Under de senaste 15 åren har modeindustrin växt och blivit både snabbare och billigare och begreppet fast fashion har etablerats. Fast fashion är en affärsstrategi inom modeindustrin vars mål är att reducera ledtiderna från idé till butik. Strategin syftar till att tillfredsställa kundernas begär av de senaste trenderna på mycket kort tid. Fast fashion branschen kan sägas stå i motsägelse till en hållbar utveckling, då den representerar korta modecykler där kläder tenderar att bli ”slit och släng” varor. Idag går utvecklingen dock mot en ökad medvetenhet i gröna, miljörelaterade frågor vilket har lett till att fler produkter marknadsförs som gröna produkter. En ökad miljömedvetenhet hos konsumenten har skapat ett behov hos företag att kartlägga den gröna konsumenten. Ur ett företag - och marknadsföringsperspektiv är en förståelse för vad den gröna konsumenten eftersöker en förutsättning, då det är ineffektivt att utveckla gröna produkter om inte kunden attraheras av dem.Syftet med uppsatsen är att uppnå en ökad förståelse för modekonsumentens attityder och uppfattningar kring hållbart mode inom fast fashion branschen på den svenska marknaden. Uppsatsen har en kvalitativ utformning och datainsamling har skett genom två fokusgrupper. Den insamlade empirin har analyserats utifrån den teoretiska referensramen. Den behandlar teorier kring konsumentbeteende med inriktning mot fast fashion konsumenten och den gröna konsumenten. Vidare behandlas segmentering med fokus på grön segmentering och slutligen marknadskommunikation med inriktning mot hållbar och grön kommunikation. Resultatet från de undersökta kunderna är tänkta att generera uppslag för fast fashion företag vid utformning och kommunikation av produkter och aktiviteter kopplade till hållbart mode.Vi kan utifrån resultatet från båda fokusgrupperna urskilja en något motsägelsefull hållning till miljömedvetenhet. Det är tveksamt huruvida de undersökta kunderna ser en problematik i klädkonsumtionen kopplat till miljöproblem. Vidare uppvisar de en skepsis gentemot fast fashion företagens hållbara mode då de ifrågasätter trovärdigheten och äktheten. Gällande hur hållbart mode kan kommuniceras kan sägas att intervjupersonerna eftersöker en tydlighet i hur budskapen kommuniceras. En slutsats i uppsatsen är att den höga omsättningen på produkter framkallar ett ”Köp nu”-beteende hos kunden vilket bekräftar fast fashion kunden som till stor del impulsstyrd i sina inköp. Det är inte behovet av att exempelvis köpa en ny jacka som i första hand styr kundens inköp utan snarare att hon köper för köpandets skull. Denna mentalitet hos de undersökta kunderna bekräftar att fast fashion-mode behandlas som ”Slit och släng”-produkter.Två nyckelord som har vuxit fram ur det empiriska materialet är tydligt och konsekvent. Dessa nyckelord måste vara ständigt närvarande för att fast fashion företag ska kunna kommunicera hållbarhet på ett sätt som appellerar till de undersökta kundernas attityder. Sammanfattningsvis kan sägas att om fast fashion företag lyckas kommunicera hållbarhet på ett attraktivt sätt kan vinsterna bli stora. Genom att positionera sig som ett fast fashion företag som erbjuder hållbart mode kan konkurrensfördelar skapas.Over the past 15 years, the fashion industry has grown in size and become both faster and cheaper and the concept of fast fashion has been established. Fast fashion is a business strategy in the fashion industry which is based on reducing lead times from concept to store. The strategy aims to satisfy customer requests of the latest trends in a very short time span. The fast fashion industry is in a way contradicting a sustainable development, as it represents short fashion cycles where clothes tend to be regarded as disposable products. Today however, we are moving towards a greater awareness concerning green, environmental issues which has resulted in more products that are being marketed as green products. This increased environmental awareness among consumers has created a need for companies to identify “the green consumer”. From a business - and marketing perspective, an understanding of what the green consumer is looking for is a pre-condition, since it is inefficient to develop green products unless they are what the customer desires.The purpose of this paper is to obtain a better understanding of the fashion consumer’s attitudes and perceptions on sustainable fashion concerning the fast fashion industry. The thesis has a qualitative design and the data has been collected through two focus groups. The collected empirical data has been analyzed with the theoretical framework in mind. The theoretical framework deals with theories of consumer behavior with emphasis on the fast fashion consumer as well as the green consumer. We also look at market segmentation with emphasis on green segmentation and finally marketing with a focus on sustainable and green communication. The results gathered from the surveyed customers will hopefully generate