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.

Textil- och konfektionsindustrin blir alltmer globaliserad och ställs inför hårdare krav då konsumenterna efterfrågar allt billigare varor i snabb förändring. Sedan flera decennier har europeiska konfektionsföretag flyttat sin tillverkning till länder med lägre arbetskostnader för att uppfylla kraven om låga priser som europiska tillverkare har svårt att uppfylla. En stor del har flyttats till Kina men även till andra länder i Asien. Nu håller marknadsförhållandena på att förändras igen genom tillväxt- och utvecklingsländernas starka utveckling. Förändringarna syns tydligast på Kinas marknad genom stigande priser och mindre kapacitet för europeisk produktion. Detta skapar nya förutsättningar för hur företagen väljer att planera sina verksamheter och resulterar i att detaljhandelsföretagen ser sig om efter alternativa produktionsländer.Syftet med studien är att ta reda på om konfektionstillverkningens tyngdpunkt kommer att fortsätta att ske i Asien eller om det finns förutsättningar för europeisk konfektionsindustri att återhämta sig och bli konkurrenskraftig i förhållande till tillverkningen i Asien eller om konfektionsindustrin istället kommer att etableras i andra globala regioner. För att uppnå detta syfte utformades en kvalitativ studie i form av semistrukturerade djupintervjuer med nio svenska konfektionsföretag samt en stiftelse verksam inom textil- och konfektionsindustrin. Studien har kompletterats med dokument utformade av organisationer kopplade till EU samt vetenskapliga artiklar.Undersökningen påvisar att Kinas förändrade situation inte leder till en större återväxt för Europas textil- och konfektionsproduktion. Tyngdpunkten av konfektionsproduktion inom den närmsta framtiden kommer att ligga kvar i Asien men flyttas från Kina till nya lågkostnadsländer i regionen. Europa kommer med sannolikhet inte att bedriva någon massproduktion i framtiden och de förlorar alltmer produktion inom låg- och mellanprissegmentet till övriga regioner. Delar av europeiska företags produktion kommer inom den närmsta tiden att fortsätta ske inom Europa, då ingen annan region i dagsläget kan uppfylla behoven av korta ledtider, effektiv logistik, små serier, stabilitet och hög kvalitet lika bra. Med tiden kommer troligtvis en allt större del att produceras i Nordafrika som i framtiden kan komma att ta över en betydande del av både Asiens och Europas produktion.The textile- and clothing industry is becoming increasingly globalized and face even tougher requirements as consumers demand for cheaper goods in rapid change. For several decades the European apparel companies have moved their manufacturing to countries with lower labour costs to meet the requirements of low prices. A major part has been moved to China, but also to other countries in Asia. Now the market conditions are changing again because of the strong growth of emerging and developing countries. The changes are most evident in China's market where prices are rising and capacity is decreasing for European production. This creates new conditions for how the retail companies choose to plan their activities and results in that they look for alternative production countries.The purpose of this study is to determine if the emphasis of clothing manufacturing will continue to occur in Asia or whether there are grounds for European clothing industry to recover and become competitive in relation to production in Asia or if production instead will be established in other global regions. To achieve this purpose we executed a qualitative study in the form of semi-structured interviews with nine Swedish clothing companies and a foundation working in the textile- and clothing industry. The study has been supplemented with documents written by organizations linked to the EU and scientific articles.The survey shows that China's changing situation does not lead to a major regeneration of European textile- and clothing production. The emphasis of clothing production will in the near future remain in Asia, although move from China to the new low-cost countries in the region. Europe will probably not mass produce clothing in the future and they lose more and more production in low-and mid-range market to other regions. Parts of the European company's production will in the near future continue to take place in Europe, as no other region currently can meet the needs of short lead times, efficient logistics, small batches, stability and quality as well. Over time, probably more production will occur in North Africa which in the future may take over a significant part of both Asian and European production. / Program: Textilekonomutbildningen

