The aim of this project is to design and craft sustainable fabrics according to slow fashion principles. Furthermore the intention is to develop these fabrics, to make them exciting and congenial for use as trouser fabric for skateboarders.

[pt] O objetivo deste trabalho foi o desenvolvimento de um produto a partir dos resíduos têxteis de confecção, em especial do tecido de viscose. O propósito do estudo é mostrar uma forma de reutilização de resíduos da confecção visando reduzir o tempo de descarte desse material. O trabalho buscou trazer uma alternativa que possibilitasse dar outra origem que não o descarte puro de restos de panos da confecção, produzindo papel tecido que será utilizado na própria confecção, como tags e caixas. Essa substituição pode levar à menor utilização de materiais de embalagens e diminuir a quantidade de lixo produzido em toda a cadeia de comercialização de roupas. O esforço desse estudo foi propor uma forma de reduzir a agressividade e a velocidade que os resíduos têxteis são gerados. Foi desenvolvido um produto a partir do resíduo da viscose como matéria prima, transformando lixo em papel de tecido fabricado a partir da releitura da técnica chinesa do século II d.C. a qual triturava trapos e galhos, levando a criação de produtos para uso papeleiro e com características próprias como cor de origem dos retalhos, boa maleabilidade, qualidade entre outros. Também foi realizada uma pesquisa sobre o potencial de decomposição desse papel de viscose no meio ambiente e como seria o seu processo de decomposição em diferentes tipos de superfície. Foi observado que os papéis de tecido se decompõem rapidamente, demonstrando inclusive melhor perda de material em comparação as tags comuns de papel produzidos pelas gráficas em geral. / [en] The objective of this work was the development of a product from textile waste, especially from viscose fabric. The purpose of the study is to show a way of reusing manufacturing waste in order to reduce the disposal time of this material. The work sought to bring an alternative that would make it possible to give another origin than the pure disposal of cloth leftovers from the confection, producing tissue paper that will be used in the confection itself, such as tags and boxes. This substitution can lead to less use of packaging materials and reduce the amount of waste produced throughout the clothing marketing chain. The effort of this study was to propose a way to reduce the aggressiveness and the speed at which textile waste is generated. A product was developed from viscose residue as a raw material, transforming waste into tissue paper made from the reinterpretation of the Chinese technique of the 2nd century AD. which shredded rags and twigs, leading to the creation of products for paper making and with their own characteristics such as the original colour of the patchwork, good malleability, quality, among others. Research was also carried out on the decomposition potential of this viscose paper in the environment and how its decomposition process would be on different types of surfaces. It was observed that tissue papers decompose quickly, even demonstrating better material loss compared to common paper tags produced by printers in general.

The fashion system has increasingly been imbued by ecology and sustainability. While in the recent years a lot on approaches to more sustainable consumption behaviour from the con- sumers’ side have been suggested, this study focuses on the very practice of how sustainabil- ity - in an applied matter - is realised within a fashion company. In this dissertation, two Swe- dish fashion brands, Nudie Jeans co and Filippa K, are being investigated and analysed due to their brand philosophies and concepts dealing with sustainability. If Nudie Jeans co’s first all- organic denim collection launched in Autumn 2012 or Filippa K’s emphasis to the longevity of clothing by classic shapes and plain colours; both ideas foster a slow fashion movement. One of this thesis’ implications is the fact, that the term sustainability is much more far- reaching and expansive as commonly defined. Also timelessness and tradition could be sus- tainable, if still taking care of environment and society. Finally, concepts of sustainability which are commonly not highlighted shall be identified and fill the yet existing gap.

No description available.

Purpose: The purpose of this thesis is to expand knowledge of slow fashion brand customer by creating a persona that communicates the characteristics and aspects that influence purchase decisions of slow fashion consumers. Method: Since slow fashion consumer concept is still rather unexplored area, qualitative research strategy approach was chosen for this thesis, to get more deep data about the slow fashion consumer profile and buying insights. To address the research questions, single case study was used. The data was gathered through semi-structured interviews that were conducted with five female slow fashion consumers who had recently made a purchase from a Swedish slow fashion brand MASKA’s online store. To analyse the data, a coding approach was used. As a result of the coding process, themes that described the slow fashion consumer’s profile and buying insights emerged and were used later to create a narrative of the slow fashion buyer persona. Conclusion: In order to expand knowledge of slow fashion brand customer, a persona that communicates the characteristics and aspects that influence purchase decisions of slow fashion buyer was developed with this study. To answer the research questions and develop persona, five female slow fashion brand buyers were interviewed. Answering the research questions provided 8 different themes that emerged from the interview transcripts and made up slow fashion brandbuyer persona, which fulfilled the purpose. The emerged themes were describing who slow fashion brand buyer persona is: 1) creative mind; 2) globetrotter and explorer; 3) fond of nature, and themes that described what influences the slow fashion buyer: 4) consciousness; 5) quality over quantity; 6) shoppers of small boutiques; 7) trust; 8) esthetics. This study did not come to a firm conclusion, but rather aimed to provide more in-depth knowledge about slow fashion brand buyer and point out implications to further study the slow fashion consumer.

