Journal of International Education and Practice | Volume 02 | Issue 01 | January 2019

Journal of International Education and Practice

http://ojs.bilpublishing.com/index.php/jiep

ARTICLE
Challenging Excessive Fashion Consumption by Fostering Skill-Based
Fashion Education
Madeleine Michell1, Philip Henry*2
1, 2 School of Design, University of Leeds, United Kingdom

ARTICLE INFO ABSTRACT

Article history Academic arguments that fashion consumption habits need to change in
Received: 15th November 2018 order to support a more sustainable future are well established. This work
explores a participatory design dress making methodology as a vehicle
Accepted: 13th March 2019 to trigger positive change in younger fashion consumers and help stem
Published: 26th March 2019 an attraction to fast fashion products. A key outcome of the study is that
engagement in garment design and construction invoked an apparent pos-
itive emotional attachment not typically evident in fast fashion purchases.
Keywords: Participants demonstrated positive attitudes towards sustainability, along-
side an awareness of the negative impact of fashion waste. However, at
Participatory design a relatively young age their evolving consumer habits show them to be
Dressmaking drawn into the social drivers that are inherent in the idea of fast fashion.
Sewing-Skills The perceived value of the work is the willingness of the students to
participate. The apparent satisfaction they felt in their achievements and
Slow fashion
most significantly, their enthusiasm to continue with making. If this same
Co-design enthusiasm could be captured in a new imagining of fashion and retailing
Nudge theory the values of quality, longevity and individuality can remerge as the fash-
ion ideal.
Sustainability

1. Introduction impact is small and therefore pointless. This demonstrates

T
he tensions between fast fashion and the con- how conflicting views on the subject matter can create
flicting desires for sustainability have been under confusion and hence counter-productivity. The objective
scrutiny since the early 1990s. Despite many wor- of this work is to explore education and the development
thy initiatives, slow fashion and sustainable consumption of traditional sewing skills as a means to offer school age
have often been viewed as mere fanciful hopes. Cursory consumers options as to how they choose to engage with
adoption policies and a limited commitment by the main- the challenges of fast fashion consumerism.
stream fashion world appear to have been the cause[1]. Rather than attempting to challenge mind-sets already
Equally problematic is the growing evidence in attempts rooted in cycles of mass-consumption and fast fashion,
to engage consumers in changing their buying habits. this work looks to build on research exploring the poten-
Amongst such a complex array of interrelated issues and tial to instigate a stronger personal attachment to garments
priorities, people are left believing that the individual’s by educating younger consumers. Ideally finding new

*Corresponding Author:
Philip Henry,
Lecturer in Design Technology, School of Design, University of Leeds, United Kingdom;
Email: [email protected].

28 Distributed under creative commons license 4.0 DOI: https://doi.org/10.30564/jiep.v2i1.403

 Journal of International Education and Practice | Volume 02 | Issue 01 | January 2019

