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Slow Fashion: An Invitation for Systems Change
Abstract
In some circles, “fast” has become a proxy for a type of fashion that epitomizes ideas of unsustainability; yet high speed is not in itself a descriptor of unethical and/or environmentally damaging practices but a tool that is used to increase sales and deliver economic growth with attendant ecological and social effects. Questions about speed probe deeply into the economic systems, business models, and value sets that underpin the fashion sector today and which profoundly shape its sustainability potential. In this article, ideas and practices of the lexicographical opposite to “fast,” i.e. slow culture, are framed as an opportunity to begin to engage better with systems-level questions in the fashion sector in order to build deeper and longer-lasting change towards sustainability.
... These features streamlined user routines, simplifying the process of selecting and planning outfits and providing users with a greater sense of control over their wardrobe choices. Meanwhile, features like statistics and resale options empowered users to adopt more eco-conscious behaviours, reflecting the principles of slow fashion and mindful consumption [57]. For instance, cost-per-wear metrics encouraged users to maximise the utility of their garments, while resale functionalities supported circular fashion practices by enabling garment reuse and extending product lifecycles [58]. ...
... WMAs have demonstrated significant potential to influence consumer behaviour, promoting more sustainable fashion practices by encouraging mindful consumption and reducing overconsumption. As Figure 2 shows, through thematic analysis of user reviews (Sub-theme 1.1: Behavioural change toward sustainability and circular fashion, n = 470, 7.8% overall, 45% of theme 1), key behavioural changes were identified, aligning with established sustainability frameworks, such as slow fashion principles [57] and circular fashion practices [58]. ...
Global clothing production and waste continues to increase while garment utilisation is decreasing. Many consumers wear only a fraction of the clothing they own, often forgetting or overlooking items already in their wardrobes. This disconnection from existing garments encourages unnecessary purchases and contributes to the environmental and psychological burden of fashion overconsumption. The purpose of this study was to explore the role of wardrobe management apps (WMAs) and their potential for reducing fashion overconsumption. This paper has two core aims: first, to assess how WMAs contribute to sustainability through organisation, extended use, and behavioural change, and second, to examine their emotional and practical benefits for users. A content analysis of 27 WMAs was conducted alongside a thematic analysis of all 5953 user reviews from Apple and Google Play stores. Our analysis showed that 470 users reported behavioural shifts related to reduced overconsumption and increased garment utilisation, while a further 210 users described psychological benefits such as improved mental clarity and reduced anxiety. These results demonstrate the potential of WMAs to support more sustainable fashion habits and enhanced consumer well-being, offering a digital means to promote responsible consumption and align with the UN Sustainable Development Goals, especially SDG 12.
... Slow fashion berintikan pada gagasan filosofis yang berpusat pada nilai-nilai keberlanjutan, seperti memperhatikan kondisi kerja yang baik dan mengurangi kerusakan lingkungan (Bourland, 2011;Pookulangara & Shepherd, 2013). Ini merupakan respon dari adanya siklus fashion yang cepat dan pertumbuhan bisnis yang "tidak berkelanjutan", dengan mempromosikan perilaku yang etis, mengurangi produksi busana dan membeli busana yang memperhatikan kualitas daripada kuantitas (Fletcher, 2010;Ertekin & Atik, 2014). Sustainable fashion lebih khusus menitikberatkan kepada pemberdayaan pekerja di seluruh rantai pasokan yang baik, memanfaatkan daur ulang, dan penggunaan teknik produksi secara tradisional, serta menggabungkan bahan baku yang terbarukan dan organik (Johnston, 2012). ...
... Dengan demikian, slow fashion dalam praktiknya menjauhi industri fashion yang berkembang saat ini, dengan membutuhkan perubahan dalam sistem, infrastruktur, dan pasokan barang (Fletcher, 2010). Kunci dari slow fashion dan sustainable fashion adalah memiliki pendekatan yang seimbang terhadap rangkaian dalam memproduksi busana, seperti memiliki dampak baik yang berkelanjutan, mendirikan produksi lokal, dan fokus terhadap transparansi bahan baku (Ertekin & Atik, 2014). ...
