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CC 5 (1) pp. 7–18 Intellect Limited 2018
Clothing Cultures
Volume 5 Number 1
© 2018 Intellect Ltd Editorial. English language. doi: 10.1386/cc.5.1.7_2
www.intellectbooks.com 7
ABSTRACT
Fashion is widely considered the second most destructive industry to the environ-
ment, 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 respon-
sibility through a collaborative approach incorporating design, innovation, tech-
nology and communication to successfully create desirable sustainable products
KEYWORDS
fashion
design
business
sustainability
sustainable fashion
textiles
social responsibility
consumption
DEBBIE MOORHOUSE AND DANIELLE MOORHOUSE
International Society for Sustainable Fashion
Designing a sustainable
brand strategy for the
fashion industry
cc
Clothing Cultures
Intellect
10.1386/cc.5.1.7_2
5
1
7
18
© 2018 Intellect Ltd
2018
EDITORIAL
SPECIAL ISSUE: SUSTAINABLE FASHION
Debbie Moorhouse | Danielle Moorhouse
8 Clothing Cultures
with integrity. With constant news updates as a result of technology and the over-
riding competitiveness of social media, brands need to design and launch unique
products that attract attention. This article will explore the connection between
sustainable design and brand identity in relation to the fashion industry. The arti-
cle will identify economic and commercial business opportunities, incorporating
how combining sustainable design principles with communicative story telling
provides additional emotional value for both designer and consumer, and aligning
brands with social and environmental issues that are directly related to the prod-
ucts they are selling.
1. Introduction
Described as the second most polluting industry to the environment, next to
oil, pressure has increased from NGOs, designers, brands and consumers to
develop more sustainable practices within the fashion design industry. The
Brundtland definition of sustainability is that which‘meets the needs of the
present without compromising the ability of future generations to meet their
own needs’ (1987). This has more recently been defined as having three key
elements: environmental sustainability, social sustainability and economic
sustainability. For future sustainability problems to be solved, all three areas
need to be sustainable (Thwink.org 2018).
Both design and business processes begin by identifying a product or
service, the target market and a problem or challenge that needs to be
addressed. It is vital that brands apply this entrepreneurial concept to inte-
grate sustainability across the entire business beginning with the design stage
to maximize overall brand value and impact. As a fashion designer, business
owner and organization founder, this article addresses sustainability from
three different perspectives: design and aesthetics, consumption and sustain-
able development in industry. The article features three industry initiatives
that have been established to promote sustainability in fashion, including
the International Society for Sustainable Fashion and Sustainable Fashion
London.
2. Design and innovation
The definition of design in the fashion industry would be the creation of
a detailed drawing of a garment, from which this garment can be made.
Ultimately, the definition of design is subjective, is open to interpretation and
cannot be rigorously defined. What we can say about design is that it is the
discovery of something new, and what we would also now accept, in the light
of the environmental cost now highlighted in the fashion industry, is that
good design must include some level of sustainability.
To create sustainable outcomes, traditional design practices need to
be challenged and assessed as to the best way to serve consumers. It is the
responsibility of designers to push new innovation in design thinking to
change perception and traditional mindset, particularly towards trends and
value creation. Eighty per cent of environmental impact can be solved at the
design stage (Murray 2013). By the‘design stage’, we may be looking at the
lone designer, sketching from a concept, to realize apparel aimed at a target
market. In reality, the more intelligent business model would involve the
whole team of designer, pattern cutter and sample machinists, who can all
Editorial
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improve on the design idea and in turn, the ethics of the design, before it
reaches the production stages (Thomas 2017).
Instead of focusing on design as a means of making more products,
designers must now take into account consumer needs and challenge design
to create garments that have a second and third life, from textiles that provide
the quality and strength required to sustain longevity, both in design aesthetic
and in robustness, keeping garments from going into landfills (2018). There
will always be consumers who just want the short-term fashion‘hit’; however
the long-term, loyal consumer, who keeps coming back, is concerned with the
companies ethics and values as well as the aesthetics of the collection (2017).
The traditional business structure of the fashion industry, from the origins
of the haute couture system, with the designer as the highest role one could
achieve, is outdated under a circular, sustainable closed-loop system.
I. Sustainable designers and brands
A designer or brand that considers itself sustainable can take on many forms,
either social, economic or environmental, or a combination of these.
