BP310 BACHELOR OF FASHION (MERCHANDISE MANAGEMENT)

MAJOR PROJECT A, ASSESSMENT ITEM TWO, RESEARCH

PROPOSAL 80%

MAJOR PROJECT A, ASSESSMENT ITEM THREE, REFLECTIVE

PIECE 10%

BRIANNA HALL S3477820

TABLE OF CONTENTS
Abstract .......................................................................................................................... 2

A BSTRACT

The aim of this research proposal is to identify and analyse literature regarding the slow

fashion movement in comparison with other prominent fashion business models such as the

fast fashion model. This research proposal additionally looks at slow fashion within the

industry and how its operations and processes differ, as well as looking into consumption

patterns and consumer perceptions of slow fashion. Slow fashion links closely with the

concept of sustainability, which is delineated throughout the literature review.

This proposal also outlines a plan for proposed data collection for Major B which will be

conducted in 2017, this will be achieved through the methods of a survey, focus groups and
in-depth interviews. It is anticipated that Australian consumers and industry professionals will

participate in offering their opinions and information. These professionals and their positions

are outlined throughout the report with details as to how they will be accessed.

The limitations for this proposal are presented and are identified as being time, budget,

researchers abilities, lack of reliable/available data, interviewees and the sample size and

size available at the time.

Furthermore, a Gantt chart and proposed budget have been outlined that endeavour to

breakdown a timeframe for the conduct of the proposed research as well as specifying the

costs associated to this research.

S ECTION T WO | INTRODUCTION AND R ATIONALE

2.1 Introduction

Over recent years, consumer behaviour and perceptions have started to change. There has

been pressure like never before on the fashion industry to operate with more transparent

supply chains and through education consumers are having more of a social conscience as

to how their clothing is being made. Throughout this shift, the slow fashion movement has

emerged, with a focus on sustainable and high quality production.

The collapse of Rana Plaza in 2013 (Kasperkevic, 2016), a building where factory workers

produced fashion and textiles garments was a monumental point where consumers and

designers started to take a stance and make more sustainable changes and choices. This

research will aim to verify the belief that slow fashion and sustainable production is the way of

the future, whilst providing insights into the negative aspects of fast fashion and why a new

sustainable approach is essential.

2.2 Rationale
Through the aspiration of wanting to understand why the majority of consumers have not

accepted the slow fashion movement and what consumers think about this movement, this

topic has provided an opportunity to further look into this matter and understand other

competitive models such as the fast fashion business model. This research is important as it

present an overview of different approaches for the fashion industry in moving forward and

progressing as a sector. It also outlines consumer perceptions which hold valuable information

as they are a large part to the success of the slow fashion movement. Without sustainable

changes the fashion industry will continue to challenge to face difficulties.

S ECTION F OUR | L ITERATURE R EVIEW

An extensive amount of literature has been examined and analysed regarding the concept of

slow fashion for the basis of this literature review. The reviewed sources of literature expose

numerous theories and opinions on the topics relating to slow fashion. These theories came

from a number of highly credible authors who had previously collected data through surveys

and interviews as well as analysing the concepts brought forward by other authors.

The following literature review will attempt to outline the theory and concept of the slow fashion

movement whilst comparing it with other prominent models such as the fast fashion business

model. The concept of sustainability is closely related to the values of the slow fashion

business model and this will be further outlined by the researcher.

The paper will explore the development of the slow fashion movement within the fashion

industry whilst also looking into new and alternative methods of production. Furthermore, this

review will focus on slow fashion and consumption with reference to consumer perceptions

and ideals of slow fashion and the reasons for its non acceptance by the majority of

mainstream consumers. Consumer understanding and education is also acknowledged as a

key stepping stone for the future growth of this sector.