Submitted by Jorge Silva (jorgelmsilva@ufrrj.br) on 2017-10-30T18:18:54Z No. of bitstreams: 1 2016 - Lilyan Guimar?es Berlim.pdf: 8659835 bytes, checksum: 7c1a0bff7a0ddc1e839d674f71b6cc82 (MD5) / Made available in DSpace on 2017-10-30T18:18:54Z (GMT). No. of bitstreams: 1 2016 - Lilyan Guimar?es Berlim.pdf: 8659835 bytes, checksum: 7c1a0bff7a0ddc1e839d674f71b6cc82 (MD5) Previous issue date: 2016-09-30 / CAPES / The fashion and textile industry is one of the largest business segment in the world. However, this segment has been the subject of ethics, aesthetics and environmental criticism, especially so-called "fast fashion", a high-speed production system, integrated with information technology, which manages releases, sales, inventory and manufacturing clothes, turning datasheets of garments in a finished product within points of sale in a few days. The fast fashion phemomenon settled in the fashion industry in the last decades of the twentieth century as a result of the dynamics of global capitalism in search of lower cost and reduced production, time, space, distribution and sale. The fast fashion, however, has been socially criticised as it?s based on precarious work and promoting hyper consumption which leads to quick disposal of clothing, consumption of natural resources at breakneck scale and also the standardization of the body and spread a subtle homogenization of the appearance, promoted by the fashion media. The research has mapped and analysed the relationship between fashion and social criticism, with emphasis on appearance, construction and current settings of the ethical criticism and aesthetics to fast fashion. It has also mapped and analysed some answers that the market has given to such criticism, as well as alternative proposals built by various social groups, in particular the slow fashion movement: its concept, ideas and production proposals, consumption and engagement. From the politicization of consumption and macro trends that are configured as a socio-cultural background of the fashion consumption trends, we see the various forms of expression of these criticisms and seek to understand its incorporation into the market. For this, we rely on the theoretical framework of Boltanski and Chiapello (2009), which considers the incorporation of criticism as necessary to the moral justification of capitalism and its maintenance. The results indicate that the criticisms are expressed and are incorporated by fashion design professional, in consumption practices. in the pursuit of sustainable business forms, creating value associated with the shared economy, the adoption of Corporate Social Responsibility, in changes in production processes and the use of lower-impact materials. We also verified that as a way of incorporating criticism as a counterpoint to the hegemonic practices of production and consumption, the movement "slow fashion" proposes not only deceleration time of production and consumption of clothes, but also empowerment and political activism in the area of fashion design. In conclusion, the research identified as a response to criticism, the existence of changes in the sector and the growing ethicization fashion. / A moda e a ind?stria t?xtil constituem um dos maiores segmentos de neg?cios do mundo. Associadas simbioticamente, chamamos este campo de ind?stria da moda. O segmento vem sendo alvo de cr?ticas ?ticas, est?ticas e ambientais. Estas cr?ticas se dirigem, principalmente, ao que tem sido chamado de ?moda r?pida?, ou fast fashion, um sistema de produ??o de alta velocidade, integrado ?s tecnologias de informa??o, que gerencia lan?amentos, vendas, estoques e manufatura de roupas, transformando fichas t?cnicas de pe?as de vestu?rio em um produto acabado dentro de pontos de venda em poucos dias. O fast fashion ? uma consequ?ncia das din?micas do capitalismo global em busca do menor custo, em um menor espa?o de tempo de fabrica??o, distribui??o e venda, baseando-se em trabalho prec?rio (muitas vezes em condi??es an?logas ? escravid?o), na promo??o do hiperconsumo e do descarte r?pido de roupas e, consequentemente, do consumo de recursos naturais em escala vertiginosa, com impactos ambientais de grande extens?o, e, ainda, na padroniza??o do corpo e na difus?o de uma sutil homogeneiza??o do parecer, promovida pelas m?dias de moda. Tais pr?ticas se estabeleceram na moda nas ?ltimas d?cadas do s?culo XX como consequ?ncia das transforma??es do capitalismo global. A presente pesquisa mapeou e analisou as rela??es entre a moda e a cr?tica, o surgimento, a constru??o e as atuais configura??es da cr?tica ?tica e est?tica ao fast fashion e as respostas que o mercado vem dando ?s mesmas, assim como as propostas alternativas constru?das por segmentos do mercado, em especial, o movimento ?moda lenta?, ou slow fashion: seu conceito, ideias e propostas de produ??o, consumo e engajamento. A partir da an?lise da politiza??o do consumo e das macrotend?ncias, que se configuram como um pano de fundo sociocultural ?s tend?ncias de consumo, verificamos a express?o destas cr?ticas e sua incorpora??o pelo corpo social; identificamos a? uma chave explicativa para a incorpora??o das cr?ticas pelo mercado de moda, corroborando com o quadro te?rico de Boltanski e Chiapello (2009), que entende a incorpora??o das cr?ticas como necess?ria ? justifica??o moral do capitalismo e sua manuten??o. Os resultados indicaram que tanto o corpo social quanto o mercado expressam e incorporam as cr?ticas nas pr?ticas de consumo de moda; na busca por formas de novos neg?cios sustent?veis; na cria??o de valor associado ? economia compartilhada; na ado??o da Responsabilidade Socioambiental Empresarial e da ?tica nos neg?cios; nas altera??es em processos produtivos; e no uso de mat?rias primas menos impactante. Verificamos tamb?m que, como incorpora??o das cr?ticas e como contraponto ?s pr?ticas hegem?nicas de produ??o e consumo, o movimento slow fashion prop?e n?o apenas a desacelera??o do tempo de produ??o e consumo de roupas, mas tamb?m um empoderamento e ativismo pol?tico na ?rea do design de moda, tanto na produ??o quanto no consumo. A pesquisa identificou a exist?ncia de altera??es no setor em fun??o da incorpora??o das cr?ticas, em especial a crescente eticiza??o da moda.