Honestby is a womenswear brand launched in 2012 by Bruno Pieters,
formerly a Creative Director of Hugo Boss. Disillusioned with the excesses of
the fashion industry, Pieters adopted the ethos of a brand with a‘radical new
concept’ of 100 per cent transparency in all information about the produc-
tion process, materials used, even going as far as a complete ‘cost break-
down of its products’ (honestly.com). Pieters believes that by disclosing all this
information we are not only celebrating fashion, but also the story behind it,
giving consumers an informed choice about their purchases. Helping design-
ers follow his example, Pieters invites designers to collaborate with the brand,
in store and online. British designer Christopher Raeburn uses the‘Remade’
philosophy of remade, reduced and recycled. Whilst‘reworking surplus mate-
rials, products and artefacts’ into the collections and minimizing carbon foot-
print by localized manufacturing, the heart of the designers ethos is providing
the customer with a‘completely unique and desirable product’ and still main-
taining‘strong sustainable choices’(christopherraeburn.co.uk).
Founded by Ali Hewson and husband, Bono, Edun is a fashion brand
committed to a fair trade approach (LVMH.com). Instead of donating money
to provide African aid, Edun is a brand that focuses on creating manufacturing
jobs in Africa, paying a living wage and creating sustainable growth. By 2014,
85 per cent of Edun collections was produced in Africa (Ulasewicz 2015). The
ethos of the brand provides the consumer with a feel good feeling, with every
purchase, helping those less fortunate to create a better life for themselves. A
similar brand identity was created by Safia Minney for People Tree, who used
traditional artisan skills and local communities throughout Africa and Asia to
produce their garments. Going even further People Tree have created a foun-
dation that supports farmers and artisans through scaling up training, techni-
cal support and environmental initiatives and through raising awareness and
campaigning for fair and sustainable fashion (peopletree.co.uk).
Reformation, a sustainable women’s wear brand, appealing to the middle
market, provides a fun, sexy aesthetic to their clothing ranges, eschewing the
ethical cliché. Information about sustainable fabrics and environmental issues
caused by the fashion industry are all there on their website; however its light-
hearted approach attracts another customer, one that is not necessarily an
activist or moral guardian of the planet.
Debbie Moorhouse | Danielle Moorhouse
10 Clothing Cultures
a. Vivienne Westwood
Vivienne Westwood is the embodiment of British fashion, and a brand that
stands out from the crowd. Constantly placing its roots in the‘Britishness’ of
Harris tweeds, wools and linens, the brand is also notoriously known for its
campaigns and activist message. In the 1980s and 1990s, the fashion designer
was synonymous with the Punk rebellion and anti-establishment attitude. The
brand has continued to evolve over the years and now primarily focuses on a
luxury market, although the activist message still remains. VW Africa, Climate
Revolution,‘go green’ runway shows and political advertising campaigns are
all part of the marketing message. The collections have been scaled down,‘in
an attempt to convince her fans to buy according to quality rather than
quantity’(fabrikbrands.com). Never been one to follow traditional market-
ing methods, Vivienne Westwood is an inspiration to aspiring designers‘to
find their edge in the marketplace’. Brands, who are as vocal and challeng-
ing as Westwood, are constantly put in the spotlight and questioned about
their ethics in supporting sustainable fashion design and the production of it,
whilst still producing multiple collections per year. Collaborations with celeb-
rities and other sustainable companies have further established her standing
as a brand that supports change in the issue of fashion and environmental
damage, providing consumers with the‘back story’ and emotional connection,
when purchasing a Vivienne Westwood garment.
b. Stella McCartney
With a bold mission statement of‘We challenge and push boundaries to make
luxurious products in a way that is fit for the world we live in today and the
future: beautiful and sustainable. No compromises’, the Stella McCartney
brand has a lot to live up to (stellamccartney.com). To earn the trust of the
consumer, the brand has to stand by that mission statement in every aspect of
its production and research process. The Stella McCartney brand has always
been associated with being a Vegetarian Luxury brand, anti-fur and cruelty
free, an ethos ingrained in the brand by family association. Veganism and
vegetarianism are seen as more eco-friendly agriculture, and cattle farming
is the number one reason for rainforest deforestation, which connects to the
original brand values. Leather and fur, whilst these are not used in any collec-
tion due to the Vegan ethos of the company, they are also unsustainable. As
awareness of sustainability has increased, the brand has evolved. The Stella
McCartney website clearly shows the sustainable policies of the company and
its aims to follow a sustainable production process (stellamccartney.com).