Background: The slow fashion industry arose as a contraposition to the unsustainable ways of fast fashion, and emphasizes attentive consumption and production. It is characterized by four characteristics - transparency, quality, localism and exclusivity – each described with valuable traits in previous studies. However, current marketing efforts of slow fashion are focused only on two transparency aspects; sustainability and ethics, although previous studies show that these have no influence on consumers consumption choices. Therefore, this study aims to explore which aspects within these four characteristics that are perceived as valuable by consumers, so that a value package model for the consumer perceived valuable aspects of slow fashion can be developed. Purpose: The purpose of this thesis is to develop a new value package model that presents the consumer perceived valuable aspects of slow fashion. Methodology: This exploratory qualitative study was conducted through nine semi-structured interviews with Swedish fashion consumers between the age of 18-26. The participants were selected through convenience sampling, and the interviews resulted in 91 pages of collected data. The data was then analyzed with the help of thematic coding. The findings derived from the study was then used to develop a new value package model; presenting the consumer perceived valuable aspects of slow fashion. Findings: There were six consumer perceived value aspects of slow fashion. These were, in order of highest influence to lowest; classical style, product personality, durability, limited production, security and knowledge. Conclusion: This study contributes with the theoretical implication of a new proposed value package model that displays the customer perceived value aspects of slow fashion. In addition, it provides managerial implications that may help marketers and companies to streamline their marketing efforts of slow fashion.

Som en reaktion mot fast fashion-rörelsen och de oansvariga konsumtionsmönster som den medför har slow fashion uppstått som ett mer hållbart alternativ i modebranschen. Slow fashion beskrivs ofta som mode av hög kvalitet med en tidlös design vars syfte är att sakta ner flödena och minska konsumtionen. Tidigare studier beskriver slow fashion som koncept och några incitament och barriärer för att arbeta med slow fashion. Dock saknas en konkret definition av slow fashion-affärsmodellen och dess ingående komponenter. Det finns också ett gap mellan teorin och den praktiska tillämpningen av slow fashion-affärsmodellen, vilket gör detta till ett intressant perspektiv att undersöka. Därför är syftet med denna studie att bidra med ökad förståelse kring möjligheterna med slow fashion-affärsmodellen för modeföretag. Slow fashion-affärsmodellen definieras baserat på tidigare litteratur om affärsmodeller och slow fashion-konceptet. Detta presenteras som en modell med fyra komponenter: värdeerbjudande, värdeskapande, värdeleverans och värdelogik. Jämförelsen mellan denna definition och affärsmodellerna för sju modeföretag visar att det finns många möjligheter kopplade till slow fashion-värdeerbjudandet. I vilken utsträckning de andra komponenterna i slow fashion tillämpas i praktiken beror på företagets målgrupp, ägarstruktur och hur hållbarhet är förankrat i organisationen. När det gäller intressentperspektivet på slow fashion-affärsmodellen visar studien att myndigheter och beslutsfattare har störst möjligheter att möjliggöra slow fashion-affärsmodellen, genom att påverka både modeindustrin och konsumenterna. På grund av aktieägarnas inflytande över modeföretagens långsiktiga strategi kan de vara en drivkraft om hållbarhet prioriteras av dem. Andra intressenter kan agera som möjliggörare för tillämpningen av slow fashion-komponenter på grund av sitt potentiella intresse för hållbarhet och minskad konsumtion.Studiens syfte besvaras med följande propositioner: Proposition 1: Det finns en marknad för slow fashion-värdeerbjudandet men det saknas incitament för att tillämpa affärsmodellen fullt ut. Proposition 2: Konkurrenskraften i slow fashion-affärsmodellen ligger i värdeerbjudandet, inte i priset. Proposition 3: En styrka i slow fashion-affärsmodellen är dess lönsamhetspotential, vilket kan gynna ägare och investerare. Sammanfattningsvis visar studien att det finns potential när det gäller efterfrågan, konkurrenskraft och lönsamhet i slow fashion-affärsmodellen. Det finns dock begränsade incitament för modeföretag att tillämpa alla komponenter i affärsmodellen i sin verksamhet. Det finns också indikationer på att efterfrågan på mer långvariga kläder kan öka i framtiden. För tillfället verkar dock behovet av variation fortsätta vara starkt. / As a reaction to the fast fashion movement and the irresponsible consumption patterns derived from it, slow fashion has emerged as a more sustainable option in the fashion industry. Slow fashion is often described as fashion of high quality with a timeless design that aims to slow down the product flows and reduce consumption. Although previous studies describe slow fashion as a concept and some of its general incentives and barriers, a concrete definition of the slow fashion business model and its components is missing. There is also a gap between the theoretical and practical application of the slow fashion business model. The practical application is greatly influenced by different stakeholders in the fashion industry, which makes it an interesting perspective to study. Therefore, the aim of this study is to provide a deeper understanding of the possibilities with the slow fashion business model for fashion companies. The slow fashion business model is defined based on previous literature on business models and the slow fashion concept. This is presented in a model of four components: value proposition, value creation, value delivery, and value logic. The comparison between this definition and the business models of seven fashion companies, shows that there are many possibilities connected to the slow fashion value proposition. The extent to which the other slow fashion components are applied in practice depends on the company’s target customers, owner structure and how sustainability is embedded in the organization. Regarding the stakeholder perspective on the slow fashion business model, the study shows that public authorities and regulators have the largest possibilities to enable the slow fashion business model by influencing both the fashion industry and consumers. Due to the shareholders’ say in the long-term strategy of fashion companies, they could be a driving force if sustainability is prioritized among them. Other stakeholders could act as enablers to the application of slow fashion components, because of their potential interest in sustainability and reduced consumption. The aim of this study is answered with the following propositions: Proposition 1: There is a market for the slow fashion value proposition but incentives for full application of the business model are missing. Proposition 2: The competitiveness of the slow fashion business model lies in the value proposition, not the price. Proposition 3: A strength in the slow fashion business model is its potential for profitability, which can benefit shareholders and investors. In conclusion, the study shows that there is potential regarding demand, competitiveness and profitability in the slow fashion business model. However, there are limited incentives for fashion companies to apply all of the components in their operations. Also, there are indications that the demand for more long-lasting clothing might increase in the future. At the time, however, it seems the need for variation will continue to be strong.

