Since my last update I have attended a workshop in London, and taken part in the final webinar, Stress Testing the NICE Consumer Framework on Sustainable Consumption of Fashion. At this event there were presentations from Puma, Levi Strauss & Co., Futerra, and Vanessa Friedman from the Financial Times. The session also included a summary of the progress midway through the consultation process. Cody Sisco [BSR] spoke about the major priorities raised by participants and other important areas including supply chain transparency, and the need for increased education, understanding and collaboration. For design students out there, he also mentioned the important role designers can play in moving things forward! A full recording of the webinar is available to download at BSR.

The Copenhagen Fashion Summit

The Copenhagen Fashion Summit starts today and promises to be an exciting event, which will bring together around 900 stakeholders to discuss sustainability and CSR in the fashion industry. Organisers have been keen to include young people in these discussions and a number of student representatives from around Europe will gather today for a Youth Summit, and present the results of their discussions at the main event tomorrow. The Summit will also launch an industry specific code of conduct, a joint initiative by the UN Global Compact and NICE.

“As an industry facing serious and widely publicized social and environmental challenges, the fashion and textile industry is uniquely positioned to launch a sectoral initiative under the umbrella of the UN Global Compact.”

George Kell, Executive Director of the UN Global Compact

If you can’t get to Copenhagen but want to keep up with the event then I know that @katetfletcher and the @NICEconsumer have already been tweeting live from the summit!

Further reading//

Press release: United Nations Global Compact joins forces with the fashion industry to launch first sector specific initiative

BSR: NICE Consumer Project Summary

BSR: NICE Consumer Research Summary

Giordano Capuano -Vivienne Westwood- presented the model of ethical production behind Westwood’s Ethical Africa collection. The project began as part of an initiative of the International Trade Centre, which aimed to link luxury brands in the West to producers in communities where poverty is high. The exciting thing about this project (and others like it), is the long term ambition which involves, empowerment through meaningful work and training, and sharing skills that will help to achieve sustained trade opportunities in global markets. Whilst this example demonstrates positive production and sourcing, it is not a solution to ethical production that could be replicated in all sectors of the fashion industry today.

Next up Henrik Lampa (H&M) talked about how H&M is actively seeking to improve its supply chain through a more sustainable fabric sourcing policy, guided by research from Made By. Conventional cotton production has a negative effect on the environment and can also be damaging to people the land they rely on through the heavy use of pesticides and water; working towards ‘better’ cotton is a step in the right direction, and H&Ms efforts here will hopefully prompt other companies to follow suit!

[For insight into the limitations of current LCA models and benchmarks, check out Pulling Wool over our Eyes: The Dirty Business of LCAs, by Tone Skårdal Tobiasson, Editor at www.nicefashion.org, and Kjersti Kviseth, Partner 2025design.]

Of course we also know that fast fashion is problematic in relation to the volume of disposable goods produced, and the production speed that is necessary to be competitive. These factors can translate into difficulties for suppliers and negative conditions for production workers; however it is hard to see how improvements here can be made from within individual companies when this would compromise their competitiveness in their market sector. Perhaps tackling this problem requires a multi-brand approach that will give all companies a level playing field whilst improving conditions for garment workers?

The next presentation by Mo Tomaney of Central Saint Martins, focused on design-led responses to sustainable consumption. Mo inspired us with these case studies from the design world, Junky styling, From Somewhere and Gary Harvey. Finally she introduced the student program Reclaim to Wear, which aims to prompt the next generation of designers’ to think sustainably. As a student designer myself this is of real interest to me, and I believe design could be involved at every level of sustainable consumption in diverse and exciting ways. Design can also act as a valuable conduit between seemingly conflicting needs, such as the desire for rapid change and the need to reduce waste.

Aptly, the last speaker Ellen van den Adel, talked about post-consumer textile waste. Discussing how the consumer benefits emotionally from the knowledge that their waste will be reused, and how consumers understand the message about recycling and many do recycle or want to. However the viability of the textile recycling industry is threatened by a number of factors which are likely to become more influential into the future. In response to this Work in Progress have collaborated with Textile 4 Textile to develop an automatic sorting machine capable of sorting textiles by colour and fibre type; this sort of technological advancement may help protect the used textile trade. Education and dialogue between companies, designers and textile recyclers could also help to improve the end of life opportunities for our clothing.

