicates their values around sustainability or the story behind a product can affect the consumers attachment to a product, directly impacting how long they continue using it. “Every sustainable product or campaign needs to answer the question: What’s in it for the consumer?”10

Part 1 – Brand research Identify a marketing campaign where a fashion brand is communicating in some way about sustainability and write a case study based on the questions below. These example questions will guide you to identify the potential benefits the brand is offering to the consumer, and you may also come up with your own criteria.

-- Functional benefits: ∙∙ Can sustainability: »» Add or detract from value for money? »» Enhance or hinder performance and efficacy? »» Improve or worsen quality? »» Save user time or vice versa? »» Make a consumer’s life easier or harder?

-- Emotional benefits: ∙∙ Can sustainability: »» Strengthen or weaken emotional value? »» Offer more or less comfort? »» Provide a thrill of excitement or only a dull experience? »» Heighten self-worth or add guilt? »» Enhance or detract from personalisation? »» Create a positive or negative impact on a consumer’s mood? -- Social benefits: ∙∙ Can sustainability: »» Facilitate or disrupt family bonding? »» Make the wearer seem more or less desirable in others’ eyes? »» Offer a sense of community or isolate the consumer? »» Influence and educate the wider community?

Part 2 – Marketing longevity Among the identified values in Part 1, determine which ones are associated with longevity. How prominent are these values in your chosen brand’s marketing assets? Selecting the 2 or 3 values associated with longevity, create a mini campaign strategy for the brand you have been analysing that will amplify these values through storytelling and visualisation (e.g. social media campaign, advertisements etc,). Make sure to include details on the channels and platforms you think most appropriate to communicate these values most effectively. For example your campaign could be a proposal for a major, full scope advertising campaign, or a smaller more targeted campaign for social media.

DELIVERABLES -- A 500-800 word report, answering the questions listed on the previous page -- A five-minute presentation -- A mini communications campaign proposal for your chosen brand

REFERENCES Selling Sustainability – Primer for Marketers www.wearefuterra.com/wp-content/uploads/2015/10/FuterraBSR_ SellingSustainability2015.pdf Classics Anew (Case study 1 – See p.30-32) | www.classicsanew.com Eileen Fisher (Case study 2 – See p.33-37) | www.eileenfisher.com Fashion Clinic (Case study 3 – See p.38-40) | www.fashionclinic.co

TOPIC CHALLENGING NORMS IN CONSUMER BEHAVIOUR

TIME DISCIPLINE 2-3 weeks Design, Marketing and Communications

GOAL To explore the social norms attached to clothing and how they can affect consumer behaviour in terms of purchasing choices, use and consumer care practices that affect a garment’s longevity, and how to create positive changes in consumer behaviour.

BRIEF Social norms are the informal rules that govern behaviour and identify, consciously or otherwise, what is acceptable and what is not in a society or group of people (e.g. a group of friends or a wider community). Some norms are related to clothes and influence how we interact and perceive the value of our clothing. For example, in some cultures it is not widely acceptable to wear secondhand clothes because of stigmas around hygiene or because of how they reflect personal wealth, or bring bad luck and energy to the wearer. You will be working in teams to identify existing social norms and explore ways to break them in order to reduce their negative impacts on a garment’s longevity.

Part 1 Within your own teams, you will first need to identify at least three social norms that reduce the longevity of a garment.

Part 2 (2-3 weeks) For Design students Choose one social norm associated with clothing that you identified in Part 1. You are tasked to come up with a design concept for a collection that addresses and changes this norm and/or raises awareness around it.

For Marketing and Communications students Choose one social norm associated with clothing that you identified in Part 1. Create a marketing campaign that aims to makes consumers aware of the norm and / or change this norm. It can include imagery, social media strategy, in-store merchandising, celebrity collaboration, website copywriting etc.

DELIVERABLES For Design students: -- One mood board or theme board of your design concept -- A sketch book documenting your research and your design development including information covering: ∙∙ Your chosen social norm ∙∙ How the norm reduces the longevity of a garment ∙∙ Chosen customer market ∙∙ Design features used to break this norm -- One presentation board of the design line-up drawings -- One final outfit mock up For Marketing students: -- A 500-800 word report, which includes the following details: ∙∙ An explanation of the chosen clothing norm and why this may have arisen ∙∙ How the norm can reduce the longevity of a garment ∙∙ Chosen customer market ∙∙ Marketing strategy – How do you plan to communicate the norm and effectively break the norm or educate consumers about the issues surrounding the norm? -- A communication plan for your marketing campaign (can include imagery, social media strategy, in-store merchandising, celebrity collaboration, website copywriting etc,).