Slow fashion within the Fashion Industry

The concept and definition of slow fashion is reasonably new within the fashion and textiles

industry and consequently has not been published concisely throughout many sources of

literature. Slow fashion evolved from the ideals of social responsibility and sustainability,

however in its own right slow fashion is not about being slow or having a moderately paced

supply chain. It relates to incorporating and placing emphasis on sustainable processes such

as design planning, production, sourcing and consumer education, Fletcher and Clark (cited

in Pookulangara & Shephard, 2013). Similarly, Clark, (cited in Pookulangara & Shephard,

2013), describes the slow approach as being comprised of three main segments. (1) Placing

value on local economies and resources, (2) transparency in the production system and (3)

creating products with a longer usable life. Congruently, Ro (cited in Kim, Choo & Yoon, 2012)

also outlined the importance of supporting local economies as an effort to encourage the

emergence of the slow fashion movement. Ro, too identified anti-consumption, business

ethics, sustainability and pro-environmentalism as key aspects that would help build the

movement as it is still in its initial stages. Essentially, the principles involved in the production

of slow fashion aim to not exploit natural and human resources through disproportionate

manufacturing, but to change the consumers mindset. It involves a shift from consumers

making inexpensive, regular purchases to purchasing good quality garments on a less

frequent basis. The movement ties in with the idea of sustainability and sustainable

production, Fletcher, (cited in Jung & Jin, 2014).

An alternative manufacturing system has emerged within the industry in recent times that

emphasises a reverse in production logistics and manufacturing, Dissajayake and Sinha

(2015). In a separate piece of literature previously also published by Dissanyake and Sinha

(2012), the duo stated that the fashion industry raises so many ethical issues and challenges

that it contradicts everything that sustainability truly stands for. This sparked the need for a

change in operations and traditional manufacturing ways. The theory of fashion

remanufacturing has recently been introduced and has been recognised as a new business

opportunity and way to operate by sustainable designers. However, like many areas related
to sustainability and slow fashion, this theory is currently only operating on a small niche scale

level, Allwood et al, (cited in Dissajayake & Sinha, 2015). Fashion remanufacturing essentially

is about restoring old, unwanted garments back to a useful and wearable condition. This is

done by upgrading and improving the quality and giving the garment a new lifespan and

existence, Savaskan et al, (cited in Dissanayake & Sinha 2015). The theory of

remanufacturing involves disassembling the used/unwanted garment, inspecting it, cleaning

it, re working any areas for improvement and then reassembling the garment through

sustainable manufacturing process that restore new quality in the garment, Nasr and

Thurnton, Majumder and Groenevelt (cited in Dissanayake & Sinha 2015). The foremost aim

of fashion remanufacturing is to avoid wasting or using new materials are not absolutely

necessary. Which is why such a strong emphasis is put on recycling old materials and

garments to design new products that will be of equal or higher value to that of their original

state. Designers of fashion manufacturing want to achieve an as good as new end product

for consumers, Sung (2015), McDonough and Braungart 2002 (cited in Dissanayake & Sinha

2015). Pedersen, ERG, Gwozdz, W and Hvass, KK (2016) support the belief that new

processes and business model innovations are coming into play within the fashion industry,

they state in their literature that companies are creating entire business models purely to

address and attempt to reverse the negative impacts of the conventional fashion industry.

Pedersen, ERG, Gwozdz, W and Hvass, KK (2016) also draw attention to and praise

companies such as Worn again, From Somewhere and Globe Hope who are already utilising

and implementing fashion remanufacturing and upcycling within their operations.

On a wider scale, particular emerging fashion brands in China (e.g. Livex, Cocoon and Semir)

are utilising a returns policy system within their supply chain. This policy outlines that

companies can return any left over stock that they might have at the end of the season back

to their suppliers, consequently then these suppliers can re sell the stock directly online to

other companies creating a win win situation for all involved, Li, Choi and Chen (cited in Li et

al, 2014). Koplin, (cited in Li et al, 2014), states throughout his literature that this way of
operating directly reduces conflicts of interest between parties involved as everybody is

gaining something from the process. This method of being able to return left over stock to

suppliers and manufacturers to then on sell also reduces pollution and overconsumption.

Koplin, further continues throughout his article that taking social responsibility and improving

sustainable consciousness has become a successful measure of the development of

sustainable strategies for companies and their supply chains.