Syfte: Studiens syfte är att undersöka hur svenska modeföretag arbetar med transparens av sin värdekedja för att kommunicera de sociala- och miljömässiga avtryck som verksamheten medför. Studiens resultat kan förhoppningsvis bidra till ökad kunskap om hur trovärdighet och tydlighet kan uppnås/användas för att förbättra kommunikationen från företag till konsument. Metod: Studien har en kvalitativ metod med en deduktiv ansats. Semistrukturerade intervjuer har utförts för insamling av empiri. Intervjuguiden har baserats på de definierade centrala begreppen utifrån studiens forskningsfrågor som innehåller begreppen transparens, värdekedja, kommunikation, ansvar och framtid. Resultat: Samtliga företag i studien strävar efter transparens i hela sin värdekedja, vilket omfattar fibertillverkning, tygtillverkning, produktion, färgning och transporter. Genom webbplatser, hållbarhetsrapporter, certifieringar och sociala medier kommunicerar företagen transparens till slutkonsument. Samtliga företag i studien anser att det är nödvändigt att skapa förändring och förbättra delar av sin värdekedja för att bidra till en mer hållbar framtid. Även att kommunicera mer till slutkund angående cirkulariteten hos en modeprodukt och hur företagen i studien kan samarbeta med andra företag för att bygga en bättre och mer hållbar framtid. Relevans: Studien bidrar med relevanta utgångspunkter för hur företag bör arbeta med transparens av sin värdekedja för att bidra till en så hållbar textilbransch som möjligt. Relevansen förstärks då studien ligger rätt i tiden med med konstanta förändringar för hållbarhet inom textilbranschen och där transparens är grundstenen. / Purpose: The aim of the study is to look into how Swedish fashion firms use transparency throughout their value chain to explain and communicate the social and environmental impact of their activities. The result of the study can help to increase knowledge about how to develop trustworthiness and reliability in order to improve business-to-consumer communication. Method: The study has a qualitative method with a deductive approach based on semi-structured interviews that have been conducted for collecting the empirical data. The interview guide is based on the study's research questions' stated keywords, which include topics like transparency, value chain, communication, responsibility, and the future. Findings and conclusion: All five companies strive for transparency across their value chain, which includes fiber production, fabric manufacture, production, dyeing and transportation. Through websites, sustainability reports, certifications and social media, the companies communicate transparency to the end consumer. All businesses believe that changing and improving sections of their value chain is necessary to contribute to a more sustainable future. Also, communicate with their end customers more about the circularity of a fashion product and how to collaborate with other companies to build a better future and be more sustainable. Relevance: The study contributes relevant points on how companies should work with transparency within their value chain in order to contribute towards a more sustainable textile industry. The study's relevance is enhanced by the fact that it is timely, given the ongoing changes in the textile industry and transparency is a central part for that development.