ideas for fast fashion companies on how to communicate products and activities related to sustainable fashion.Based on the results from the two focus groups we can discern a somewhat contradictory attitude towards environmental awareness in general. Whether the surveyed customers realize that clothing consumption is linked to some environmental problems is rather doubtful. Furthermore, they exhibit skepticism towards the sustainable fashion offered by fast fashion companies as they question the credibility and authenticity. They also express the need of a clearer and more accessible marketing communication concerning sustainable fashion. One conclusion of this paper is that the high turnover of products creates a "Buy Now"-behavior which confirms the fast fashion customer as largely an impulse buyer. It is not the need for say, a new jacket that primarily govern the customer's purchase, but rather that she is buying for buying's sake. This mentality confirms that fast fashion clothing often is treated as disposable products.Two keywords which have emerged from the empirical material are clear and consistent. These keywords should permeate fast fashion companies in their effort to communicate sustainability in a way which appeals to the surveyed customers attitudes. In summary, if fast fashion companies are able to succeed in communicating sustainability in an attractive way, the gains can become significant. By positioning itself as a fast fashion company offering sustainable fashion a competitive advantage is created. / Program: Textilekonomutbildningen

Att modeindustrin har stor inverkan på miljön har varit känt inom industrin sedan decennier och allmänhetens medvetenhet ökar för varje år. I övergången mellan retorik och praktik, där konsumenter allt mer kräver transparens kring faktiska åtgärder snarare än retoriska eller performativa hållbarhetsinitiativ, uppstår ett behov av studier kring hur företag arbetar eller kan arbeta med hållbarhet i praktiken. Tidigare forskning identifierar inköpsfunktionen som en vital funktion för företag att agera hållbart. Inom modeinköp saknas forskning som återger ett helhetsperspektiv på inköparens arbete med gröna inköp. Tidigare forskning menar att inköparens beslut har en direkt påverkan på miljön, dock saknas forskning som undersöker hur stort utrymme inköpare inom modebranschen har att fatta gröna inköpsbeslut. Föreliggande studie syftar till att undersöka vilket utrymme inköparen har att ta beslut som påverkar miljömässig hållbarhet (i sitt företag) samt kartlägga var i inköpsprocessen inköparens miljömässiga hållbarhetspraktiker utförs. Syftet har genererat tre frågeställningar; (I) Vilken agens har inköpare på svenska modeföretag att ta beslut relaterade till miljömässig hållbarhet? (II) Vilka faktorer påverkar inköpares agens att ta hållbara beslut? (III) I vilken/vilka fas(er) av inköpsprocessen har inköpare möjlighet att vidta miljömässiga hållbarhetsåtgärder? Syftet och forskningsfrågorna undersöktes med utgångspunkt i en undersökningsmodellen baserad på en sammanlänkad version av Min och Galles (1997) ramverk för hållbara inköpsstrategier, med tillägg av leverantörshantering, samt van Weeles (2018) modell för inköpsprocessen. Undersökningsmodellen visar de tre huvudsakliga rollerna och aspekterna som påverkar gröna inköpsstrategier, samt att dessa även påverkar varandra. Vidare möjliggjorde modellen kategorisering av miljömässiga hållbarhetsåtgärder vidtagna av inköpare i inköpsprocessen. Studien har genomförts med en kvalitativ datainsamlingsmetod för att besvara forskningsfrågorna och syftet. Det empiriska materialet samlades in genom sju semistrukturerade intervjuer på svenska modeföretag. Åtta informanter med yrkestiteln inköpare eller som verkade inom inköpsfunktionen intervjuades. Intervjuerna återspeglar de miljömässiga hållbarhetsåtgärder som förekommer inom inköpsprocessen för den specifika inköparen. Resultatet går därmed inte att likställa med företagens hållbarhetsarbete inom hela verksamheten. Resultatet och analysen visade att inköpare på de undersökta företagen hade varierande agens som påverkades främst av företagsstorlek. Kartläggningen av inköpsprocessen visade att samtliga hade agens att vidta miljömässiga hållbarhets åtgärder i orderläggningsfasen och sju av åtta hade agens i specifikationsfasen. En minoritet av inköparna kunde vidta åtgärder vid leverantörsval. / The substantial impact the fashion industry has on the environment has been commonly accepted in the industry for decades and public awareness is increasing every year. As consumers are increasingly demanding transparency on outcome from interventions, rather than performative sustainability initiatives, there is now a need for studies focusing on how businesses can work with sustainability in practice. Previous research identifies the purchasing function as a vital component for companies to act sustainably. In fashion purchasing, there is a shortage of research which