Fast fashion sebagai salah satu produk Revolusi Industri telah berkontribusi terhadap kerusakan lingkungan, khususnya dalam perubahan iklim. Karakter fast fashion yang diproduksi dalam jumlah massal melalui periode yang singkat dan bahan pakaian yang tidak ramah lingkungan, diperparah dengan tingginya tingkat permintaan dalam masyarakat yang konsumtif dan selalu ingin mengikuti tren yang ada. Karena itu perusahaan-perusahaan multinasional fast fashion menyusun sejumlah perusahaan bisnis terbesar di dunia, sebut saja Inditex, yang menaungi merek pakaian Zara, dan Uniqlo. Namun di balik kesuksesan ekonominya yang menjanjikan, setiap rantai dalam siklus fast fashion langsung berdampak pada resiko lingkungan dan sosial yang sangat besar. Fast fashion berkontribusi atas krisis lingkungan serta perubahan iklim akibat limbah tekstilnya yang sangat besar tanpa disertai solusi manajemen limbah yang merata. Karena itu, dengan pendekatan keamanan lingkungan dan konsep MNC, penelitian ini berupaya mengurai berbagai eksternalitas negatif dari industri fast fashion yang bahkan mampu membuatnya menjadi agenda internasional karena dampak global yang dihasilkannya, khususnya pada negara-negara berkembang, baik dari segi keamanan lingkungan maupun keamanan manusia. Pada akhir penelitian, penulis juga mendorong sejumlah solusi yang telah maupun berpotensi mengurangi dampak perubahan iklim akibat industri fast fashion yang dapat diimplementasikan di segala tingkatan, mulai dari internasional, nasional, kalangan perusahaan, hingga individu masyarakat umum. Berbagai solusi ini bersifat komplementer, dimana masing-masingnya saling melengkapi, mendukung, dan mengawasi satu sama lain mengingat industri fast fashion yang semakin bertumbuh hari ini secara global dan efek perubahan iklim yang bersifat lintas-batas serta mengancam keberlangsungan hidup umat manusia secara keseluruhan.
... However, the growing global concern regarding sustainability, driven by the detrimental environmental and ethical implications of fast fashion, has created fertile ground for alternative production paradigms. The slow fashion movement, characterized by a shift towards sustainable, ethically produced, and culturally meaningful products, is increasingly embraced globally, encouraging consumers to engage with products beyond mere aesthetic value Fletcher, 2010). Slow fashion advocates for reduced environmental impact, preservation of traditional skills, and enhanced ethical standards across production processes, aligning seamlessly with the revival of Indian doll crafts (Brown & Vacca, 2022). ...
This research investigates the revival of Indian traditional doll crafts within the global slow fashion movement context. It evaluates the potential of these crafts as sustainable economic activities, emphasizing cultural preservation, ecological responsibility, and community empowerment. Employing both qualitative and quantitative methodologies, this paper explores artisan economics, market trends, consumer preferences, and sustainable impacts. The research highlights opportunities and challenges faced by artisans, offering insights to policymakers, industry stakeholders, and academia.
... However, the growing global concern regarding sustainability, driven by the detrimental environmental and ethical implications of fast fashion, has created fertile ground for alternative production paradigms. The slow fashion movement, characterized by a shift towards sustainable, ethically produced, and culturally meaningful products, is increasingly embraced globally, encouraging consumers to engage with products beyond mere aesthetic value Fletcher, 2010). Slow fashion advocates for reduced environmental impact, preservation of traditional skills, and enhanced ethical standards across production processes, aligning seamlessly with the revival of Indian doll crafts (Brown & Vacca, 2022). ...
This research investigates the revival of Indian traditional doll crafts within the global slow fashion movement context. It evaluates the potential of these crafts as sustainable economic activities, emphasizing cultural preservation, ecological responsibility, and community empowerment. Employing both qualitative and quantitative methodologies, this paper explores artisan economics, market trends, consumer preferences, and sustainable impacts. The research highlights opportunities and challenges faced by artisans, offering insights to policymakers, industry stakeholders, and academia.
... The popularity of fast-fashion garments in past years indicates that, for most consumers, fabric is no longer significant and valuable. Fast-fashion garments are cheap, of poor quality, and have short lifespans (Fletcher, 2010), allowing consumers to dispose of them after every quarter or 'fashion trend' without a second thought. In addition, the inherent waste generated by the existing linear process makes textile waste appear to be an inevitable consequence of the current mainstream garment production methods. ...