Fashion Industry and Business Models

The universal rise in globalisation has created a stronger connection than ever before within

the fashion industry between the association of economic performance, environmental

performance and social performance. Companies are realising that operating in a sustainable

manner can act as a competitive weapon and improve business performance. Sustainability

refers to the improvement of garments or goods that enable them to meet the requirements of

one generation without compromising the ability of forthcoming generations, Li et al, (2014).

Likewise, Dolan et al (cited in Ertekin and Atik, 2016) explains the theory of sustainability as

a concept that has the purpose and aim of improving ones quality of life whilst considering

the costs and benefits associated and what the potential impact might be for future generations

alike. In their research, Barnes and Lea Greenwood, (cited in Turker & Altuntas, 2014) single

out the importance of sustainability with the idea that retailers are no longer controlling the

market that they are operating in, it is being controlled by what the consumer is demanding.

With consumers becoming increasingly more aware and interested in what they are

purchasing, Barnes and Lea Greenwood (2006), explain that sustainability could evidently

have a strong influence on operations and consumer impressions.

A model that differs from the principles of slow fashion and sustainability is the fast fashion

business model. The fast fashion retailers approach (e.g. Zara & H&M) is profoundly different

to the method of slow fashion retailers. The fast fashion model revolves around ensuring new

products are reaching the market in the fastest possible timeframe. This allows some retailers
to have the ability to move from the design stage to having the product stocked in stores within

a two-week timeframe Morgan and Birstwistle (cited in Watson & Yan, 2013). Fast fashion is

characterised by emulating fashionable high-end pieces and bringing them to the large

majority of consumers. Seasons and cycles are shorter with reduced lead times and a low

cost pricing strategy, attracting consumers in store on a frequent basis, Sull and Turconi (cited

in Turker & Altuntas, 2014).

In accordance with this model, Bharwaj and Fairhurst (cited in Turker & Altuntas, 2014) draw

consideration to the link between the demand for speed, quantity, size and consumption and

their impact on social responsibility and sustainability. Kim, Choo and Yoon (2012) explain

throughout their literature, that inevitably the model has been encountering problems that

consequently are having profound impacts on human beings and the environment.

Complications are occurring such as water and air pollution, farmland erosion, fair trade

concerns and social and ethical issues that include child labour, sweatshop problems and

social inequalities to name a few. Since the rise of globalisation, textile sourcing, distribution

and manufacturing has shifted to be done predominantly in developing countries. It is

countries such as China, Bangladesh and Turkey who are being exploited the most throughout

this process, European Commission (cited in Turker & Altuntas, 2014).

One of the largest transpiring issues is that fast fashion products are typically only designed

to last one or perhaps two seasons at the most, they are not designed for longevity. Thus

growing consumer awareness is causing backlash against the fast fashion industry with

consumers condemning the trade for producing such large amounts of low quality products

that are promoting excessive consumption and will ultimately end up in landfill, Kim, Choo and

Yoon (2012). With the previously aforementioned notion of fast fashion garments not being

capable of withstanding multiple seasons of wear, Bhardwaj and Fairhurst (cited in

Pookulangara & Shephard, 2013) branded fast fashion as having a reputation as throwaway

fashion.
Slow Fashion and Consumption

Watson and Yan (2013), explain throughout their literature the concept of buyers remorse

which principally is the feeling of regret or guilt that a consumer feels after making a purchase.

It is a particularly common concept felt by many consumers, thus the term buyers remorse

avoidance is referred to as the concept of thinking through purchases carefully and thoroughly

before making a decision, in order to avoid feeling guilty post-purchase. Watson and Yan,

continue further by explaining throughout their literature that consumers who purchase slow

fashion usually experience lower levels of buyers remorse as this type of consumer considers

their purchase and focuses on the concept of quality over quantity. Buyers remorse is usually

avoided in this situation as the consumer knows that they have invested in a high quality items

that will last for years. Supporting this theory, Thorpe, (cited in Fletcher, 2015) concedes that

as consumers are trained to expect to see new items every time they enter a store,

consumption rates and patterns are rising at record levels. People with lower consumption

rates (e.g. slow fashion consumers) will experience greater pleasure from making a purchase,

however generally as people purchase more and more the novelty of buying and spending

wares off and the original emotional pleasure and satisfaction that once occurred is

significantly lessened. Fletcher, (2015) criticised this as a cycle of never ending consumer

satisfaction that is happening within the majority of consumers.