The Stella McCartney brand, in the absence of government legislation on
sustainability, has been one of the leading companies in creating plans for the
future, corporate responsibility goals and campaigns around improving the
brands environmental impact even further. Initiatives such as Clean by Design, a
joint programme with their Italian production mills, to reduce water and energy
use; no use of pvc within the brand; dedicated to improving human rights of
workers through the Ethical Trading Initiative; use of recycled fabrics and further
funding of research into circularity. Brands adopting these approaches of creat-
ing sustainable goals and then publishing reports on the outcomes are provid-
ing transparency into the brand and in turn gaining the trust of the consumer.
Marketing and advertising campaigns convey the message of ethics and sustain-
ability; which has received greater acknowledgement as a result of Holywood A
listers and celebrities wearing Stella McCartney dresses at red carpet events.
Editorial
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c. Patagonia
Often quoted as being one of the worlds most sustainable companies, and
second in the 2017 Sustainability Leaders Report (sustainability.com),
Patagonia is constantly evolving its design and production systems with new
innovation in materials, collaboration with other companies and production
plants, working closely with every partner along the supply chain.
Patagonia’s target market is individuals who appreciate the natural world,
and in turn support the outerwear brand’s values in creating products that
strive to be as sustainable and eco-friendly as they can be (patagonia.com).
The company launched a social responsibility programme in the mid-1990s in
collaboration with factory production partners. By 2011, Patagonia had moved
this further back to include the mills that make their textiles, allowing the
business more control over workers’ conditions and human rights (patago-
nia.com). Initially launching with a collection of ten fair trade styles in 2014,
Patagonia now produces 480 fair trade designs within the product range, with
15,700 factory workers directly benefiting. Having a responsible third party
like Fair-Trade USA involved was important to instil consumer confidence that
Patagonia were substantiating claims.
Patagonia’s anti-Black Friday campaign‘Don’t buy this jacket’ was aimed
at making people aware of out of control consumerism. Ironically, the brands
honesty appealed to consumers resulting in increased sales. This prime exam-
ple of‘systematic authenticity’ (hbr.org), whilst initially seen as a clever‘PR
stunt’, gained more in terms of recognition for the companies strong values
around producing quality long-lasting products with little or no harm to the
environment.
Primarily an outdoor clothing brand, Patagonia is committed to educat-
ing its customers on the environmental impact of every garment purchased
and to sharing research and knowledge. The company sells an‘expedition’
sewing repair kit as a necessary tool kit, such as a cyclist would buy a punc-
ture repair kit. The fact that the clothing is of such a high quality that it can
be repaired and reused, instantly adds to the value of the garment. The throw
away culture, adopted by the fast-fashion culture, has no place in this brand.
Consumers can feel a sense of‘satisfaction’ in knowing their garment will not
end up in landfills and a further collaboration with Ebay gives customers the
opportunity to sell on their old Patagonia garment.
Patagonia are now also selling a wash bag, which‘significantly reduces the
flow of microfibres’ into the waste water stream (Patagonia.com). Microfibres
released during laundering, from not only virgin polyester but also recycled
polyester, are polluting oceans, rivers and ultimately the food chain, with plas-
tic, negatively impacting‘eco-systems and human health’ (MacArthur 2017).
A recent report from the Ellen MacArthur foundation points out two actions
needed to drastically reduce plastic microfibre release would be to:
1. Develop new materials and production processes to design out microfibre
shredding.
2. Increase effectiveness of technologies that capture microfibres that are
released (2017).
Thirty-five per cent of primary plastics entering the ocean are released
through washing of textiles (Browne et al. 2011). It is estimated that between
Debbie Moorhouse | Danielle Moorhouse
12 Clothing Cultures
1.8 and 5 million tons of primary micro plastics are released into the environ-
ment every year, during washing, causing major concern (MacArthur 2017).