The seminar inspired a level of optimism about what is already happening to improve the sustainability of the products we consume, at the same time an approach to disposable ‘fast fashion’ remains unclear. This is the most complex of topics as it is inseparable from broader themes such as our economic structure, competition, and many social and cultural factors (for example the speed at which information travels today is related to the rapidity of trend cycles), all of which go far beyond fashion itself.

Listen to the entire webinar and view the presentations here.

The event began with an introduction by Jonas Eder-Hansen of the Danish Fashion Institute followed by an overview of the research (thus far) by Cody Sisco from BIS. Both speakers highlighted  the infancy of this project and clearly set out the aims, objectives and limitations of this work….the road to sustainable consumption will be a long one, beginning with an attempt to define sustainable consumption and the NICE consumer.

The next speaker- Ian Morris, Head of Technical Services, Marks & Spencer plc.- described an on-going collaboration between M&S and Oxfam, which rewards consumers who donate their old clothes to charity. This project is an illustration of how a company has acted to positively influence consumer behaviour; in this case conscientious disposal, one strand of sustainable consumption. Part of the NICE consumer project involves analysing examples like this, which will help to inform the debate and the final framework.

Another feature of this project is its inclusive and open approach, making use of new technology and social media to extend the reach of discussions and inform a wider selection of society. As part of this, the webinar series gave attendees the opportunity to vote in online polling and ask questions directly to the speaker. This information is included in a recording of webinar which is already freely available to download. Opinion and feedback on the content of this webinar and the questions posed are encouraged and are easy to access through Twitter (@niceconsumer) and Facebook.

This event has given me an insightful introduction into the emerging conversation on the sustainable consumption of fashion. I am looking forward to the next event on Tuesday -The state of the Art in sustainable consumption- when the speakers will include H&M, TED (Textiles Environment Design) and Vivian Westwood.

Additional Resources //

Cody Sisco [blog]  The Journey to Sustainable Fashion  Consumption Has Begun

The Fair Wear Foundation (FWF) has recently produced a short film which presents a clear summary of what they do, how they do it, and the reasons why. The organisation works towards fair labour conditions for garment workers. To define this they identify eight labour standards based upon the UN human rights principles. These objectives include maintaining a living wage, an end to child labour and the right for workers to form or join a union. The FWF supports brands in achieving these aims in an open manner and provides consumers with the information they need to shop ethically.

The position of the FWF is one of rational and constructive action, working in collaboration with many stakeholders to implement and monitor clear strategies for improvement. Brands who sign up may find they have work to do, but by signing up they are showing a genuine commitment to change. This is in contrast to the reactionary cut and run approach that is sometimes taken in response to exposure for labour rights abuses which can be more damaging to the workforce and does not help to address the long term issues.

When doing some customer research last year, I found that a lack of transparency in garment supply chains hampers efforts for change. I was told by many people that they didn’t have the information they needed to make ethical purchases. There was also a lot of confusion about what to believe, for example, when a brand’s ethical policy did not seem to reflect the reports in the news. The FWF provides consumers with a verification of labour conditions, however in the UK, there are still only a handful of brands signed up. This leads to another opinion repeatedly expressed to me: the lack of choice for ethical shoppers. If we as consumers want transparency and choice in the purchases we make, then maybe we should be the ones asking brands demonstrate their commitment to ethically produced fashion. One way may be to sign up for the FWF code.

Source: Fair Wear Foundation

New Resources for tutors and students!

What will the fashion industry be like in 2025? How might the role of the designer or consumer change? And what can we do now to shape our future?

Thinking about the future can be daunting because we are bound by what we know and what we have experienced, but it can also help us to see things from another perspective; to inspire debate and innovation. In response to this, Fashion Futures has designed four scenarios that help us to picture the future beyond our existing knowledge of the fashion industry. Each scenario is presented through a range of materials that are creative and thought provoking. Although the project has been available since 2010, a new set of educational resources has recently been added to support the use of these scenarios at the university level.

