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.

Bakgrund: I takt med konsumenternas stigande intresse för hållbara modeprodukter har den gröna marknadsföringen från fast fashion-företag ökat. Eftersom det finns uppfattningar om att modeindustrin inte relateras till hållbarhet kan modeföretags försök att nå ut tillkonsumenterna via sin gröna kommunikation uppfattas på ett felaktigt sätt. I vissa fall ser även företag en fördel med att främja gröna produkter som en försäljningsstrategi, vilket skapar en förvirring hos mottagaren. Konsumenter har därför svårt att avgöra när ett budskap är tillförlitligt. Syfte: Syftet är att undersöka hur konsumenter tolkar fast fashion-företags grönamodeannonser ur ett kognitivt och affektivt perspektiv. Målet är därigenom att genererakunskap om hur modeföretag kan gå tillväga för att utforma gröna annonser och få fram sitthållbarhetsbudskap på ett effektivt sätt. Detta genom att utgå från konsumentens synvinkel och granska hur konsumenters tillit påverkas av informationen som kommuniceras i en grönmodeannons, deras kunskap om hållbart mode, tidigare uppfattningar om modeföretag samt hur känslor påverkar mottagarens tolkning av budskapets trovärdighet. Frågeställningar: Hur tolkar konsumenter gröna modeannonser? Hur påverkas konsumentens tillit av informationen som kommuniceras i grönamodeannonser, kunskap om hållbart mode samt tidigare uppfattningar om modeföretag? Hur påverkar den känsla konsumenten får i samband med gröna modeannonser tilliten? Metod: För att besvara frågeställningarna tillämpades en kvalitativ forskningsmetod. Medanledning av att det eftersöktes en djupare förståelse för konsumenters känslor för och tolkningar av de valda modeföretagens, H&M:s, Gina Tricots och Lindexs, gröna annonser genomfördes semistrukturerade intervjuer med elva utvalda kvinnor från Sverige. Därefter transkriberades intervjuerna och fyra huvudteman urskildes. Slutsats: Studiens resultat visar att om en grön modeannons har en typisk “modekänsla” genererade det en lösare koppling till hållbarhet och blir mindre trovärdig. Grönamodeannonser som framhåller “naturliga” aspekter framkallar en ökad känsla av tillit. När konsumenter har en positiv tidigare uppfattning om företaget blir den gröna modeannonsen mer trovärdig, om det existerar en negativ uppfattning påverkar det även inställningen tillannonsen. Studien kan urskilja kunskapsbrist om hållbart mode, på grund av detta efterlyser konsumenter tydlig information i samband med de gröna modeannonserna. I och med att en kvalitativ metod väljs är en generalisering bland kvinnliga fast fashion-konsumenter inte möjlig i denna studie. Däremot genererar studien kunskap om hur fast fashion-företag kan utforma gröna modeannonser för att förmedla budskapet på ett produktivt vis, för att minskarisken för missförstånd och bygga förtroende hos konsumenten. Exempel på vidare forskning är att fortsatt undersöka hur dessa tolkningar påverkar köpintentionen hos konsumenterna. Ytterligare ett förslag på fortsatt forskning är att undersöka andra modeannonser och modeföretag för att se om det genererar i en annan uppfattning. / Background: In line with consumers' growing interest in sustainable fashion products, the green marketing from solid fashion companies has increased. Since there are perceptions that the fashion industry is not related to sustainability, fashion companies' attempts to reach consumers through their green communications can be misinterpreted. In some cases, companies also see an advantage in promoting green products as a sales strategy, which creates confusion on the part of the recipient. Consumers therefore find it difficult to determine when a message is reliable. Purpose: The purpose is to investigate how consumers interpret the fixed fashion companies’ green fashion ads from a cognitive and affective perspective. The goal is thereby to generate knowledge about how fashion companies can go about designing green ads and producing their sustainability message in an effective way. This is based on the consumer's point of view and how consumer confidence is influenced by the information communicated in a green fashion ad, their knowledge of sustainable fashion, previous perceptions of fashion companies and how emotions affect the recipient's interpretation of the message's credibility. Research questions: How do consumers interpret green fashion ads? How is consumer confidence affected by the information communicated in green fashion advertisements, knowledge of sustainable fashion and previous perceptions of fashion companies? How does the feeling the consumer gets in the context of green fashion ads affect trust? Method: To answer the questions, a qualitative research method was applied. Because a deeper understanding of consumers' feelings and interpretations of the selected fashion companies, H&M's, Gina Tricots and Lindex's green advertisements was sought, semi-structured interviews were conducted with eleven selected women from Sweden. Subsequently, the interviews were transcribed and four main themes were distinguished. Conclusions: The study's results show that if a green fashion ad has a typical "fashion sense “it generated a looser link to sustainability and becomes less credible. Green fashion ads that emphasize “natural” aspects evoke an increased sense of trust. When consumers have a positive past perception of the company, the green fashion ad becomes more credible, if there is a negative perception it also affects the attitude towards the ad. The study can discern the lack of knowledge about sustainable fashion, because of this, consumers are looking for clear information in connection with the green fashion ads. With the selection of a qualitative method, a generalization among female solid fashion consumers is not possible in this study. However, the study generates knowledge of how fast fashion companies can design green fashion ads to convey the message in a productive way, to reduce the risk of misunderstanding and build consumer confidence. Examples of further research are to continue to investigate how these interpretations affect the buying intention of consumers. Another suggestion for continued research is to examine other fashion ads and fashion companies to see if it generates in a different view.