3. Production: Product origin and provenance as a brand
For many manufacturers, ‘being innovative means adding technology to a
problem’ (Fletcher 2013). Constantly introducing new technologies into the
apparel production process, producing materials and garments, more effi-
ciently and faster, often has the effect of neglecting‘the very substantial effect
the behaviour has in determining the product’s overall environmental impact’
(2013).
In designing a sustainable brand strategy, product origin and provenance
are increasingly become the important issue in which to be transparent. Social
media‘savvy’ consumers are aware of the environmental and human impact
of their clothing purchases and they want to set aside the guilt with a good
sustainable design purchase. Brands such as Reformation, whilst appealing to
the young‘fun and sexy’ market, add substance to the brand by subtely adding
information about product origin to the website. This is further compounded
by swimwear and surf wear designers using recycled ocean plastic materi-
als such as Econyl in their collections, supporting initiatives for research into
ocean and marine life of speakers and attendees of conservation and beach
clean-ups. Organizations highlighting the benefits of localized production,
in reducing transportation costs, both financially and environmentally, lead
consumers to choose products made in their own country.
I. Certified Made in the UK
Certified Made in the UK, a non-profit organization, was formed in 2016, to
support and promote UK design and manufacturing. The organization began
as a social network community founded in 2010, when the UK manufacturing
industry was severely impacted by clothing and textile manufacturing being
sourced abroad, particularly in Asia where labour costs were low. Members
of the community founded as the Made in the UK – Clothing, Fashion and
Accessories Initiative grew to 6000 industry professionals by 2011 – just one
year after the initiative was founded, 11,000 members in 2015 and to 20,000
members by 2018. Traditional skills were lost in the UK; textile mills and cloth-
ing production factories closed down because they were no longer competi-
tive. Studies reveal 73 per cent of British people believe products manufactured
in the UK are associated with‘quality, cultural pride and reliability’. The high-
lighting of working conditions in factories overseas, particularly with the Rana
Plaza tragedy in 2013 and subsequent media reviews of environmental impact
in some less developed areas, is forcing businesses to rethink where they oper-
ate production. Sustainable brands see the benefit of producing locally, both
environmentally and by increased profitability. Research conducted across 53
countries, with 43,034 consumers, ranked UK the ‘third highest individual
country for its“Made in Label”’ behind Made in Germany, the most respected
brand label globally (Statista.com). In 2015, production of UK textiles and
apparel generates £9 billion and employs 90,000–100,000, with expected new
jobs created in textile manufacturing in the UK projected at 20,000 by 2020
(britishfashioncouncil.com).
Editorial
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II. Sustainable Fashion London
Sustainable Fashion London is an annual event held during London Fashion
Week in September. The first event of this kind was held as an opportunity to
bring together academics, industry professionals, organizations and students,
who wanted to share their views on the current state of the fashion industry
and ideas for sustainable development in industry, reducing its environmen-
tal impact. Organized by the International Society for Sustainable Fashion,
Certified Made in the UK and in association with the Royal Society of Arts,
the aim of the symposium was to discuss the current status of the fashion
industry, as well as fashion education, in an open arena and during a high-
profile event such as London Fashion Week. Often conferences of this nature
are only open to academics or industry professionals; sometimes from within
a particular circle and sometimes with a fee at an excessively high price that
students are unable to afford. With over 60 attendees and twelve key speak-
ers, the day was a great success but more than just a single day event, it has
become a catalyst for like-minded people to begin meeting and sharing ideas
about how we can make changes for good, within the fashion industry.
As a result of the Sustainable Fashion London 2017 event, and with posi-
tive feedback and requests from the attendees to continue this knowledge
exchange, the International Society for Sustainable Fashion has been estab-
lished to provide a platform for academics, students, brands and consum-
ers to exchange knowledge on sustainability, develop research partnerships
and provide a forum for discussion. The International Society for Sustainable
Fashion has now attracted the attention of prestigious brands and institutions
from around the world including United Kingdom, United States, Australia,
Europe and Asia. The Sustainable Fashion London event is planned to run
annually during London Fashion Week.
Figure 1: Logo for‘Made in the UK’ clothing, fashion and accessories.