Johansson, (cited in Jung & Jin, 2014), explains that consumers who are interested in

purchasing slow fashion have a strong appreciation for the garments and take the time to hold

onto and look after the garments for the long period of time that they were designed to
withstand. The slow fashion consumer feels the need to identify themselves through their

considered fashion choices rather than following trends and purchasing a new dress every

week. Supporting this notion, LeBlanc, (cited in Jung & Jin, 2014) draws attention to the fact

that many slow fashion designers, design with versatility in mind and multiple different outfits

can usually be created from one garment, meeting the consumers desired for fashion and new

styles yet in a sustainable way. A study conducted in the research by Jung and Jin (2014),

identified that slow fashion consumers feel they have better perceived value when making

purchases as they know they are purchasing a garment that not everyone else will have

authentic craftsmanship and more time spent in the creation of their purchase, giving it more

of an exclusive impression. It is suggested throughout the literature that the slow fashion

model would best suit a small apparel business, however the researchers have not attempted

to conduct any primary research on larger scale businesses (e.g. Zara & H&M) throughout

their literature in order to enable comparisons to be drawn. In a separate piece of literature

published by Jung and Jin (2016), the previously aforementioned theory of perceived value is

supported with their research that concluded a higher level of customer value on slow fashion

will increase a consumers purchase intention for slow fashion products and a higher customer

value on slow fashion will increase a consumers willingness to pay a price premium for slow

fashion products.

Slow fashion is not accepted by the large majority of mainstream fashion consumers. In a

study conducted throughout a report by McNeill and Moore (2015) perceived barriers to slow

and sustainable consumption were identified through in-depth consumer interviews. Most

interviewees when asked, associated slow and sustainable fashion with purchasing goods

from second hand stores and did not engage or think highly of this method. Other negative

perceptions of this style of fashion were that interviewees thought the fabrics would be harsh

(e.g. canvas), unfashionable and perceived these styles to be more expensive. Furthermore,

Ertekin and Atik (2014), also identified a lack of trust in fashion companies and an attitude
behaviour gap on the consumers side (e.g. believing in one thing but doing another) as

barriers.

Paulins and Hillery, (cited in Shen et al, 2012), acknowledge that consumer education on slow

fashion and ethical fashion procedures will help to make them more conscious consumers

and enable better informed purchasing decisions. Further clarifying this belief Dickson, (cited

in Shen et al, 2012), concurs with the opinions of Paulins and Hillery affirming that the more

consumers understand the ethical dimensions of sustainably made products and slow fashion

garments, the more likely they will be to ensure they are purchasing and looking for these type

of products. It is understood from research that many consumers are willing to support and

embrace slow and sustainable fashion, however there is a lack the knowledge required to

make a change Shen et al, (2012). Shen et al, (2012) criticises retailers and emphasises the

need for them to take action and introduce initiatives and sustainable products that are

powerfully marketed and communicate a message to consumers about slow fashion.

As it has been outlined throughout the above literature review, sustainability plays a large role

in the successful emergence of slow fashion within the fashion industry. This literature review

provides a framework and presents ideas for decision makers regarding the sustainability of

their operations, processes and supply chains. It has been established that although there is

not a large amount of literature that has been published regarding the slow fashion movement,

consumer educations are essential in allowing them to make smarter and more informed

purchasing decisions. The more the fashion industry can learn about alternative processes

such as remanufacturing for example the better they can incorporate these into their

operations. Overall it can be indicated that slow fashion is still in its introductory phase, and it

a concept that potentially serves as a way of improving and improving accountability for

companies in the fashion and textiles industry. Slow fashion, as it has been explained is not

about fast time frames and instant outcomes and this is something that innovators for the
movement need to understand, it will take time for this to become a concept that is clearly

understood by the large majority of consumers.