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.

Background: Increased awareness of the climate crisis leads to sustainability becoming moreimportant to many people as the actions made today will have a large impact on futuregenerations. Generation Z is soon to be the largest consumer group globally, where most peopleare interested in implementing sustainable lifestyles. Gen Z will soon hold a powerful positionas fashion consumers and has the ability to drive positive changes for societies globally. Purpose: The purpose of this research is to study consumer attitudes and behaviour towardspurchasing sustainable fashion products on the Swedish market. The group aimed to be studiedincludes people over the age of 18 in Sweden that belong to generational cohort Z. Method: The method used for this research is exploratory, taking on an inductive approachand collecting qualitative data through 10 semi-structured interviews with people between theages of 18-27 in Sweden. The findings from the data emerged from thematic analysis. Conclusion: The results show that there is a genuine concern for the climate and the future ofthe planet among the cohort, which also has an impact on the attitude. Despite the positiveattitude towards purchasing sustainable fashion products, there is an existing gap between thepositive attitude and consumer behaviour. The accumulated value from factors such as price,style, and availability is often higher than the sole value of an item’s sustainability factor.

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.

Esta pesquisa apresenta um estudo sobre a aplicação da estratégia de design zero waste como instrumento de ensino, objetivando desenvolver noções de design sustentável em estudantes de curso técnico de moda. O zero waste (zero resíduos) possui um método de criação cujo principal objetivo é não gerar resíduos sólidos têxteis durante o processo de confecção da roupa, que possam impactar o meio ambiente. É uma técnica ainda pouco conhecida no Brasil e pouco utilizada, tanto no ensino técnico de moda quanto nas empresas. Este estudo apresenta uma pesquisa bibliográfica e pesquisa-ação sobre a técnica de design zero waste, com a finalidade de evoluir com as experiências e pesquisas já realizadas sobre o assunto e identificar referências que possam incrementar atividades aplicáveis ao ensino técnico de moda. Diante disso, propõe-se um conjunto de exercícios de design sustentável utilizando a técnica zero waste. Os exercícios são aplicados em forma de workshop para gerar informações que possam contribuir com a discussão de resultados sobre a sua aplicabilidade e aceitação / This research presents a study on the application of the zero waste design technique as a teaching tool, aiming to develop notions of sustainable design in fashion technical course students. Zero waste has a method of creation whose main objective is not to generate solid textile waste during the garment making process, which can impact the environment. It is a technique still little known in Brazil and little used, both in fashion teaching and in companies. This study presents a bibliographical research and action research on the technique of zero waste design, in order to learn from the experiences and research already done on the subject and to identify references that may increase activities applicable to fashion technical teaching. Therefore, a set of exercises of sustainable design using the zero waste technique is proposed. The exercises are applied in the form of a workshop to generate information that can contribute to the discussion of results on its applicability and acceptance

Esta pesquisa apresenta um estudo sobre a aplicação da estratégia de design zero waste como instrumento de ensino, objetivando desenvolver noções de design sustentável em estudantes de curso técnico de moda. O zero waste (zero resíduos) possui um método de criação cujo principal objetivo é não gerar resíduos sólidos têxteis durante o processo de confecção da roupa, que possam impactar o meio ambiente. É uma técnica ainda pouco conhecida no Brasil e pouco utilizada, tanto no ensino técnico de moda quanto nas empresas. Este estudo apresenta uma pesquisa bibliográfica e pesquisa-ação sobre a técnica de design zero waste, com a finalidade de evoluir com as experiências e pesquisas já realizadas sobre o assunto e identificar referências que possam incrementar atividades aplicáveis ao ensino técnico de moda. Diante disso, propõe-se um conjunto de exercícios de design sustentável utilizando a técnica zero waste. Os exercícios são aplicados em forma de workshop para gerar informações que possam contribuir com a discussão de resultados sobre a sua aplicabilidade e aceitação / This research presents a study on the application of the zero waste design technique as a teaching tool, aiming to develop notions of sustainable design in fashion technical course students. Zero waste has a method of creation whose main objective is not to generate solid textile waste during the garment making process, which can impact the environment. It is a technique still little known in Brazil and little used, both in fashion teaching and in companies. This study presents a bibliographical research and action research on the technique of zero waste design, in order to learn from the experiences and research already done on the subject and to identify references that may increase activities applicable to fashion technical teaching. Therefore, a set of exercises of sustainable design using the zero waste technique is proposed. The exercises are applied in the form of a workshop to generate information that can contribute to the discussion of results on its applicability and acceptance