Debbie Moorhouse | Danielle Moorhouse
14 Clothing Cultures
4. Marketing and communication: Using sustainability as a
marketing tool
The relationship between designer and consumer is inherently linked; one
is creating the desired product, the other is aspiring to or discovering it. The
connection between the two enactors is the enterprise, with the marketing
and branding of a business becoming a pivotal role in the success of any
product or service, perhaps even more so when attempting to commercialize
sustainability.
H&M are a good example of a company that is attempting to make
progress by endeavouring to do positive things within the fashion industry.
For example, using organic cotton and other more sustainable materials, such
as tencel, working with factories to provide better working conditions and a
living wage, as well as providing take back schemes to prevent textiles from
going into landfills. In reality, the company is very good at marketing and
communication but not quite getting it right because the fast-fashion business
model is unsustainable.
Figure 2: Sustainable Fashion London logo.
Sustainable Fashion London symposium – September 2017
Academic Industry Researcher Student
Speakers % 36 50 14
Attendees % 18 46 10 26
Table 1: Table of speakers and attendees of Sustainable Fashion London 2017.
Editorial
www.intellectbooks.com 15
Retailers often perceive sustainability and the social and environmen-
tal problems that fast-fashion and mass consumption has compounded, as a
consumer issue whereby they develop initiatives aimed at educating consum-
ers, failing to quantify the underlying problem of selling newness. The reality
is that businesses, particularly in the fast-fashion sector, encourage consump-
tion for profit.
Cause-related marketing is generally when a business collaborates with a
non-profit social enterprise to create a marketing strategy to support a cause.
The non-profit gains from being promoted and funded, the retailer benefits
from increased sales and the consumer gains emotional attachment from its
purchase and support of positive change (Ulasewicz 2015).
The ethos of Artisanal womenswear brand Bamford is to work with tradi-
tional artisans to keep their skills alive both in the UK and abroad. Consumers
purchasing the brand have the added experience and emotional attachment of
feeling they are making a difference in the world.
5. Product life cycle
The cradle-to-cradle life cycle philosophy, developed by Braungart (2014),
suggests that all industrial products can be designed within one of two
cycles: a biological cycle, where the loop is closed when a product is harm-
lessly returned to the earth, and a closed-loop system, where the product is
recycled continually back into use. Where no products should exist outside of
this model, the designer and, in the case of the fashion industry, the materials
designer have to work holistically to create products that take into account the
entire life cycle.
Designing in a closed-loop system would involve using materials which, at
the end of life, can be recycled back into new fabrics of a similar quality. Most
recycling of fabrics, until recently, have been seen as down-cycling, mainly a
guilt avoidance activity and as a result freeing the consumers conscience to
create more waste. Due to harmful chemicals used in the dyeing and produc-
tion processes, some would argue that composting is not a realistic option for
garments and textiles (Niinimaki 2013), resulting in the most ideal outcome
of closing the loop in a technical cycle (2013). A cradle-to-cradle system has
been adapted for many years in a number of industries. In 1993, Climatex
Lifecycle was developed in collaboration with Designtex and Rohner Textil,
resulting in an upholstery fabric made from biodegradable fibres, with safe
processing treatments, allowing it to be composted, providing food for the
eco-system (Fletcher 2013).
Marks and Spencer, as part of their Plan A, introduced the take back
scheme of ‘Shwopping’, later followed by similar schemes by H&M and
Zara. Impact of the gains of such schemes are debatable as to whether this
reduces the amount of textiles to landfills or only‘creates a fresh round of
consumption’ (Fletcher 2013). The majority of garments sent to landfills can
be reworn, reused or recycled and take back schemes such as the ones intro-
duced in retail stores are preventing some textiles from ending up in land-
fills. H&M collects around 40,000 tonnes of garments since launching the
scheme in 2013, although much of what cannot be reused is down cycled
into cleaning cloths or insulation fibres, which ultimately end up in land-
fills (Gould 2017). To put this in perspective, since launching its recycling
programme in 2013, H&M has probably taken back, since the scheme started
in 2013, an equivalent of 260 million t-shirts. In contrast to this industry,
Debbie Moorhouse | Danielle Moorhouse
16 Clothing Cultures
experts would estimate that the company has sold in excess of 1.3 billion
pieces of clothing per year (Beeler 2017). The ideal life cycle model would
see brands investing in research and technology, into a more circular model,
where raw materials are extracted at a quality that allows them to be returned
to the production process. Patagonia’s model of lasting quality and repair
sets a better standard when considering product life cycle, as highlighted in
section2.1.3. Mud jeans have created a concept whereby garments, and in
this case predominantly jeans, are sold as a service rather than ownership
of a product. Mud jeans have introduced a‘pioneering Lease a jeans’ model
to ensure they tray the owners of the raw materials so they can be taken
back after use and remade into new products. The idea is that manufacturers
remain the owners of the product and‘consumers pay for the performance
only’ (Ellen MacArthur Foundation 2018). The manufacturer, in turn, has a
greater interest in producing a product that lasts. Once the product quality
has totally depleted, the jeans can then be shredded and together with new
organic cotton fibres be remade into a new pair of jeans. The added value of
this business model is that the company surrounds itself with like-minded
people,‘visionaries’ who demand change (2018).