... The clothing industry is ranked second in the world in terms of environmental pollution after the oil industry [27]. The fashion industry's environmental and social impacts have catalyzed a paradigm shift toward sustainable consumption, with slow fashion emerging as a critical counterpoint to fast fashion [1,28]. Watson and Yan [29] distinguish fast and slow fashion consumers, with the fast fashion consumer being "a consumer who chooses to purchase trendy, fashion forward clothing at low prices thus instilling a high replaceable factor allowing them to fulfil a need to purchase frequently and in quantity", while a slow fashion consumer is "a consumer who chooses to purchase high quality, versatile clothing that allows them to build a wardrobe based on the concept of clothing created out of care and consideration". ...
The purpose of the paper is (1) to validate and measure the invariance of the COSF and LOHAS scales across countries (Portugal and the Czech Republic) and establish their convergent and discriminant validity, (2) determine the variables that explain perceived customer value, purchase intention, and willingness to pay a price premium, and (3) assess the differences between participants who have and have not already bought slow fashion products. Quantitative data were collected via questionnaire survey between April and October 2024 in Portugal (n = 1728) and the Czech Republic (n = 1652). The positive correlation between the COSF and LOHAS scales suggests that individuals inclined toward slow fashion consumption will likely exhibit broader sustainable and health-conscious lifestyles, integrating sustainable practices into various aspects of their lives, not just in fashion. The findings contribute to understanding the relationships between consumer values (COSF and LOHAS) and purchase behavior, which can inform marketing strategies, especially in the growing slow fashion market. Policymakers and companies in the fashion industry can use these insights to promote sustainability and environmentally conscious consumption. Also, the study reveals significant differences between Portuguese and Czech consumers regarding sociodemographic characteristics and slow fashion consumption behaviors. Marketers can use these insights to tailor their campaigns to specific cultural and demographic groups, adjusting messaging based on income perception, education level, and purchase behavior. Consumer values such as authenticity, equity, and environmental consciousness (COSF and LOHAS) influence purchasing decisions. Slow fashion brands can use this information to develop Open Access
... Previous research has questioned the ethics of the fast fashion industry [12]. The focus of fast fashion is that the latest styles we see all over social media should be in stores every week at an affordable price. ...
The study presented below had the main objective of streamlining the textile separation process for its subsequent reutilization in the production of new garments. This particular fashion design company located in Tegucigalpa, Honduras has 3 permanent employees which are trained to carry out the tasks of textile separation in the same way. Through the time-taking phase in this study, it was demonstrated that they carry out the textile separation process in approximately the same amount of time and will be considered as such during the study. For the fulfillment of the study, a video of the whole operation process was recorded and meticulosity analyzed through which 22 activities were identified which were equivalent to 88.967 minutes of production time. Through the analysis of the 22 activities and registration of their times, two critical activities were identified. Although multiple operations were identified to require a prolonged period, the two activities that require the greatest amount of time are the process of unstitching the seams of the right and left leg, which requires 20 minutes each, to be completed. An improvement plan was developed using SMED in which a reorganization of the activities and swap of the original tools was proposed. This decision was made under the premise that a reorganization of the operations will reduce time and unproductive actions for the operation. Thus, improving the total time of the operation but keeping costs to a minimum, resulting in a reduction of 51.1% of the total time. Using geometry, it was possible to calculate the area of the recovered textile from the original garment. The total area for each garment equals 9,776 +/-5% cm 2. At the same time, the area of one yard of commercial textile was calculated and found to be equal to 8,229.6 cm 2. Based on the times and areas discovered, it was possible to calculate that the time required for the separation of a single yard of recovered textile following the original strategies would take 73.773 minutes. However, when implementing the improvement plan, the total time required for the separation of one yard would be reduced to 36.039 minutes. This data is relevant because it will facilitate the calculation of the time needed to separate additional yards. This way the company would be able to estimate the amount of time they will need to produce enough recycled textile to produce a greater number of garments. Digital Object Identifier (DOI): http://dx. Abstract-The study presented below had the main objective of streamlining the textile separation process for its subsequent reutilization in the production of new garments. For the fulfillment of the study, a video of the whole operation process was recorded and meticulosity analyzed through which 22 activities were identified which were equivalent to 88.967 minutes of production time. An improvement plan was developed using SMED in which a reorganization of the activities and swap of the original tools was proposed, resulting in a reduction of 51.1% of the total time. Using geometry, it was possible to calculate the area of the recovered textile from the original garment. The total area for each garment equals 9,776 +/-5% cm 2. At the same time, the area of one yard of commercial textile was calculated and found to be equal to 8,229.6 cm 2. Based on the times and areas discovered, it was possible to calculate that the time required for the separation of a single yard of recovered textile following the original strategies would take 73.773 minutes. However, when implementing the improvement plan, the total time required for the separation of one yard would be reduced to 36.039 minutes. Resumen-El estudio presentado a continuación tuvo como objetivo principal la agilización del proceso de separación de textiles para su reciclaje. El estudio se llevó a cabo por medio del análisis de grabaciones de la operación donde se identificó que para realizar la operación se necesitaban 22 actividades que equivalían a 88.967 minutos. Se desarrollo un plan de mejora utilizando la herramienta de SMED en el cual se abordó una reorganización de las actividades en el proceso y un cambio de las herramientas utilizadas originalmente, estas medidas dieron como resultado la reducción del tiempo a 43.950 minutos equivaliendo a una reducción del 51.1%. Por medio de la utilización de la geometría se logró calcular el área de textil recuperado, teniendo un área total de 9,776 +/-5% cm 2 y el área de una yarda de textil comercial, teniendo un área de 8,229.6 cm 2. Partiendo de los tiempos y áreas descubiertos se pudo calcular que el tiempo requerido para la separación de una yarda de textil recuperado siguiendo las estrategias originales seria 73.773 minutos mientras que al realizar la implementación del proceso mejorado el tiempo para la separación de una yarda se vería reducido a 36.039 minutos.