Urban bicycling is a big growing trend between men and women across the world. People seem to have become more aware of the numerous benefits of riding a bike, as well as more health oriented and environmentally friendly. Sweden is one of the countries with so called strong bicycle culture.  You can ride a bicycle almost anywhere, at any time of the year, and without spending a fortune. Cycling builds strength in a holistic manner since every single part of the body is involved in cycling. I choose to look into women cycling habit in Sweden. With my design I want to encourage woman’s cycling activity by offering comfortable design solutions to their clothing. The project focuses on the active years of a woman’s life, in average the age of 20- 45. The seasons considered are spring- autumn with the temperature range between 20°-5°C. The final design solutions will be applicable in the everyday life of a woman that is both looking to look fashionable and comfortable on the bike. The project intends to deliver a capsule collection where 3 to 5 outfits will be translated into 3D, prototyped and manufactured. One main reason for investigating such a matter is today’s very widely explored awareness of sustainability.  The project aims to encourage more sustainable design processes for the fashion market as well as eco lifestyle for women who choose to ride bikes instead of cars more often. It will propose a new possible design development process in which the user is more involved and can give some input, that way delivering a needed, better fitted and better sold product. The new design solution should satisfy the target group with a quality product that is not only comfortable and functional but also lasting for a long time. The final design will of course consider the esthetical feminine sophisticated look. Through this project I am looking to bring more comfort in the movement and functional detailing to non-sportswear. I want to investigate something apart from traditional sportswear, something that has not been considered much before; to incorporate functional sporty features and details to a more casual wear. I want to make use of special fabrics and develop new cuts, pockets, pleats and adjust patterns so that the final prototype would feel sporty but will look casual. Emphasis will be placed on developing understanding of fabric characteristics, accessing sources and knowledge and understanding of technological developments to inform innovative design. The purpose of the project is to develop a heightened awareness of the design methodologies available today that can be applied in fashion industry. This thesis will incorporate the traditional design development process applied in fashion and the user centered design method applied mostly in service and product design. Through research and prototyping, the aim will be to deliver a design that has been developed considering in a higher range user’s needs and preferences. User centred design is mainly looking to understand the user’s needs, wants and desires in order to improve the new design and human experience. When it comes to fashion, people are all individuals; they all have different needs and preferences. It is nearly impossible to try and satisfy them all, especially in mass produced fashions however the design development should in a way or another allow some user input. As little as suggestions on detailing, finishing features comfort and fit preferences could make a great difference for the success of the new design. Choosing to do a fashion project I initially wanted to investigate the problems with bad fit and uncomfortable women’s wear designs nowadays. With that in mind I was still missing a context, which clothes exactly and why. This is when I started to investigate specifically what women wear every day when riding bikes in the cities. Together with the city cycling trend, grows the demand for more comfort and function in the everyday clothes.  Clothing that can stay true to both performance and style is in big demand today as with clothes that look good both on and off the bike, there’s no need to have to change out of your cycling gear when you arrive at your destination. You can ride to work feeling comfortable and leave the office in style in the same set of clothes.