Conclusion
‘Customers are expecting more and more that a company will not just have a
great product but demonstrate social responsibilty’ says Mireia Llusia-Lindh,
founder of British handbag brand Milli Millu, which has now been rebranded
as De Mellier. The brand continues its initiative‘A Bag, A Life’, whereby for
every bag purchased, life-saving vaccines and treatments are aimed at saving
a child’s life. This is no‘marketing gimmick’ with the brand, to date, funding
over 25,000 vaccines for orphans in need (Hendriksz 2017). More people are
buying into brands keen to place philanthropy at the heart of their business.
The purchase then comes with an added feel good factor. Quality and good
service is as it has always been the overriding g factor in any consumer choice
and brand loyalty as a constantly returning customer. Patagonia has a strat-
egy focused on this approach through problem solving, purpose of design and
functionality, acknowledging customer needs in an outdoor brand that not
only sells quality garments but provides an after service that ensures longevity
and value in your purchase.
The most important message in this article is the need for collaboration
between design, innovation, technology and communication. The traditional
hierarchical structure of the lone designer at the top needs a positive change
where every person in the production process works together to create a
circular system. Seventy-two per cent of UK adults are paying attention to
the ‘green’ credentials of a brand and are willing to pay more for products
from ‘companies committed to positive social and environmental impact’
(provenance 2018). Brands that make sustainability part of their DNA, rather
than using it as a marketing tool, create products with quality and good
aesthetic, generate brand trust and loyalty from their customers. Brands need
to find a point of focus and have substance to this focus; be authentic and
be open to questions. Transparency creates trust in the brand. The relation-
ship between brand and consumer primarily depends on the the quality of
the product and service provided. A conscious consumer may choose a brand
initially for its sustainable or ethical ethos; however, if the product and service
do not provide satisfaction, brand loyalty will be lost.
Editorial
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CONTRIBUTOR DETAILS
Debbie Moorhouse is a fashion designer and founder of a sustainable luxury
fashion and eveningwear brand. Her designs have been exhibited at London
Fashion Week, the British Bridal Exhibition and featured in magazines world-
wide. She is also a course leader, researcher and consultant specializing in
sustainable fashion. Debbie Moorhouse is the co-founder of the International
Society for Sustainable Fashion, Certified Made in the UK design and manu-
facturing organization and several non-profit initiatives including Made in the
UK: Clothing, Fashion and Accessories, Sustainable Fashion London and the
Made with Love charitable recycling intiative. Web address: www.sustainable-
fashion-society.org; www.ukfashion.org.uk
Contact: International Society for Sustainable Fashion, Kemp House, 160 City
Road, London EC1V 2 NX, UK.
E-mail: d.moorhouse@sustainable-fashion-society.org
Danielle Moorhouse is the co-founder of several non-profit organizations
and industry initiatives including the International Society for Sustainable
Fashion, Certified Made in the UK business organization and the Made in
the UK: Clothing, Fashion and Accessories initiative. Danielle’s expertise is
in creating networks for positive change and her interests include sustainable
development, fair trade, luxury goods and ethical jewellery.
Contact: International Society For Sustainable Fashion, Kemp House, 160 City
Road, London EC1V 2 NX, UK.
E-mail: danielle@sustainable-fashion-society.org
Debbie Moorhouse and Danielle Moorhouse have asserted their right under
the Copyright, Designs and Patents Act, 1988, to be identified as the authors of
this work in the format that was submitted to Intellect Ltd.