Att arbeta med miljö och hållbarhet blir allt vanligare inom modesektorn. Samtidigt ställs höga krav på hastighet inom textil- och klädindustrin som pressas till att leverera trendiga, prisvärda plagg i stora volymer så snabbt och effektivt som möjligt på marknaden. Det leder ibland till överproduktion och negativ miljöpåverkan. Hur kan då den så kallade fast fashion-industrin och den mer hållbara modeindustrin samverka så att fast fashion-företag ska kunna nå en mer hållbar affärsmodell? Begreppet kollaborativ konsumtion förekommer allt oftare, vilket innebär en delad ekonomi där konsumenter får tillgång till varor utan att själva äga dem. Det leder till att överkonsumtionen av varor i samhället minskar och istället främjas den hållbara utvecklingen. Uthyrning som ett alternativ till försäljning är förekommande inom modesektorn, både som ett alternativ till den traditionella försäljningen, men även som ett substitut. Dock är det idag inte lika förekommande med uthyrning av fast fashion-kläder, detta anses därför vara ett intressant ämne att undersöka. Studiens syfte är att undersöka möjligheterna att införa uthyrning av kläder i kombination med traditionell försäljning i fast fashion-företaget Gina Tricot och därefter föreslå en möjlig affärsmodell. Studien grundas i affärsmodellen Busines model generation baserat på nio byggstenar, insamlat material i form av intervjuer och webbaserat material från tre företag. Gina Tricot representerar ett fast fashion-företag, Houdini ett livsstilsföretag med uthyrning som ett alternativ till försäljning samt Klädoteket som representerar ett hyrbaserat företag. De tre företagens affärsmodeller har jämförts med varandra samt analyserats med tidigare studier för att slutligen i en analys och diskussion besvara studiens syfte. Sammantaget har studien kunnat visa hur fast fashion-företaget Gina Tricot kan införliva det allt mer aktuella fenomenet, kollaborativ konsumtion i en ny affärsmodell. Vid ett eventuellt införande av Gina Tricot´s nya koncept kläduthyrning, kan företaget behöva förändra framförallt sex av de nio byggstenarna ur affärsmodellen Business model generation. Genom nya värdeerbjudanden, fler marknadsföringskanaler och bättre kundrelationer med utbildad butikspersonal inom hållbar konsumtion, har den nya affärsmodellen stor potential att lyckas då Gina Tricot har de ekonomiska och mänskliga förutsättningarna. Frågan ställs där emot om Gina Tricot´s fast fashion-kläder verkligen håller den kvalitet som krävs för uthyrning i det nya och mer hållbara konceptet, Fast Fashion 2.0.

Individual’s existential ambivalence has according to Jacques Derrida, one of the foremost proponents of post-structuralism, led to a continuous demand for structure (Cooper, 1989). Categories, used as structural tools, are however often hierarchically organized, where one category is more preferable than the other, also referred to as binary oppositions. Alternative categories and/ or references will appear when adopting a deconstruction process, which is crucial in order to invoke change and development (Cooper, 1989; Markkula et al., 2011; Marion, 2006). The aim of present research is trying to identify if Derrida’s theory of undecidable transfer of features (Agger, 1991; Cooper, 1989; Livingston, 2010; Bates, 2005) is applicable in fashion, more specifically fast- and slow fashion, and if the two categories are susceptible to a merge. Deconstructionism and Derrida’s theory of undecidable was furthermore applied as the theoretical framework throughout the study. Present research has been executed with an interpretive methodological approach and through a poststructural epistemological outlook (Hudson & Ozanne, 1988; Eriksson & Kovalainen, 2016). Data was derived through two focus group interviews, involving seven informants at a time, with Autodriving as a visual research tool (Heisley & Levy, 1991) and open-ended questions as a complementing instrument (Eriksson & Kovalainen, 2016). A thematic analysis was furthermore applied when revisiting the data and analysing its content. The findings finally suggest that a merge between fast- and slow fashion is executable, which furthermore also legitimises Derrida’s theory of undecidability. This study has however only begun the deconstruction process and does therefore encourage future researchers to continue investigating the theory of undecidability (Agger, 1991; Cooper, 1989; Livingston, 2010; Bates, 2005) not only in fashion, but also within other institutions.