Sustainable Fashion Research Papers - Academia.edu (original) (raw)

This research essay examines the target audience’s profile and preferences for the development of the garment brand Gaia & Dubos, which creates and produces ecological and ethical high-end garments for women in the province of Quebec, and explores the best environmental and ethical practice to establish a sustainable fashion enterprise. The research methods for this project combine a literature review, an online survey and four individual interviews with the target audience in an attempt to answer the research questions: (1) Who is the target audience (demographics, values, lifestyle and habits)? (2) What are the target audience’s preferences when it comes to ecological and ethical clothing? (3) What is the best environmental and ethical practice for a clothing brand?

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- Entrepreneurship, Fashion design, Social Entrepreneurship, Ecological Design

As Australian consumers step out of their loungewear post-lockdown, many might be looking to buy new clothes for themselves or as gifts. Whether you re buying sweatpants or sequins, online or in-store, ethical fashion shopping can be confusing. There are so many terms, certifications, and accreditation systems-not to mention the marketing spin and corporate greenwashing-to navigate. Our recent research examined the impact modern slavery laws have had on consumer awareness about ethical fashion, as part of a larger project on modern slavery. We surveyed over a hundred participants, conducting additional interviews with 22 of them via Zoom during July and August 2020. They told us that although they felt well informed about the broader issues, they struggled with knowing what was truly ethical or sustainable at the point of purchasing an item.

- by Harriette Richards
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- Business Ethics, Ethics, Corporate Social Responsibility, Ethical Consumption

The Textile Toolbox: New Design Thinking, Materials & Processes for Sustainable Fashion Textiles reviews the design research conducted between June 2011 and May 2015 by a team of University of the Arts London (UAL) textile researchers, led by Professor Rebecca Earley, who are part of the Swedish funded multi-disciplinary Mistra Future Fashion (MFF) consortium. The objective of the consortium is to research opportunities to advance a more sustainable and competitive fashion industry.

- by Kay Politowicz
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- Engineering, Design Research, Textile Design, Practice Based Research

L’articolo nasce dall’esperienza di fashion designer e insegnate dell’autrice e fa il punto sull’applicazione dei principi dello sviluppo sostenibile nell’ambito della Moda, ma non manca di individuare ragioni e difficoltà dell’affermarsi delle teorie della sostenibilità. Il lavoro indica i protagonisti del cambiamento e rimarca il ruolo centrale di educazione e formazione; rileva la particolare affinità delle discipline artistiche e del design con le ragioni dell’Etica dello sviluppo, in quanto strutturalmente legate al lavoro umano sia nella fase progettuale che realizzativa. Sono poi indicati principi e metodi di movimenti e fenomeni, in cui si articola il mondo della Moda sostenibile particolarmente critici nei confronti del “fast fashion”, cioè di quel sistema che realizza continuamente abiti di bassa qualità e a basso prezzo, espressione tipica del modello consumistico che spreca risorse naturali ed energetiche, produce inquinamento e rifiuti, sfrutta il lavoro, quindi non si cura né degli aspetti ecologici né di quelli etici della produzione e commercializzazione.

This bilingual book gives a thorough analysis of the contemporary three main CSR application areas in fashion industry. It explores the main CSR policy challenges, including issues that regard human rights, animal welfare and environment protection. The content of this publication shall be helpful both for academics, buisnessmen and also for sustainability- oriented consumers.

- by Magdalena Płonka
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- Human Rights, Sustainable Design, Fashion and Fashion Industry, Animal Rights
- by anika kozlowski
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- Engineering, Environmental Engineering, Cleaner Production, Design Methods

“Nobody thinks of the harm done to the environment and the number of animals that are slaughtered in the process. It’s high time that eco-friendly substitute for leather is introduced to the market,” said product designer Susmith Suseelan of brand Malai.
Leather is one of most important part of the Fashion industry as it’s used to make a variety of articles, including footwear, automobile seats, clothing, bags, book bindings, fashion accessories, and furniture. Leather is a global industry with multi - billion dollars. The demand for leather goods is growing - but the critique of its severe environmental impact, which drives a strong interest in sustainable alternatives, is also increasing.
Keywords: Leather, sustainable leather, eco leather

Abstract In light of the ongoing public controversy surrounding fashion sustainability, this paper sets out to identify misalignments that relate to the definitions of sustainable fashion. It does so by examining the discourse of different agents in this polylogical argumentation - fashion companies and the European Parliament as well as citizens, small brands and NGOs - as revealed through documents and tweets published online. Our findings show misalignments in the opening stage of the argumentative discussion at the level of explicit and implicit definitions of sustainability as well as in how the agents responsible are discursively portrayed. We argue that the existence of these misalignments may explain the ongoing controversy surrounding sustainable fashion: the different actors do not share univocal starting points and representations of this phenomenon. Methodologically, this paper also advances research on argumentative polylogues, by demonstrating a method for comparing argumentation by different actors using different data sources.