NOTE TO EDUCATORS You may want to share this sheet of examples of some social norms with your students for inspiration for Project Brief 3, Part 1. Examples of social norms: Among some cultures or peer groups, it is frowned upon to: -- Wear the same clothes over consecutive days -- Wear damaged clothes, such as cardigans with pilling, holes on T-shirts and sweat stains -- Wear odd socks Among some cultures or peer groups, there is an expectation to: -- Wash clothing after just one wear -- Keep up with fashion trends -- Wear new clothes and shoes to special events, or to have a continuously changing wardrobe for work / social events. Among some cultures or peer groups, it is perceived that: -- Damage (e.g. pilling, holes, stains) on clothes is deemed undesirable, resulting in disposal -- Secondhand clothing is only for environmentalists / hipsters / low income groups -- Wearing hand-me-down clothes is a behaviour of those with lower incomes -- Knowing how to repair is not regarded as an important skill

TOPIC UNDERSTANDING CONSUMER BEHAVIOUR THROUGH YOUR OWN PURCHASING HABITS

TIME DISCIPLINE 1 week All fashion design courses

GOAL To understand how clothing consumption and care is related to longevity.

BRIEF To investigate the experience of how people buy clothes and identify differences in behaviour, while also overturning many commonalities.

Part 1 - Customer journey map 1. The task is to map out your own personal journey as a consumer, from your reason to look for a new clothing item, your browsing behaviour and purchasing decisions, to your usage and disposal, with an analysis of each stage. 2. Write down the steps related to the entire process on a piece of paper or post-it notes. It is important to include even the smallest steps as often overlooked experiences may play a key role when identifying new design or communication solutions. For example, extensive browsing online or on social media before you buy clothing can influence your choice of products and change your perception of a brand depending on what is written about it or who is wearing it. 3. Organise the steps sequentially. 4. Pair up with a classmate and share your mapping processes to make comparisons. Do you identify any similarities or patterns in your behaviours – anything that surprises you? Analyse each step in detail.

Part 2 - Creative solutions 1. Now that you have mapped your own personal consumer journey. Next you need to identify which steps of your behaviour in the journey may affect the longevity of a garment. For example, if your journey showed that you made a purchasing decision of a dress online because you saw a celebrity worn it to a party. After you received the good, you realised the fit was not right for you and you decided to discard it. Therefore you might have identified that impulse purchasing behaviour under the influence of celebrities may shorten the lifespan of clothing. 2. The next step is to brainstorm some potential solutions that could increase the longevity of a garment based on the behaviours you have identified. Think about how innovation might improve each, or what steps could be added or removed from this journey. Using the same example above, if one more step is added to the journey, for example by checking the online size chart with your own measurements could help you find a more suitable size, which may not lead to the disposal of the dress. 3. Choose one solution and develop your idea further.

DELIVERABLES -- A customer journey map with potential solutions -- A 500-800 word report, including the following details: ∙∙ Which step of the customer journey did you focus on and why? ∙∙ Your solution (it can be anything!)

REFERENCES IDEO – Build Your Creative Confidence: Customer Journey Map www.ideo.com/blog/build-your-creative-confidence-customer-journey-map

1 Ellen Macarthur Foundation (2017), A New Textiles Economy: Redesigning Fashion’s Future 2,5 WRAP (2017), Valuing Our Clothes: the cost of UK fashion www.wrap.org.uk/sites/files/wrap/valuing-our-clothes-the-cost-of-uk-fashion_WRAP.pdf 3 Sustainable Apparel Coalition (2018), Higg Materials Sustainability Index(MSI) Methodology 4 Fit3D (2018), Fit3D Body Scans Used to Make Custom Jeans fit3d.com/blog/2018/2/28/fit3d-scans-used-to-make-custom-jeans 6 Eileen Fisher (n.d.), Meet Eileen | www.eileenfisher.com/meet-eileen/meet-eileen/ 7,9 Eileen Fisher (n.d.), Vision 2020 | www.eileenfisher.com/vision-2020/ 8 Allison Engel and Margaret Engel (2018), Eileen Fisher wants those clothes back when you’re done www.washingtonpost.com/business/economy/eileen-fisher-wants-those-clothes-back-when-youre-done/2018/08/31/ cd873aea-ac58-11e8-b1da-ff7faa680710_story.html 10 Sustainable Lifestyles Frontier Group (2015), Selling Sustainability – Primer for Marketers www.wearefuterra.com/wp-content/uploads/2015/10/FuterraBSR_SellingSustainability2015.pdf