Free eprints (https://www.tandfonline.com/eprint/ZAIUNV5EQNM8HAP6HMRU/full?target=10.1080/17543266.2025.2481206).
Even though slow fashion lessens the adverse environmental and social effects of the fashion industry and promotes ethical consumption, current fashion design efforts in promoting adoption are still insufficient. Based on self-congruity theory, this qualitative study identifies consumers' knowledge levels and perceived expressive attributes of slow fashion relative to their self-concept. Data collection consisted of six focus groups with 27 consumers and four interviews with experts. Results indicate various levels of slow-fashion knowledge in participants. Because consumers prefer product attributes that align closely with their self-image (self-congruity), emphasising the primary descriptors of slow fashion where alignment exists-such as organised, pleasant, and comfortable-offers actionable insights for enhancing circular design efforts. Findings suggest that design strategies emphasising slow fashion as an extension of self-care reflecting a minimalist lifestyle are the most promising. This study contributes to fashion design and consumer behaviour and slow-fashion brands aiming at improving their designs.
The fashion industry is liable for producing huge amount of waste every year causing the problem of landfill wastes and overconsumption. The current business model of the fashion industry is unsustainable as it supports overconsumption and generates unrestricted landfill waste. Previous literature pointed out that consumers generate half of the impact of the fashion industry. Fast fashion is one of the main reasons behind the problem of overconsumption. The main aim of this study is to explore the sustainable design strategies for the development of garments in terms of life extension, redesign, and in changing the consumption behavior of consumers. Sustainable design aims to find new ways of planning waste and producing ethical products. Researchers used terms like reduce, sustain, halt, avoid, and limit and refer to finding out ways that are less likely to attract criticism than the conventional ways. These strategies emphasize reducing the defects of the current system rather than changing the whole system. Sustainable practices can be implemented both in the pre-consumer and post-consumer stage for waste minimization. Common waste management strategies are reduce, reuse, and recycle and their main purpose is to prolong the life cycle of a product. This study also explore the concept of circular fashion along with design of circularity, design for disassembly and zero waste fashion along with waste management strategies. This study will be an attempt to explore all the strategies concerning their impact on circular behavior.
This chapter emphasizes the urgent need for the global fashion industry to embrace sustainability due to its significant environmental impact. Highlighting issues like overconsumption, waste, and resource depletion, it critiques the “take, make, dispose” model and advocates for circular fashion, promoting reuse, repair, and recycling to extend clothing lifespans. Ethical sourcing, innovative biodegradable materials like Piñatex, and green operations in retail are explored as pivotal shifts. Local shopping models, sustainable manufacturing, and consumer demand for eco-friendly products are addressed, with tools like carbon footprint calculators and eco-labels aiding responsible consumption. Technological innovations such as AI, blockchain, and AR are presented as transformative, minimizing waste, enhancing transparency, and reducing overproduction. Challenges like high costs, fast fashion preferences, and limited recycling methods are discussed alongside solutions like strategic collaborations and R&D investments.