reflects a holistic perspective on green purchasing. Previous research argues that the decisions buyers make have a direct impact on the environment. However, there is a lack of research that examines what agency buyers in the fashion industry have in order to make green purchasing decisions. The purpose of this study is to investigate to what degree a buyer or purchaser can make decisions which affect environmental sustainability within their company and where in the purchasing process they take place. The purpose has generated the following research questions; (I) What agency do buyers/purchasers in Swedish fashion companies have to make decisions that affect environmental sustainability? (II) Which factors affect the buyers/purchasers agency to make sustainable decisions? (III) In which phase/phases of the purchasing process is there a possibility for a buyer/purchaser to make sustainable decisions? The purpose and the research questions were studied with support from an analytical framework based on a combination of the Min and Galle (1997) framework for sustainable purchasing strategies, with an addition of supplier management, and van Weele´s (2018) purchasing process model. The analytical framework shows the three main roles and aspects that affect green purchasing strategies, and how they affect each other. Furthermore the analytical framework facilitated the categorization of environmentally sustainable actions taken by the buyer/purchaser in the purchasing process. The study has been conducted using qualitative data to answer the research questions and the purpose. Empirical material was collected from seven semi-constructed interviews with employees at swedish fashion companies, whose job title included ‘purchaser’ or were working within the purchasing function of the company. The interviews reflect the environmentally sustainable measures taken in the purchasing process by the individual. The result can thus not be equated with the companies' overall sustainability work. Analysis of the data showed that purchasers working at the investigated companies had varying agency to make environmentally sustainable decisions, which was mainly explained by the company size. The mapping of the purchasing process showed that all of the purchasers within the investigated companies had agency to make environmentally sustainable decisions within the ordering phase and seven out of eight had agency in the specification phase. A minority of the purchasers could make environmentally sustainable decisions in the supplier selection phase.

Fashion democratization over the last few decades made fashion products available at lower costs to everyone in society. It alarmingly increased consumption, leaving drastic impacts on the world's sustainability both on the social and environmental fronts, thereby leading to water and land pollution, dangerous working conditions, sweatshops, wage exploitation, and gender discrimination. Our study, therefore, sheds some light on addressing this core problem of fashion sustainability by focusing on the problem from the consumers’ perspectives because researchers conclude that consumers hold power to mitigate this issue to a greater extent by becoming sustainable. However, in many cases, consumers show the attitude-behavior gap when it comes to consuming sustainable fashion. The area of actual sustainable fashion consumers is also under-researched. Therefore, we conducted our research in this area and used qualitative methods for it. We identified a small group of 16 sustainable transitional fashion consumers who have started their sustainable fashion consumption journey. We performed an inductive process study of these transitional consumers' journeys and developed a Conceptual ‘Consumer Journey Map’ from unsustainability towards sustainability. We used semi-structured interviews for data collection. By studying their entire process of transition, we identified a number of constraints that retained them from making the transition towards sustainable fashion consumption, such as Social Influence, Trend and Newness, Unaesthetic Appearance and Lack of Variety, Lacking Sizes and Fitting, Low price, and Lower Income, Lack of Knowledge and Information and Greenwashing by the brands. However, the enablers that pushed them to become sustainable were Influence from Sustainable social circles, Tangible Experiences, Quality and Longevity, and Feelings of guilt and remorse which are presented in ourconceptual ‘C-E Framework.' Our research also identified conceptual ‘Levels of Sustainability,’ where consumers reuse or reduceor reject to pass Level one. To reach Level two, a consumer has to begin combining any two of these behaviors. However, to reach the final Level X, a consumer needs to reuse, reduce, and reject simultaneously. A consumer passes through these different levels from being a ‘self’ consumer to be a ‘social’ one and finally converting into a ‘sacrifice’ consumer in their journey.