- by Sara Greco
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- Discourse Analysis, Cognitive Science, Philosophy, Pragmatics

Sustainability is a central challenge of the fashion industry. In an era where Internet and social networks allow information to spread quickly, more consumers are familiar with the call for “ethical fashion” as disasters such as Rana Plaza resound worldwide. However, consumers interested in buying “ethical” clothing could have a hard time orienting themselves amongst the abundance of brands claiming to be ethical on the market. Consumers might make purchasing decisions based on their knowledge of a brand. In this context, it is imaginable that corporate social responsibility (CSR) communications, including codes of ethics, could constitute one way a consumer can learn more about a company’s values. These codes may serve a variety of purposes—they are undoubtedly one of the ways a brand communicates its commitment to ethical principles. Indeed, by analyzing the codes of ethics of some of the industry’s well-known brands, it is evident that they primarily focus on employment and work...

- by Laws MDPI
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- Ethics, Fashion Theory, Ethical Consumption, Legal Ethics
- by Sanem Odabasi
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- Environmental Sustainability, Fashion Studies, Sustainable Fashion, Upcycling

This chapter proposes a normative sustainable business model composed of the elements in which a fashion brand would engage. These elements include product sustainability, sustainable supply-chain management, design practice, business innovation, and consumer engagement. The model adopts a systems thinking approach in identifying elements within the fashion system and their organization. Typically within the field of sustainable fashion, the effort has been on technological modifications within the supply chain. Although these efforts can significantly reduce environmental impacts, the outsourced manufacturers are in control, thus limiting the influence of a fashion brand. The emphasis in the model is on those elements within the direct control of the business, particularly design practice. The holistic approach looks at how the design practice can evolve to increase sustainability within the supply chain, the product, innovative business models, and consumer consumption. By shiftin...

- by Alessandra Vaccari
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- Critical Theory, Design, Sustainable Fashion

In light of the ongoing public controversy surrounding fashion sustainability, this paper sets out to identify misalignments that relate to the definitions of sustainable fashion. It does so by examining the discourse of different agents in this polylogical argumentationfashion companies and the European Parliament as well as citizens, small brands and NGOs-as revealed through documents and tweets published online. Our findings show misalignments in the opening stage of the argumentative discussion at the level of explicit and implicit definitions of sustainability as well as in how the agents responsible are discursively portrayed. We argue that the existence of these misalignments may explain the ongoing controversy surrounding sustainable fashion: the different actors do not share univocal starting points and representations of this phenomenon. Methodologically, this paper also advances research on argumentative polylogues, by demonstrating a method for comparing argumentation by different actors using different data sources.

- by Sara Greco and +1
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- Discourse Analysis, Argumentation, Social Media, Twitter

For fashion, which is connected so intimately to our bodies, senses, emotions, and memories, value is more than a matter of cost. In order to illustrate the true value of fashion ‘radical transparency’ is framed as a tool through which brands can counter supply chain opacity and tell stories about the production of their garments. However, models of transparency often conceal more than they reveal. This article unpacks the concept of ‘radical transparency’ by exploring the differing approaches taken by three fashion brands: two large international brands and one boutique Australian label. It asks: how might radical transparency contribute to rethinking fashion value? By critically analysing the capacity for fashion businesses to communicate complex details of their supply chains to consumers who may suggest they want such information yet are also frequently overwhelmed by it, this article demonstrates the potential as well as the limits of transparency. It argues that while the degree to which models of transparency are ‘radical’ varies significantly, such methods of disclosure nevertheless introduce an important sense of openness to an industry otherwise defined by dislocated and difficult to trace modes of production.