Sustainable Fashion and Textiles: Design Journeys brings together for the first time information about lifecycle sustainability impacts of fashion and textiles, practical alternatives, design concepts and social innovation. It challenges existing ideas about the scope and potential of sustainability issues in fashion and textiles, and sets out a more pluralistic, engaging and forward-looking picture, drawing on ideas of systems thinking, human needs, local products, slow fashion and participatory design, as well as knowledge of materials. The book not only defines the field, it also challenges it, and uses design ideas to help shape more sustainable products and promote social change. Arranged in two sections, the first four chapters represent key stages of the lifecycle: material cultivation/extraction, production, use and disposal. The remaining four chapters explore design approaches for altering the scale and nature of consumption, including service design, localism, speed and user involvement. While each of these chapters is complete in and of itself, their real value comes from what they represent together: innovative ways of thinking about textiles and garments based on sustainability values and an interconnected approach to design.
Conceptually, the slow food movement provides the point of departure for this article, which asks if the slow approach can offer a sustainable solution for fashion. Three “lines of reflection are addressed: the valuing of local resources and distributed economies; transparent production systems with less intermediation between producer and consumer; and sustainable and sensorial products that have a longer usable life and are more highly valued than typical “consumables. Each is investigated using examples that together address the possible global dominance of fast fashion, provide more sustainable ways of approaching fashion, and concentrate on the implication of fashion as actual material garments, which are used and discarded. The approaches mentioned simultaneously challenge existing hierarchies of designer, producer, and consumer; question the notion of fashion being concerned exclusively with the new; confront fashion's reliance on image; present fashion as a choice rather than as a mandate; and highlight collaborative/cooperative work—providing agency especially to women.
Is more economic growth the solution? Will it deliver prosperity and well-being for a global population projected to reach nine billion? In this explosive book, Tim Jackson a top sustainability adviser to the UK government makes a compelling case against continued economic growth in developed nations. No one denies that development is essential for poorer nations. But in the advanced economies there is mounting evidence that ever-increasing consumption adds little to human happiness and may even impede it. More urgently, it is now clear that the ecosystems that sustain our economies are collapsing under the impacts of rising consumption. Unless we can radically lower the environmental impact of economic activity and there is no evidence to suggest that we can we will have to devise a path to prosperity that does not rely on continued growth. Economic heresy? Or an opportunity to improve the sources of well-being, creativity and lasting prosperity that lie outside the realm of the market? Tim Jackson provides a credible vision of how human society can flourish within the ecological limits of a finite planet. Fulfilling this vision is simply the most urgent task of our times. This book is a substantially revised and updated version of Jackson's controversial study for the Sustainable Development Commission, an advisory body to the UK Government. The study rapidly became the most downloaded report in the Commission's nine year history when it was launched earlier this year. In 2017, PWG was published in a second, substantially revised and re-written edition that updates the arguments and considerably expands upon them. https://www.cusp.ac.uk/pwg/
Designing for sustainability is an innovation shaping both the design industry and design education today.Yet architects, product designers, and other key professionals in this new field have so far lacked a resource that addresses their sensibilities and concerns. The Designer's Atlas of Sustainability now explores the basic principles, concepts, and practice of sustainable design in a visually sophisticated and engaging style. The book tackles not only the ecological aspects of sustainable design-designers' choice of materials and manufacturing processes have a tremendous impact on the natural world-but also the economic and cultural elements involved. The Atlas is neither a how-to manual nor collection of recipes for sustainable design, but a compendium of fresh approaches to sustainability that designers can incorporate into daily thinking and practice. Illuminating many facets of this exciting field, the book offers ideas on how to harmonize human and natural systems, and then explores practical options for making the business of design more supportive of long-term sustainability. An examination of the ethical dimensions of sustainable development in our public and private lives is the theme present throughout. Like other kinds of atlases, The Designer's Atlas of Sustainability illustrates its subject, but it goes far beyond its visual appeal, stimulating design solutions for "development that cultivates environmental and social conditions that will support human well-being indefinitely."
There is now clear scientific evidence that emissions from economic activity, particularly the burning of fossil fuels for energy, are causing changes to the Earth´s climate. A sound understanding of the economics of climate change is needed in order to underpin an effective global response to this challenge. The Stern Review is an independent, rigourous and comprehensive analysis of the economic aspects of this crucial issue. It has been conducted by Sir Nicholas Stern, Head of the UK Government Economic Service, and a former Chief Economist of the World Bank. The Economics of Climate Change will be invaluable for all students of the economics and policy implications of climate change, and economists, scientists and policy makers involved in all aspects of climate change.
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