Depart ment of Management, Economics & Industrial Engineering Rethinking Sustainability in the Fashion Industry through Indigenous Culture (Sustainability in Textile & Fashion Supply Chain Management) Supervisor: Prof. Alessandro Brun Master Thesis Of: Tariq Tayaba 893147 Ojukwu Onyinye Assumpta 903363 1 Accademic Year 2019/2020 Table of Contents List Of Figures………………………………………………………………………………………………………………………………4 List of Tables………………………………………………………………………………………………………………………………..6 Aknowledgement…………………………………………………………………………………………………………………………7 Abstract……………………………………………………………………………………………………………………………………….8 1. INTRODUCTION………………………………………………………………………………………………..9 2. LITERATURE REVIEW………………………………………………………………………………………..14 2.1 The concept of Fashion……………………………………………………………………………………………..15 2.1.1 Fashion & Culture…………………………………………………………………………………………16 2.1.2 Evolution from fashion to fast fashion………………………………………………………….17 3. THE CONCEPT OF SUSTAINBILITY ……………………………………………………………………..21 3.1 Sustainable Fashion ………………………………………………………………………………………………….23 3.1.1 Environment…………………………………………………………………………………………………24 3.1.2 Social…………………………………………………………………………………………………………….25 3.1.3 Cultural…………………………………………………………………………………………………………26 3.1.4 Economic………………………………………………………………………………………………………27 3.1.5 Corporate Social Responsibilty………………………………………………………………………28 3.2 Sustainable Fashion Throughout the Supply Chain…………………………………………………….29 3.2.1 Soucring………………………………………………………………………………………………………..32 3.2.2 Producing………………………………………………………………………………………………………33 3.2.3 Customer……………………………………………………………………………………………………….35 3.3 Sustainble Business Strategies .………………………………………………………………………………….37 3.3.1 Reconptualising the Supply Chain………………………………………………………………….39 3.3.2 Supplier Continuity………………………………………………………………………………………..39 3.3.3 Sourcing Management…………………………………………………………………………………..40 3.3.4 Human Capital Management………………………………………………………………………..41 3.3.5 Operations…………………………………………………………………………………………………….41 3.3.6 Measurement………………………………………………………………………………………………..41 4. TRADITIONAL TEXTILE CRAFTS ……………………………………………………………………….…42 4.1 Textile Heritage in Nigeria………………………………………………………………………………………….43 4.1.1 Adire……………………………………………………………………………………………………………..45 4.1.2 Aso-Oke…………………………………………………………………………………………………………52 4.1.3 Akiwete………………………………………………………………………………………………………...55 4.1.4 Hausa Indigo………………………………………………………………………………………………….57 4.2 Textile Heritage in Pakistan……………………………………………………………………………………....59 4.2.1 Dyeing Process…………………………………………………………………………………………..…60 4.2.2 Pakistan Apparel Handicrafts………………………………………………………………………..60 4.2.3 Embroidery……………………………………………………………………………………………………62 4.3 The challenges facing by indigenous textile………………………………………………………………..64 4.4 Opportunities for building Sustainable textile Artisanship………………………………………….65 4.5 Collaborative Partnership between Companies & Artisans…………………………………………67 2 5. RESEARCH QUESTIONS ……………………………………………………………………………………..69 6. METHEDOLOGY…………………………………………………………………………………………………71 6.1 Data Collection…………………………………………………………………………………………………………..73 6.2 Business Cases……………………………………………………………………………………………………………75 6.2.1 EmmyKasbit…………………………………………………………………………………………………..75 6.2.2 Nkwo……………………………………………………………………………………………………………..78 6.2.3 Mazeelle………………………………………………………………………………………………………..80 6.2.4 BaniThani………………………………………………………………………………………………………82 6.2.5 Mir Shawl House……………………………………………………………………………………………84 6.3 Survey with Individuals……………………………………………………………………………………………..85 7. FINDINGS & ANALYSIS……………………………………………………………………………………….92 7.1 Research Question 1…………………………………………………………………………………………………..93 7.2 Research Question 2…………………………………………………………………………………………………105 8. CONCLUSION…………………………………………………………………………………………………..108 8.1 Limitations & Future Research………………………………………………………………………………….110 8.2 Managerial Implications……………………………………………………………………………………………111 8.3 Theoratical Implications……………………………………………………………………………………………112 9. Reference & Appendix…………………………………………………………………………………….114 3 List of Figures: Figure 1: Growth of clothing sales and decline in clothing utilization since 2000. Source: (Ellen MacArthur Foundation, 2017)………………………………………………………………………………….17 Figure 2: Triple Bottom Line. Source: Elkington (1997)……………………………………………………….22 Figure 3: Emission reduction goals by action. Source: Quantis, 2018………………………………….25 Figure 4: A depiction of the four pillars of sustainability. Source: Leiff et al., 2017……………28 Figure 5: Example of a Supply chain with its many actors. Source: Mentzer et al. (2001)……30 Figure 6: Map of the Key processes, inputs and outputs in the textile production chain. Source: Fletcher (2008)………………………………………………………………………………………………………31 Figure 7: SCP cycle. Source: UNEP (2015)…………………………………………………………………………..38 Figure 8: Adire Oniko. Source: Victoria and Albert Museum……………………………………………….46 