This diploma thesis deals with the critical mapping of British fashion designer Vivienne Westwood with a focus on the relationship between her activist actions and branding. The goal of this thesis is to analyse discourse practice and uncover the meaning behind creating Westwood's media image. Westwood is actively involved in political, social and environmental matters. She's known for her critical stance towards the establishment, consumer society as well as economic system. She stood at the beginning of punk and helped to define its visual identity. She belongs amongst known sustainable fashion advocates which reflects her famous quote 'buy less, choose well, make it last'. On the other hand, she built a global fashion brand with annual turnover of more than 40.7 million pounds in 2017 and she herself became the subject of criticism because of this contradiction towards her own actions. Some critics pointed out that she urges the public to consume less but owns a global network of stores under her name at the same time. From a methodological point of view the thesis is based on qualitative research, specifically on critical discourse analysis whose mechanisms help to uncover power relationships and put this issue into a broader context.

The environmental organisation F/ACT Movement started as a reaction to the unsustainable business that the fashion industry represents. Their ambition is to change the fashion industry and give it a sustainable direction. They intend to accomplish this in collaboration with counties, universities and companies - but their prime audience is the consumers. The purpose of this essay was to study how F/ACT Movement engages their audience on social media around the subject sustainable fashion. In addition I aimed to examine how it can help them shape a strong community and long term public relationships. To attain the purpose of this study the theoretical framework includes theories of sustainability, consumption behavior and multimodal critical discourse analysis (MCDA). MCDA helped me analyze how F/ACT Movements structures language and visual text to engage the followers. Furthermore I added theories of social identity, communities on digital platforms and public relations. The method used in this essay was a multimodal discourse analysis, which intent is to study the meaning of how language and visual texts are constructed. Eight Instagram posts were studied and several patterns were found in the analysis. The results showed that F/ACT Movement engage their followers by using both a strong and confident language as well as visual symbols that benefits fashion as a sustainable lifestyle. Moreover they present sustainable facts and solutions which support the ideology of how a green lifestyle and consumption behavior can create a sustainable future. The results also showed that F/ACT Movement combines several different discourses in a complex way, which indicates that their vision is to contribute with a change on a social and cultural scale. Finally the results showed that F/ACT Movement values the dialog, community and relationship with their followers deeply. By inviting their followers to be a part of the group identity “sustainable consumers” they create a strong community. Furthermore they are communicating with an audience who already has knowledge and a high interest in sustainable fashion, which gives them a beneficial position to build strong public relations. In conclusion the study shows that F/ACT Movement uses a strong but friendly approach as a strategy to make the fashion industry a sustainable business.

The fast fashion industry has a large negative impact on the environment and its workers. Consumers purchasing fast fashion are reinforcing the dominant social paradigm, the assumption that humans are superior and the Earth’s resources unlimited. Even though customers are reconsidering their fashion consumer behavior, they often fall back to making unsustainable choices. Research has shown that communication strengthens ethical consumption and supports reducing the attitude-behavior gap. This study proposes that sustainable communication encourages fashion customers to reason with themselves in a way their behavior evolves to be more sustainable. The aim is to investigate customers’ reception and interaction with sustainable communication using the example of the ethical fashion brand Nudie Jeans. Based on the theories of the attitude-behavior gap and sustainable communication, semi-structured in-depth interviews with Nudie Jeans customers were conducted. The analysis of the interview responses demonstrates the initial presence of an attitude-behavior gap and low awareness of sustainable communication among customers. The research indicates that after customers have developed an awareness of sustainable concerns in the fashion industry, a fashion brand can succeed in encouraging customers to adjust predominant consumption patterns towards more ethical ones. On this basis, it is recommended that ethical fashion brands continuously use transparent sustainable communication to educate consumers about the environmental and social maladministration in the fashion industry.