- by Harriette Richards
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- Cultural Studies, Fashion Theory, Ethical Fashion, Transparency

We explore entrepreneurship in the slow fashion industry at a time of significant restructuring in the global fashion industry. Drawing on a case study of self-employed designers in the slow fashion industry in Geneva (Switzerland), Rotterdam (The Netherlands) and Toronto (Canada), we argue that small, slow fashion businesses, through their innovative design, branding and retail practices, have carved out a unique niche in the hyper competitive fashion marketplace. In particular, we demonstrate that they have a very innovative approach to sustainability, characterized by an interest toward the use of salvage materials, the revalorization of craftsmanship, as well as a tendency for handmade productions. Driven by personal beliefs and values, these designers seem to wish to reconcile personal fulfillment with professional achievement as they seek to compete with the paradigm of fast fashion that continues to dominate the fashion industry. This paper contributes to our understanding of the entrepreneurial practices of emerging designers, in particular in the slow fashion industry. It also contributes to the emerging studies in fashion and design-oriented industries that consider the value craftsmanship and the wish to “stay local”, predicting a rise or return of the makers and small-scale manufacturing in contemporary cities.

- by Mariangela Lavanga and +1
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- Entrepreneurship, Slow Fashion, Value Creation, Sustainable Fashion

The fashion industry, which is recognized as the second most polluting industry, is a network of numerous partners that makes implementing a truly circular or sustainable fashion supply chain or value chain very impossible. Fashion buying in this Internet era has become easy and also feels like essential as style and fashion are shaking hands with emergence every individual is a designer and fashion influencer Instagram is live example. Fashion begins with design, and there are few environmentally friendly designers or conscious fashion options, even among consumers, who are enamored of quick fashion, making it more difficult for manufacturers to transition to circular or sustainable fashion. The consumer apparel buying and disposal behavior would be the next option to streamline the whole Industry as the Fashion Industry runs on trends and also fads. The government must shift its thinking and embrace circular fashion as a social development initiative which can in return protect the environment. As a result, the focus of this analysis is on circular fashion and how it contributes to understand the importance of organizing the second biggest employer and polluter industry. This study will be useful to scholars, students, and entrepreneurs who are interested in the circular economy and green manufacturing or initiatives. Overall, the research will improve our understanding and, perhaps, motivate us to buy more sustainable fashion goods to decrease overconsumption and harmful environmental consequences.

ABSTRACT
Fashion has changed and developed over a long time. But ‘fashion’ brought many problems with it, as it began to be called ‘fast fashion’ after the Industrial Revolution. Fast fashion is a production cycle that lives on depending on consumption. But reasons such as constant consumption, heavy working conditions, and resource consumption have caused problems both for the world and on people. “Sustainable fashion” has become important because the problems caused by fast fashion need to be solved. Sustainable fashion is a production method that offers solutions to emerging problems. In this study, the historical process of fashion evolving towards fast fashion was examined and the problems caused by fast fashion and fast fashion were examined. Sustainable fashion matters are addressed. A literature review has been conducted on the effects of designer roles in fast fashion and sustainable
fashion and the importance of these roles in terms of sustainability. As a result, in sustainable fashion, the designer mentioned what to consider in order to ensure sustainability in fashion.
Keywords:

- by Tülay Ateş
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- Sustainable Fashion, Designer Roles, Fast Fashion, Sustainability

With the utterly linear way of production, distribution, and consumption, today’s fashion industry has become the second most polluting industry globally. During the conventional garment production process, considerable offcuts waste has been generated, which has led to a detrimental impact on the environment. How to minimize fabric waste during the design process has become an urgent requirement for fashion designers. Fashion practitioners have proposed plenty of sustainable examples; however, how to bring these practices into classroom teaching and create an unfettered environment for fashion design students to develop their own solutions is still a domain to be explored. Many practitioners and researchers have already addressed the necessity to evoke an alternative teaching and learning approach in sustainable fashion design education. In this article, the author set out her cross-cultural experience of conducting a fashion design workshop adopting the studio-based approach. By outlining the holistic teaching and learning process, proposing testing questions and critical reflections around pedagogy, activities, and projects, the author wishes to provide a reflective educational example on educating future designers as agents of in-depth change to contribute to the sustainable fashion industry.