Figure 9: Adire eleko. Source: adireafricantextiles.com……………………………………………………..47 Figure 10: Adire Alabere. Source: Victoria and Albert Museum………………………………………….47 Figure 11: Some Adire motifs and their meanings. Source: Areo and Kalilu (2013)……………..49 Figure 12: Mapo Hall with four spoons. Source: National Museum of Africa Art, Smithsonian Institution…………………………………………………………………………………………………………………………50 Figure 13: Ibadan dun. Source: National Museum of Africa Art, Smithsonian Institution….50 Figure 14: Olokun. Source: The Metropolitan Museum of Art…………………………………………..51 Figure 15: Sun Bebe Source: National Museum of African Art, Smithsonian Institution……51 Figure 16: Commemorative fabric for King George V and Queen Mary. Source: National Museum of African Art, Smithsonian Institution………………………………………………………………..52 Figure 17: Onikomu. Source: adireafricantextiles.com……………………………………………………….52 Figure 18: Aso-Oke Etu. Source: Olutayo and Akanle (2009)……………………………………………….53 Figure 19: Aso-Oke Alaaric. Source: Olutayo and Akanle (2009)………………………………………….54 Figure 20: Aso-Oke Sayan. Source: Mckinney and Eicher (2015)…………………………………………54 4 Figure 21: Aso-Oke openwork. Source: Adire African Trextile…………………………………………….55 Figure 22: Akwete fabric Source: Bellafricana (2019)…………………………………………………………57 Figure 23: Akwete weaver. Source: https://www.bolakoka.com/akwete/ (2019)………………57 Figure 24: A dyer dyeing a fabric. Source: Cara (2019)………………………………………………………58 Figure 25: Dye pits.Source: Katibi and Enaholo (2018)……………………………………………………….58 Figure 26: Circular patterned cotton design and Royal patterned raffia fabric. Source: Katib and Enaholo (2018)……………………………………………………………………………………………………………59 Figure 27: AJRAK .Source : P007Ajrakh (n.d.)……………………………………………………………………..60 Figure 28: kalash raw material and fabric preparation. Source : Goyal and Khan (n.d.)……..61 Figure 29: Ralli Quilt. Source: Ali (2019)……………………………………………………………………………61 Figure 30: Baluchi embroidery. Source: Ibrahim (2016)………………………………………………………62 Figure 31: Sindhi cap. Source: Husain (2014)………………………………………………………………………62 Figure 32: Phulkari embroidery. Source: Rond (2010)…………………………………………………………63 Figure 33: Chikan Embroidey. Source: Embroidery Viet (no date)……………………………………….63 Figure 34: Different patterns of Kashmiri Embroidery (Needle, Silver Gold, and Crewel Source: BestofKashmir.com (2020)…………………………………………………………………………………….63 Figure 35: Zari Embroidery. Source Utsavpedia (2016)……………………………………………………….64 Figure 36: Collaboration process proposed by Feng-Wu Tung. Source: Tung (2012)…………..67 Figure 37: Akwete pattern in Custom Ss19 by EmmyKasbit………………………………………………..75 Figure 38: Pagolin Coat by Nkwo………………………………………………………………………………………..78 Figure 39: IRAPADA Collection by Mazelle…………………………………………………………………………..80 Figure 40: Ajrak Trouser by BaniThani………………………………………………………………………………….82 Figure 41: Wool shawls by Mir Shawl House………………………………………………………………………..84 Figure 42: Awareness of the environmental and ethical impact of the textile and fashion industry (By authors)………………………………………………………………………………………………………….86 Figure 43: Attributes important when buying an apparel (By authors)……………………………….88 Figure 44: New clothes purchase (By authors)……………………………………………………………………89 Figure 45:Purchase of clothes made by traditional craftsmanship( By authors)………………….90 Figure 46: Percent of wardrobe use (By authors)……………………………………………………………….91 5 Figure 47: Discard of clothes no longer in use (By authors)…………………………………………………91 Figure 48: The four pillars of sustainability, with the right diagram showing cultural embedded in the other pillars of sustainability…………………………………………………………………..94 List of Tables 1. Key of Bundles of SSCM practices. Source ……………………………………………………………..39 2. summary of classification Adire motifs into natural and man-made sources.…………49 3. import of dyes and pigments in Pakistan…………………………………….…………………………60 4. import of organic chemicals in Pakistan....................................................................60 6 Aknowledgement We wish to express our gratitude to our supervisor Prof. Alessandro Brun, who has provided us with advice, and feedback and critique. His fertile academic thoughts have guided us through this thesis research and have enhanced our research and project development capabilities. We would also like to thank the focal companies, who have supported us with their experience and knowledge, for their openness and kindness as well as being a part of a movement that strives to make our world a better place to live. Also, our gratitude to all the individuals you’ve spent time filling out the survey providing insights and contributions. Lastly, we would like to thank our family and friends for their constant love, support, prayers, and encouragement. 7 Abstract Globalization and technological advancements