Global Fashion, via the logic of high-speed, large-scale industrial production and anachronistic high-volume consumption habits, causes significant social and environmental damage. Local Fashion isunderstood as part of the Slow Fashion movement that aims to change the functions of fashion so that they support or lead the quest to flourish within known human and planetary boundaries.This Licentiate thesis examines, through an exploratory narrative based on new and existing research, two Local Fashionalities. Växbo Lin is a small linen manufacturer/brand in Hälsingland, Sweden, producing new heritage home textiles. WomenWeave is a handloom social enterprise inMadhya Pradesh, India, making naya khadi. Their approaches and practices are presented and discussed vis-à-vis notions of “globality”, “locality”, design management, and the quest for sustainability.The narrative aims to improve understandings of what Local Fashion is, and contribute to the effort to design new fashion systems grounded in logic relevant to contemporary human needs and aspirations.

The aim of this thesis “Deconstruction 3.0” is to show how the third wave of deconstruction in fashion is deconstructing the second [postmodern] French luxury fashion system. The deconstructionists of the post-Soviet collective – Demna and Guram Gvasalia, Gosha Rubchinskiy, and Lotta Volkova – question and deconstruct the established apparatus of the postmodern fashion system and its business model. With their business strategies and with help of demand by post-postmodern consumer culture proposed and predicted by Douglas B. Holt (2002), the post-Soviet collective constructs new business models and thus we are entering a post-postmodern fashion system. I have used a twofold methodology from the disciplines of business administration and humanities. In the literature review, I have aimed to close gaps between different scholars and made a concluding section of the postmodern fashion system and its business model, a synthesis that lies in parallel with Peter Drucker’s (1957) thoughts on postmodern organisational theory. Through the empirics and analysis with help of Jacques Derrida’s (1972) concept of deconstruction, I propose, in the end, a dialectic model between the established postmodern apparatus and the new and diametrically opposed post-postmodern apparatus operated by the post-Soviet collective.

Proper consumer attitude towards textile products and optimal post-consumer waste management of textile waste is connected with many benefits. Despite this fact, little research has been conducted on these topics. Textile waste represented mainly by donated textile from households and its material flow in waste streams mirrors the behaviour of our consumer society as well as new technologies in textile and fashion industry. More information about consumer attitude and behaviour toward textile and textile waste is needed to provide suitable waste management processes according to the hierarchy of waste management, such as re-use and energy recovery, and to ensure sustainable development and minimal impact on the worlds wellbeing. This study takes into account not only waste management of textile waste, but also tries to understand all textile issues in a wider perspective. Particularly fashion industry is connected with many negative ethical aspects (e.g. sweatshops), and many environmental issues are connected with overproduction of lower-quality textile products. Proper handling of post-consumer textile products is only one of the product life cycle stages to be solved. The main goal of this study is to discuss the results of a consumer attitude and behaviour questionnaire toward textile and textile waste from households in the Czech Republic. The study also includes partial hypotheses and an analysis of interest groups as other possible sources of information to form proper textile waste management policy tools and strategies.