This paper aims to investigate the variety of social responsibility that global fashion companies take for child labour in their supply chains. Through this, buying attitudes and practices have been discussed with regards to the effects they have on child labour. The research is based on theoretical framework that was used to analyse the improvements that companies need to make to their supply chain to prevent ethical issues. Secondary research was conducted in order to provide thorough analysis of the existing theoretical knowledge; themes were drawn from this and then used as a framework for questions asked during primary research interviews with four industry professionals. Findings highlight the differences between theory and practical implications in the fashion industry and the current approaches that buyers are using to control ethical misconducts of their suppliers. Due to the limitations of the research, no practical implications have been made, however contribution to the research topic is highlighted in original findings of social responsibility in fashion industry with specifics to the child labour phenomenon.

Many of the existing tools for design in a sustainable fashion context are too complex, overly conceptual, require experts to apply, have a high cost, were created for large corporations, or fall short in holistically supporting sustainable fashion design entrepreneurial practices. Micro-sized enterprises represent a significant portion of the fashion industry and can meaningfully contribute to the transition to a more sustainable apparel and textile industry. This paper addresses this gap through the development of an original design tool, the reDesign canvas, to support design entrepreneurs in developing sustainable fashion enterprises. Informed by design thinking and systems thinking, the canvas was developed based on an in-depth review of the academic literature and the collection of qualitative data. Qualitative data were gathered through both participatory action research (PAR) and interviews with 38 sustainable fashion design entrepreneurs and experts in sustainable fashion. Both the PAR and the interviews were used to test and refine the reDesign canvas in order to ensure it meets the needs of sustainable design entrepreneurs operating micro-sized companies. The final version of the canvas is based on 12 building blocks that a design entrepreneur would encounter in building a sustainable fashion brand. The reDesign canvas can help advance both the theory and practice of sustainable fashion design.

- by anika kozlowski
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- Design Methods, Sustainable Design, Design Tools, Sustainable Fashion

3D printing technology, also known as additive manufacturing, is appearing at an amazing rate. It enables the creation of many products in design. This study focused on how 3D printing technology has developed, how it has been adapted from industry, and how it is applied in different areas. In the meantime, it also illustrated how this technology is used in fashion to engage creatively and the exciting potential values inspiring and extending fashion designers’ range of work. Nowadays many 3D printing manufacturers are dedicated to developing environmentally friendly products along with more sustainable strategies. It is shown how developers are keen to create with less waste, minimised and ethically manufacturing processes as well as recycling reusable, new eco-friendly materials

- by Hye-Won Lim and +1
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- Sustainable Development, 3D printing, Sustainable Fashion

Cortical activity was assessed in fashion-luxury addicted consumers with a different sustainability orientation, in order to obtain insight on implicit dynamic towards eco-luxury products. Findings highlighted a strong emotional negative impact elicited by sustainability pictures implying a high engagement in luxury consumers when exposed to specific sensitive issues.

- by Annalisa Galeone
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- Neuroscience, Sustainable Fashion, EEG Signal Analysis

Sanayileşme, teknoloji ve hızlı moda kavramı ile birlikte artan tekstil üretim sürecinde ve tüketim sonrasında pek çok atık ortaya çıkmaktadır. Sürdürülebilirlik kapsamında bu atıkların imha edilmesi ile ilgili çalışmalar yapılmaktadır. Bazı çalışmalar; tüketici öncesinde yani üretimde oluşan atığın azaltılması yönündedir. Bir giysi oluşturmada günümüzde en fazla kullanılan teknik; dikiş ile kumaş parçalarının birleştirilmesidir. En büyük tekstil atığı da bu üretim bandında oluşmaktadır. Güncel pastal serim programlarında bile bu atık ortalama %15 civarındadır ve dünya tekstil endüstrisinde tekstil atıklarının sadece %15’i geri dönüştürülebilmekte, kalan %85’lik kısmı çöplüklere gönderilmektedir. Giysilerin sadece pastal aşamasında değil, parçaların birleştirilmesi esnasında, prototipte, dikiş sonrası giysinin temizlenerek tüketiciye sunulmaya hazır hale getirilmesinde pek çok lif, iplik ve kumaş parçası atık haline gelmektedir. Sürdürülebilirlik kapsamında ‘daha az hammadde atığı’ ile giysi üretmek mümkündür. Bu kapsamda çalışmada; daha az atık kavramına uygun şekilde tasarlanıp üretilen giysi örnekleri verilmiştir. Tüp dokuma tekniği, yuvarlak örme, keçeleştirme gibi teknikler ile kullanılan liflerin özelliklerine bağlı uygulanan bitim işlemleri ile giysilerde farklı formların daha az atık ile oluşturulabildiği görülmüştür. Bu üretim yöntemlerinin yaygınlaşması ile sürdürülebilir tasarım kavramının benimsenmesi hedeflenmektedir. / During the textile production that increased with the industrialization, technology, and concept of fast fashion and after the consumption plenty of wastes are emerging. Within the scope of sustainability, studies are carried out for the destruction of these wastes. Some studies aim at reducing waste in pre-consumer in other words in production stages. At the present time, the most commonly used technique in creating a garment is stitching. The largest textile waste is also come to exist in this production line. This waste is an average of 15% in current garment spreading programmes and only 15% of textile waste can recycle in the world textile industry, 85% sent to the dumps. Many fibers, yarns, and fabric pieces are becoming waste not only during the garment spreading process but also during the assembly of parts, in the prototype, after sewing of garments in making them ready to be presented the consumer. It is possible to produce garments with ‘less raw material waste’. In this study, the garment samples that designed and produced in accordance with the concept of less waste have given. It has been seen that different forms in the garments can be formed with less waste by using different techniques such as tubular weaving, circular knitting, and felting. With the expansion of these production methods, it is aimed to adopt sustainable design concept.