El presente trabajo de investigación tiene como objetivo principal conocer la percepción de los diseñadores de moda millennials limeños sobre el uso del pelaje canino como una fibra textil sostenible en la ciudad de Lima. El diseño de la investigación tiene un enfoque cualitativo, fenomenológico. La información obtenida fue a base de investigaciones similares. Algunos de los conceptos ha trabajar serán moda sostenible, fibra textil sostenible, pelaje animal y los diseñadores millennials. Asimismo, se investigará sobre la historia y definición de cada una de las definiciones de manera general y aplicada en la moda para poder determinar la aceptación del pelaje canino como una fibra textil sostenible en la industria textil en la ciudad de Lima Metropolitana. Finalmente, se considera que la investigación tiene como finalidad motivar a otros estudiantes a trabajar con materiales sostenibles para reducir el consumo de materia prima animal de manera desmesurada. / The main objective of this research is to know the perception of millennials fashion designers from Lima about the use of dog fur as a sustainable textile fiber in the city of Lima. The research design has a qualitative, phenomenological approach. The information obtained was based on similar research and in-depth interviews. Some of the concepts to work on will be sustainable fashion, sustainable textile fiber, animal fur and millennial designers. Likewise, this research will have the history and definition of each of the concepts will be investigated in a general and applied way in fashion in order to determine the acceptance of canine fur as a sustainable textile fiber in the textile industry in the city of Metropolitan Lima. Finally, it is considered that the research aims to motivate other students to work with sustainable materials to reduce the consumption of animal fur material in an excessive way.

El presente trabajo de investigación abarca distintos temas relacionados a cómo se llevará a cabo la formulación e implementación de la marca de moda sostenible, Berthana, que ofrece prendas de vestir exclusivas y elaboradas en base a materiales ecoamigables como el poliéster reciclado y el algodón orgánico en el mercado de Lima, Perú. El objetivo de este proyecto es presentar un modelo de negocio rentable que ofrezca a posibles inversionistas un plan de negocio sostenible. El trabajo de investigación comenzó con el proceso de ideación del proyecto, donde se describe el modelo de negocio. Luego, se realizó la validación del problema a través del desarrollo de experimentos. Posteriormente, se definió los segmentos de clientes, así como el tamaño de mercado frente a la solución propuesta. Después, se realizó el diseño y desarrollo del plan concierge que permitió elaborar la proyección de ventas, junto a otras variables, para los tres años que dura el proyecto. Con base en los resultados proyectados, se elaboró el Plan Estratégico, Plan de Operaciones, Plan de Recursos Humanos, Plan de Marketing y Plan de Responsabilidad Social Empresarial para el proyecto. Finalmente, la elaboración del Plan Financiero permitió conocer la factibilidad del proyecto a través del reconocimiento de las ventas proyectadas, inversión, costos, gastos y capital de trabajo. Fue fundamental, además, el apoyo en diferentes indicadores financieros y ratios para medir la efectividad de la administración de la empresa, para controlar los costos y gastos y, de esta manera, convertir ventas en ganancias para los accionistas. / This research work covers different topics related to how the formulation and implementation of the sustainable fashion brand, Berthana, will be carried out, offering exclusive clothing made from eco-friendly materials such as recycled polyester and organic cotton in Lima, Peru. The objective of this project is to present a profitable business model that offers to potential investors a sustainable business plan. The research work began with the project ideation process, where the business model was described. Then, the validation of the problem was carried out through the development of experiments. Subsequently, the customer segments were defined, as well as the size of the market compared to the proposed solution. Then it was made the design and development of the janitor plan that analyzed the preparation of sales projections, along with other variables, for the three years that the project lasts. Based on the projected results, it was prepared the Strategic Plan, Operations Plan, Human Resources Plan, Marketing Plan and Corporate Social Responsibility Plan for the project. Finally, the preparation of the Financial Plan would detect the feasibility of the project through the recognition of projected sales, investment, costs, expenses and working capital. In addition, we rely on different financial indicators and ratios to measure the transformation of the company's administration, to control costs and expenses and, in this way, convert sales into profits for shareholders. / Trabajo de investigación

As the world becomes increasingly aware of the need to better care for the environment, innovative business models are helping to counter the damage of the fast fashion system - a phenomenon in the fashion industry whereby production processes are expedited in order to get new trends to the market as quickly and cheaply as possible. Designing products with a focus on their renewability can shift the product-consumer relationship. The closed loop concept of a “circular economy” is emerging as a viable and promising solution to the current linear business model. This study explores the possibilities of a more mindful approach to systems of production and consumption through material explorations using plastic from water bottles, paper from old newspaper and magazines, and fabric leftovers from pattern making within a circular economy. It considers the generative and renewable approaches in redefining how fashion engages with the components and raw materials of the industry. The research demonstrates a circular approach to the production of hospitality accessories in an effort to develop new intersections between products, materials, and consumers. The accessories are designed using discarded, reformulated denim–an abundant and underutilized byproduct of the fashion industry­–to reduce waste that currently occurs every time hotel chains and airlines produce disposable giveaway products from new materials.