En el siguiente trabajo de investigación, se analizará los tipos de contenido que se presentan en la red social Instagram y la importancia que tienen en la generación de valor e interacción con los clientes de marcas de ropa sostenible. El marketing de contenidos es la forma en la que las marcas de ropa sostenible se comunican con sus clientes de forma directa mediante las redes sociales. En el presente trabajo se tratará de comprobar si es que la hipótesis de investigación de que el tipo de contenido que comunica el proceso productivo es el que genera una mayor interacción. En primera instancia se investigará de forma cualitativa para encontrar los tipos de contenido existentes y se complementará con la opinión de expertos, tanto de marketing digital como del mercado de la moda sostenible. En la parte cuantitativa de la investigación, se podrá determinar con certeza el tipo de contenido más importante para las mujeres entre 22 y 32 años que compren ropa de marcas de moda sostenible. Con la investigación cuantitativa se comprobó que el tipo de contenido más valorado por los clientes es el de las fotos y videos y no el contenido detrás de cámaras como se planteó en la hipótesis. / In the following investigation, I will analyse the different types of content present in the social media platform, Instagram, and the importance that this has on the generation of value and interaction on behalf of the consumers. Content marketing is the way in which the different brands of slow fashion communicate with their clients directly with the support of the social media platforms. In this investigation, it will be tried to proof if the hypothesis that the content behind the scenes is the one that generates more engagement. In the first stage of the investigation, the different types of content marketing will be analysed qualitatively in order to find the different types of content and this will be complemented with the opinions of experts, in digital marketing and in the slow fashion market. On the second part of the investigation, the types of content will be analysed in a quantitative way in order to determine the type of content that is more important for women between the ages of 22 and 32 that buy sustainable fashion. With the quantitative investigation, it was proven that the most valued type of content by the clients was the one that communicated the pieces of clothing and not the content that show the behind the scenes actions as it was argued in the hypothesis. / Trabajo de investigación

I studien undersöks det hur teorier från slow food och slow fashion genom olika designprocesser kan överföras till nya produktkategorier, i detta fall har möbler valts ut som kategori. Syftet med denna studie har varit skapa medvetenhet och synliggöra möjligheter för produktdesigners att arbeta med slow principer i kombination med kritisk design på nya produktkategorier. Detta för att främja hållbar utveckling och vår miljö. Det teoretiska ramverket ligger som grund för studien och innefattar slow fashion, Slow food, kritisk design och slow design. Som metoder har det bland annat samlats in information genom funktionsanalys, fokusgrupper och intervjuer.Resultatet blev en hylla vars hyllplan monteras på i takt med att dess ramar i form av träd växer. Detta ska skapa ett kritiskt tänkande hos betraktaren angående snabb produktion och miljön. / The study examines how theories of slow food and slow fashion can be transferred to new product categories through different design processes. In this case furniture has been selected as a category. The purpose of this study is to create awareness and make opportunities visible for product designers to work with slow principles in combination with critical design on new product categories. This is to encourage sustainable development and benefit our environment. The theoretical framework forms the basis of the study and includes slow fashion, slow food, critical design and slow design. As methods, among other things, information has been collected through function analysis, focus groups and interviews.The result is a shelf whose shelves are mounted on progressively as its frame in the form of trees grows. This should create a critical thinking on the part of the viewer regarding fast production and the environment.

The purpose of this thesis ‘Sustainable conscious fashion consumption from the perspective of Generation Z - With a focus on motivations’ is to provide the reader with deeper knowledge about Generation Z’s perception of sustainable conscious fashion and what motivates them to choose sustainable consumption. Further, this research gives insight into the decision process among Generation Z regarding fashion apparel. The thesis is based on two research questions which are (1) What are the motivations to consume sustainable conscious fashion among Gen Z and (2) How do psychological factors influence Gen Z decisions to consume sustainable conscious fashion? To be able to complete this thesis and answer the research questions, relevant theories have been analyzed and incorporated to create an understanding when analyzing the empirical data. The thesis was conducted using a deductive approach and a qualitative research method to acquire primary data. The data collection has been accumulated by doing semi-structured interviews with the aim to gain in-depth knowledge about Gen Z motivations to consume sustainable conscious fashion. The literature review includes theories that are in relation to the topics of (1) Sustainability, (2) Generation Z, and (3) Psychological Factors such as self-image and cognitive dissonance. Based on the literature review a conceptual framework (Figure 2.1) was created in which the liaisons between the different theories have been presented. The interview guide was created in accordance to the operationalism in order to present the empirical data in chapter 4, ‘Empirical findings’.Thereafter, an analysis based on the empirical findings are discussed in relation to previously presented theories in the literature review. It is concluded that the primary motives for purchasing apparel among Generation Z are to strengthen their self-image, whether it is to fit in or stand out. The generation cares about sustainability, which is expressed by purchasing eco-friendly foods and by considering their choices of transport. The findings show there is a lack of information provided by retailers and authorities, which translates into the consumers not being able to make sustainable choices regarding fashion consumption.