This thesis consists of a series of extensive projects which aim to explore a new designer role for fashion. It is a role that experiments with how fashion can be reverse engineered, hacked, tuned and shared among many participants as a... more

- by Otto von Busch
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- Critical Theory, Parasitology, Sociology of Religion, Political Philosophy

Trabalho de conclusão de curso apresentado em 2014 na Universidade Anhembi Morumbi.

This paper draws on my ongoing PhD research which investigates how the concept of emotional durability can be applied in fashion design and making to enhance user experience of clothing. The paper presents a selection of garments created during the first, exploratory, phase of my project and discusses examples of design interventions that could contribute to increased satisfaction and well-being of users, designers and makers of fashion. It reflects on some of the challenges involved in designing for durability and proposes that these should be seen as opportunities for further research and exploration. Envisioning what currently seems unthinkable is a first step to materializing visions for the future, a task to which designers are well suited as creative problem-solving lies at the core of design thinking.

- by Mila Burcikova
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- User Experience (UX), Emotional design, Sustainable Fashion, Clothing durability

Minimalism is an increasingly popular lifestyle choice that involves reducing the number of possessions owned to a bare minimum of objects that are either pragmatically useful or emotively highly treasured. The various strands of minimalism are multifaceted, with elements including, but not limited to: decluttering and reducing one’s possessions, treasuring experiences rather than material possessions and purchasing with the intent of quality over quantity. The facets of minimalism closely mirror those of ‘voluntary simplifiers’, who can be defined as ‘individuals who have freely chosen a frugal, anti-consumer lifestyle that features low resource use and environmental impact’ (McDonald 2006: 516). Voluntary simplicity is seen to made up of two central facets; attempts to accumulate less possessions (minimal consumption) the de-cluttering of what is already owned (material simplicity) (Johnston and Burton 2003). Through the ‘reduced material consumption and the removal of clutter from one’s life’ (Ballantine and Creery 2010: 45) voluntary simplicity is ultimately based on the premise of having less (material objects) but having more (in non-material terms) (Huneke 2005, McDonald 2006).

Recent years have seen a rise in the number of fashion entrepreneurs who practise sustainable fashion design, including the use of environmentally friendly materials and transparent supply chains. However, mainstream fashion practises... more

- by Lisa Heinze
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- Entrepreneurship, Social Entrepreneurship, Emotional Labour, Sustainable Fashion

Purpose: The purpose of this paper is to explore how fast fashion industry can address the issue of environmental and social sustainability.
Methodology: This included an investigation on the possible approaches for making the industry develop towards a more sustainable way. Therefore, a qualitative exploratory case study on a fast fashion company (H&M) will be conducted. Then, identify different stakeholders’ (suppliers, retailers, customers) perspectives in promoting sustainable fast fashion, interviews with suppliers, designers and customers will be included.
Findings: The findings show that fast fashion firms can develop in a more sustainable way through building an effective SSCM and adopting CSR principles. Interview results suggest that suppliers, fashion designers and fashion customers have a limited knowledge towards the concept sustainability. There is a lack of clear guidelines and monitoring frameworks for the fashion industry in general. An integrated collaboration between different stakeholders both inside and outside the fashion supply chain is essential in achieving the goal of sustainability.