Ce mémoire explore les productions et les articulations des appartenances au mouvement Slow Fashion sur Twitter. En réaction au modèle actuel prédominant du Fast Fashion, basé sur une surproduction et une surconsommation des vêtements, le Slow Fashion sensibilise les différents acteurs du secteur de la mode à avoir une vision plus consciente des impacts de leurs pratiques sur les travailleurs, les communautés et les écosystèmes (Fletcher, 2007) et propose une décélération des cycles de production et de consommation des vêtements. L’enjeu de cette recherche est de montrer que le Slow Fashion se dessine notamment à travers les relations entres les différents acteurs sur Twitter et que l'ensemble de ces interactions prend la forme d'un rhizome, c’est-à-dire d’un système dans lequel les éléments qui le composent ne suivent aucune arborescence, aucune hiérarchie et n’émanent pas d’un seul point d’origine. (Deleuze & Guattari, 1976) Sur Twitter, les appartenances au Slow Fashion font surface, se connectent les unes aux autres par des liens de nature différente. Consommateurs, designers, entreprises, journalistes, etc., ces parties prenantes construisent collectivement le Slow Fashion comme mouvement alternatif à la mode mainstream actuelle. Mon cadre théorique s’est construit grâce à une analyse de la littérature des concepts de mode, d’identité et d’appartenance afin de mieux appréhender le contexte dans lequel le mouvement a émergé. Puis, j’ai également réalisé une étude exploratoire netnographique sur Twitter au cours de laquelle j’ai observé, tout en y participant, les interactions sur la plateforme abordant le Slow Fashion et/ou la mode éthique. Publiée sur ce blogue (http://belongingtoslowfashion.blogspot.ca), cette « creative presentation of research » (Chapman & Sawchuk, 2012) ne constitue pas une histoire présentant les prétendues origines de ce mouvement mais plutôt une photographie partielle à un certain moment du Slow Fashion. Construite tel un rhizome, elle n’a ni début, ni fin, ni hiérarchie. J’invite alors les lectrices/lecteurs à choisir n’importe quelle entrée et à délaisser toute logique linéaire et déductive. Cette exploration sera guidée par des liens hypertextes ou des annotations qui tisseront des connexions avec d’autres parties ou feront émerger d’autres questionnements. Il s’agit d’offrir une introduction aux enjeux que pose le Slow Fashion, d’ouvrir la voie à d’autres recherches et d’autres réflexions, ou encore de sensibiliser sur ce sujet. / This research explores the productions and the articulations of belonging to Slow Fashion on Twitter. In reaction to the current model of the garments fashion industry, the Fast Fashion, based on overproduction and overconsumption, Slow Fashion aims at raising awareness of the actors of the fashion industry concerning the impacts of their practices on workers, communities, ecosystems (Fletcher, 2007) and suggests a deceleration of clothing production and consumption cycles. The aim of this research is to show how the relationships between the participants are surfacing on Twitter and how those interactions are organized as a rhizome ; a assemblage where elements and components don’t follow a tree-like hierarchy or linearity and don’t emanate from a single point of origin. (Deleuze & Guattari, 1976) On Twitter, Slow Fashion belongings emerge and connect to each other through different kind of links. Consumers, designers, companies, journalists, etc., collectively build the Slow Fashion as an alternative movement to the current hegemonic fashion model. My theoretical framework is based on a litterature analysis which explores the concepts of fashion, identity, and belonging in order to contextualize the emergece of Slow Fashion. I also conducted an exploratory netnographic study on Twitter : I observed and participated in interactions addressing Slow Fashion and/or ethical Fashion. The « creative presentation of research » (Chapman & Sawchuk, 2012) published in this blog (http://belongingtoslowfashion.blogspot.ca) does not propose a history of the Slow Fashion and its origins. Rather, it offers a partial picture of a certain moment of the movement. Build as a rhizome, this research has no beginning, no ending, no hierarchy. I invite readers to start by any entry point and to abandon any kind of deductive or linear logic. This exploration will be guided by hyperlinks or annotations that will connect to other parts or that will make emerge other questionings. It offers an introduction to the challenges of Slow Fashion, it opens the way for further research, other reflexions and the issues it raises.