In my experience, sustainability can be off-putting to some tutors and students, especially when the issues appear to demonise fashion or where there is a negative focus. For others who are already engaged with these issues, social and environmental concerns can sometimes lead us to question why we are in fashion at all. This project opens up the sustainability debate by presenting it in a broader context, challenging preconceptions, and exploring opportunities. A highlight of this program is that it introduces ‘design thinking’ to a fashion audience. Design thinking involves taking a human centred, collaborative approach to complex design problems. Its methods include user-centred research, brainstorming and prototyping. With this practical framework, students are guided through a thinking process that addresses these ‘big’ issues in a positive and empowering way.

Fashion Futures 2025, is a good introduction to a wider debate on how we can redefine the fashion industry to better suit the needs of both people and planet. Information about this project, including the new materials for tutors and students, can be found on the Fashion Futures website.

Stay tuned for more on this project, as SA will be featuring this Forum for the Future resource in the SA Google Earth Module which will be released later this year.

Other Resources //

Ted Talk [video] Tim brown urges designers to think big

Design thinking for social innovation By Tim Brown & Jocelyn Wyatt

Click here to read up on the research methodology used.

With green marking ‘garments’ let’s check out a tree map of Cambodia for exports in 2009 (click on the image to be taken to the interactive map):

Visualizations can also be built in stacked area charts and product space visualizations. Here’s a product space map of Hong Kong exports for 2009 (remember, green represents garments!):

Silk textile with gilt thread embroidery, 16th Century. Arthur M. Sackler Gallery, © The New York Times, Dec. 5, 2005.

The Freer Gallery of Art and the Arthur M. Sackler Gallery at the Smithsonian Museum of Asian Art have created an online exhibit that features highlights from their 2005 exhibit entitled Style and Status: Imperial Costumes from Ottoman Turkey. The online exhibit is beautifully curated with interactive close ups of the costumes that are so detailed you can actually see the fabric grain. What’s so special about the Ottoman Empire? According to the press release in 2005:

“Three weaves were dominant: velvet (kadife), featuring a three-dimensional surface with some areas of pile and some of metal thread; brocade (kemha) and cloths of gold and silver thread (seraser)—the most expensive and luxurious. In the mid-16th century, Ottoman taste increasingly favored large, bold designs, such as medallions, stylized tiger stripes, and a triplespot design known as “çintamani” (literally, “auspicious jewel”). By repeatedly combining the similar motifs in different scales and patterns, the Ottomans were among the first to use recurrent motifs to create a dramatic and distinct visual language—a quintessentially “Ottoman brand”—that became identifiable with the empire’s centralized political strength and growing economic power—its style and status.”

If you are an educator and would like to incorporate this amazing online resource into your lessons, you can get some ideas from the resource for educators with a 4-part classroom activity that accompanies the exhibit.

Now…go explore!

Online exhibit: Style and Status: Imperial Costumes from Ottoman Turkey

Other online exhibits: The Freer Gallery of Art and the Arthur M. Sackler Gallery at the Smithsonian Museum of Asian Art

Educator’s resource: Asian Art Connections: A Resource for Educators. Style and Status: Imperial Costumes from Ottoman Turkey

Anti-Slavery International has recently relaunched their Cotton Crimes campaign with a new video.

“It is our hope that, through our short video, we will reach out, inform and encourage people to act in the interests of the children of Uzbekistan.” (Samuel Cooper, Anti-Slavery International)

Anti-Slavery International is calling on the European Parliament to remove preferential trade tariffs with Uzbekistan. Click here for more information and to sign the petition.

Over 60 international retailers have joined forces to boycott Uzbek cotton, publicly stating their commitment to the eradication of forced child labour through the Responsible Sourcing Network, an As You Sow initiative.