- by Yanjun Li
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- Ethical Fashion, Sustainable Fashion, Fast Fashion Industry

Fashion is widely considered the second most destructive industry to the environment , with a global supply chain employing 58 million people worldwide. During the period of 2000–14, clothing production increased by 50 per cent, as fast-fashion evolved and the luxury sector ascended. Recently, a number of high-profile fashion designers are taking the decision to consciously depart from the constraints of the seasonal fashion calendar, enabling them to reconnect with the creative process, focusing on quality and customer experience. 'With fashion there is too much fear, not enough time, and not enough love' (Elbaz 2017). While sustainable fashion has often been considered a consumer-led movement, which brands have been pressured to act upon, it is important that businesses demonstrate social responsibility through a collaborative approach incorporating design, innovation, technology and communication to successfully create desirable sustainable products

- by Debbie Moorhouse
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- Business Ethics, Design, Fashion design, Brand Management

Palabras claves: marketing sostenible, consumo, moda sostenible, comportami-ento del consumidor. 1. Introducción A lo largo de la historia el concepto de desarrollo sostenible ha ido evolu-cionando adoptando diferentes significados En un comienzo, se le asoció con el bienestar económico y la disminución de la pobreza (Lopez, Lopez & Ancona, 2005). Sin embargo, actualmente este concepto apunta a la mejora de la calidad de vida de las personas. La forma de lograr el desarrollo a futuro es considerando los aspectos eco-nómicos, sociales, ambientales e institucionales (Solano, 2015). En términos or-ganizacionales, como parte de la generación de beneficios o de búsqueda de va-lor, nace el marketing sostenible o sustentable. Esa vertiente del marketing, surge como el medio de satisfacer las necesidades de los consumidores y de los nego-cios, teniendo en consideración que sus acciones sean social y medioambiental-mente responsables, y a la par mejorar la capacidad de generaciones futuras para cubrir sus propias necesidades (Kotler y Armstrong, 2017). En la actualidad, cada vez es más importante que una empresa tenga hábi-tos sostenibles y cambie parte de su filosofía considerando aspectos como bie-nestar social y ambiental. Ante ello, el marketing sostenible cumple con un rol im-portante ya que es una forma en la que la empresa logra comunicar lo que está 3er

After oil, fashion is the second most polluting industry to the environment. The majority of brands design four to six collections each year, with the average collection consisting of around thirty different fabrics. At present, over 100 billion garments are produced annually, with consumers purchasing an estimated 60 percent more clothing items compared to fifteen years ago and keeping them for only half as long. As consumers increasingly desire more sustainable garments, how can the fashion industry fully embrace sustainability? This field case study examines how both new and established fashion designers and brands can incorporate sustainable methods and principles at each stage of the product life cycle. The case study addresses areas including: designing with less waste and more consideration to the environment; sourcing sustainable textiles and ethical production; and providing prompts for creating a sustainable brand identity. Danielle Lara is a luxury fashion brand designing women's ready-to-wear and couture evening wear. Collections sell throughout the UK, Ireland, and internationally. In 2008, the brand was invited to exhibit at London Fashion Week as part of a design collective where they showcased an upcycled collection of one-of-a-kind and limited-edition evening dresses. Their designs were selected for the reuse of luxury fabrics that would otherwise be discarded, a concept that was unusual and quite unique at the time.

- by debbie moorhouse
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- Business Ethics, Design, Fashion design, Corporate Social Responsibility

Many consumers are contented with the fast fashion styles, abundant choices, and affordable price. However, other consumers and environmental advocates began to question about this fast fashion system, including the problems of overconsumption and disposable clothing. As a result, many fashion practitioners and scholars have been developing different strategies and methods to minimise the fabric waste, and prolong the product lifespan through innovative design. The objectives of this study are twofold: (1) to explore various techniques for creating transformable clothing and (2) to gain a deeper understanding of how individuals (entrepreneurs, designers,
professors, and consumers) respond to their perceptions of transformable clothing, and issues of sustainability in China. This study consists of three stages – design experiments, in-depth interviews, and online surveys. In stage one, various design prototypes were developed, with one of them being selected as the visual stimuli for stages two and three. According to our results, many informants and online participants supported the concept of sustainable fashion as well as the idea of transformable garments. However, many professionals had numerous concerns regarding the production cost, practicality, adaptability, and saleability.

- by Osmud Rahman
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- China, Sustainable Fashion, Modular Design, Sustainability