Click below to learn more about what’s happening inUzbekistanand to follow our ongoing coverage:

LEARN // Social Alterations / A Closer Look / Uzbekistan

On November 10^th, the Centre for Sustainable Fashion (CSF), at London College of Fashion, announced the winners of this year’s Fashioning the Future Awards — themed UNIQUE.

Congratulations to Ashley Brock (United States), Sara Emilie Terp Hansen (Denmark), Evelyn Lebis (Sweden), Christian Frank Muller (Germany) Alice Payne (Australia), and Lara Torres (Portugal).

Here is a taste of just two of the award winning entries (now added to the ‘Projects for Change’ collection on the left):

“Man sinking to the floor” from “An impossible wardrobe for the invisible,” by Lara Torres, is “a video installation showcasing water soluble clothing in order to comment upon the transient and disposable nature of fashion.” (CSF) Click here to view the entire series of performances.

“Lara Torres present’s the recordings/documentation of seven performances in a video screening. These videos are based in the creation of temporary clothes that are produced with the aim of being destroyed. They refer to the los[s] of the object and the documentation of this loss. The action of effacing the clothes leaves a trace (the seams) translating a strong relation with memory and forgetfulness.” (Lara Torres, An impossible wardrobe for the invisible: vimeo)

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ThinkLifecycle, by Alice Payne, is “a widely applicable content management system joining new and existing industry practices in order for companies to evolve towards a sustainable fashion industry.” (CSF)

“The ThinkLifecycle CMS grew from the need for sustainability to be a central concern within the mass market design process, rather than a tacked-on extra. Mass market fashion is affordable, accessible and democratic. However, it is based on a linear model of production where resources are extracted en masse, manufactured into garments and then sold to consumers, who rapidly dispose of them to purchase new product.” (ThinkLifecycle)

 

Congratulations to all the winners, finalists, organizers and participants!

Source: the CSF

Photo Credit: Alex Maguire, via the CSF

Labour Behind the Label has released a new report, Let’s Clean up Fashion 2011: The state of pay behind the UK high street (LCUF).

With respect to a living wage on the high street, this is the 5^th edition in a series of LCUF reports from LBL.

The findings have ranked Levi Strauss and Gap Inc. with a score of 1 out of 5 (along side H&M, and others), while Zara, Monson and NEXT were found with the highest scores at 3.5 out of 5.

According to LBL, initiatives taking living wage seriously must be grounded by four essential pillars:

1. Taking a collaborative approach
2. Worker organizing and freedom of association
3. Examining commercial factors paying the cost
4. Rolling it out: developing a route-map for sustaining a living wage

“The fact is that workers do speak out to demand better wages. At best they are often ignored; at worst they are persecuted, threatened, dismissed or harassed. Companies must do more to ensure respect for trade union rights in the quest to provide a living wage for garment workers.” (Labour Behind the Label, Let’s Clean Up Fashion 2011: Pg. 1)

Readers who have followed LBL’s LCUF reports in the past will likely be surprised to see Gap Inc. with such a low score, considering the company received one of the highest grades in the 2009 report. According to LBL:

“Gap plans to work on developing good management and human resource systems with suppliers, which are needed. However, Gap supplied no evidence of plans to translate this work into real wage gains for workers. More worryingly, it states its intention to focus mainly on the achievement of compliance with minimum wages. This shift seems to suggest Gap has given up any plans to work towards providing living wages to workers in its supply chain altogether. We hope this isn’t the case.” (Labour Behind the Label, Let’s Clean Up Fashion 2011: Pg. 28)

LBL has created on online petition calling on Gap and H&M to do more. Click here to take action.

For readers on twitter who’d like to spread the word, here are some suggested tweets via LBL:

• Which highstreet brands are doing most to improve pay & conditions for workers? Find out from Let’s Clean up Fashion: http://bit.ly/lcuf2011

• Who’s ethical on the highstreet?  Find out in the NEW edition of Let’s Clean up Fashion: http://bit.ly/lcuf2011 @labourlabel

• Enough to feed your family – too much to ask? Gap & H&M seem to think so. Take action to ask them to reconsider: http://bit.ly/r3zw2O

Click here for company profiles and scores, and here for advice from LBL on where to shop.