ways to encourage a sense of irreplaceability, seldom 2.2 Slow Culture and Wellbeing
identified within typical fast fashion purchases. One of Counter to the values offered by the temporal satisfac-
the challenges circumnavigated in this research was an tion of consumerism and the culture of convenience, is
underlying need for dressmaking skills. In an earlier study the emerging idea of ‘Slow’, a culture that favours quality
Hirscher and Niinimäki[2] worked with ‘pre-made’ tunics over quantity. Here a useful channel for parallel consider-
offered to participants under the concept of ‘half-made’ to ation is the food industry. When fast-food chain McDon-
be customised by the individual. More recently Martin[3] ald’s opened a franchise in Rome, culinary writer Carlo
addressed the same skills gap via the use of simplistic Petrini began ‘Slow Food’ in protest against the rise of
geometric shapes to create garments. The idea driving this fast food culture. The ethos of the movement maintains: “A
new study, is that the use of a simple dressmaking tech- firm defence of quiet material pleasure is the only way to
nique, in conjunction with a participatory design culture, oppose the universal folly of Fast Life”[7]. The movement
can help create a positive emotional attachment to the has gained a significant following across the globe and de-
resultant garment; an experience that could potentially spite originating in the food industry, ‘Slow’ has since be-
result in a longer life span of the garment, hence ideally come a widespread concept defined by greater importance
reducing the desire to discard clothing and consume more. being placed on quality focused manufacturing processes,
2. Literature Review and investing in commodities that will withstand the test
of time[5]. Minney[8] extends the ideals for slow fashion
2.1 Sustainable Fashion
manufacturing by placing ‘design, and therefore the de-
Ideologies fostering sustainability were initiated during
signer, at the heart of the sustainable agenda, encouraging
the 60s and continued to evolve through the 70s and 80s.
a ‘mindfulness’ approach across the whole supply chain.
The ideas then gained greater recognition in the 90s, post
A shift in the prioritisation of ‘wellbeing’ for consumers
the perceived excesses of the 80s[4]. Regardless of any
also offers some interesting parallels to consider. Again,
perceived negativity towards mass-consumption fashion
linked to the food industry, the value of the comparison
brands, retailers continued to instigate and actively en-
is the success achieved in changing purchasing habits
courage consumerism by capitalising on the lower man-
from the pursuit of convenience to a positive change in
ufacturing cost afforded through globalisation strategies.
lifestyle. An aim for change that is more about deliver-
Significantly for this study, Fletcher[5] identifies a distinct
ing a clear and direct value to the individual concerned,
change in consumer attitudes during the economic growth
as opposed to a broader agenda more located in a sense
of the 80s, leaving behind the values of the previous dec-
of greater good. Statistics show that between 2012 and
ade, quality, longevity and individuality. Throughout the
2017 the ‘Market Value of Health and Wellness’ increased
last decade, consumer expectations are seen to have shift-
from just over 22 billion to nearly 25 billion Euros[9]. This
ed to an ever-growing desire for cheap and convenient
indicates a shift from consuming convenient/fast and usu-
fashion, which is arguably becoming the ultimate obstacle
ally processed foods, to increased time spent exercising.
to sustainability.
The individual can directly feel the benefits of increased
Nevertheless, the extent to which these shifts in con-
exercise and consumption of healthy food. For example,
sumer desire are the drivers for fast-fashion is difficult
research suggests that time spent on personal health and
to know. The goal of manufacturing efficiency in itself is
wellbeing, results in higher self-value[10]. Further evi-
not new; 20th century economic theories such as ‘Ford-
dence that education can support a positive social impact
ism’ and ‘Taylorism’ are well recognised as catalysts of
can be seen in changing attitudes to tobacco and alcohol
mass-production methodologies. Although these examples
consumption[11][12]. Research shows significant reduction
are born from the automotive and armaments sectors, the
in younger age groups taking up smoking and alcohol par-
methods have been adopted across many industries. More
ticularly noted amongst sub-groups characterised by those
prevalent in the fast fashion industry however, is that low
with high physical activity, good mental health and in
costs are seemingly accepted as being synonymous with
fulltime education or employment. A question driving this
lower quality and the idea of ‘functional obsolescence’
research is how to redirect the level of ‘self-value’ away
is well established i.e. products with a deliberately short
from shopping for homogenised and expendable clothing,
lifespan[6]. Perhaps, these are accepted characteristics of
and to channel it towards a desire for individual expres-
trend-driven clothing consumption, and a further highlight
sion realised through the experience of participatory de-
of the self-fulfilling ‘fastness’ of fast fashion, and the cre-
sign.
ation of desirable easy-to-consume, easy-to-replace prod-
ucts. 2.3 Fashion Consumption

Distributed under creative commons license 4.0 DOI: https://doi.org/10.30564/jiep.v2i1.403 29

 Journal of International Education and Practice | Volume 02 | Issue 01 | January 2019

The shopping experience, from one perspective is ex- The idea is to initiate the use of their skillset to fulfil their
citing and engulfed by feelings of personal satisfaction, needs, as opposed to being entrenched in the habit of rely-
deeming ethics and the environment a lesser issue when ing on a bought product. In such an environment, skillset
buying fashion[1]. Equally, clothing functions for indi- development is presented as a longer lasting personal gain
viduals in that it ‘protects’ the human body from the ele- than the temporary gain felt after purchasing a product.
ments[13]. The latter is a simple material need, however, the Once an individual becomes proficient, the skillset can
arguably more reflective, driven and non-material needs continuously be of benefit, and time spent engaging with
include more sophisticated concepts; for example identity, the process can be recognised as worthwhile[17].
participation, recreation and freedom, are often materi- Beyond the skills value, there are other perceived ben-
alised in a fashion form[5] In other words, the complex efits to be gained from engaging in participatory design;
needs/motivation of individuals often depend on external such experiences are understood to be a key component in
factors (the consumption of products) to be satisfied[14]. unifying consumers with products. User participation cre-
While the constant proliferation of new fashion trends ates a story that maintains a place in an individual’s mem-
facilitates a seemingly endless progression of consumer ory. The active participation in making a garment can es-
aspiration, the positive feeling associated with such be- tablish a person-product relationship, therefore extending
haviours is evidenced to often be a short-lived experience. the life of the product[19]. Enjoyment and an accumulation
The work of Van Bowen[15] exposed the acquisition of of memories create a positive attachment to a product,
material goods as leaving consumers feeling ultimately increase the potential longevity, and indirectly promote
dissatisfied; any initial positivity is short lived generat- more sustainable buying behaviour[20][21].
ing a need for the feeling to be replaced with yet newer There are many arguments for the need to move the
purchases. A self-perpetuating cycle, which has been fashion industry towards a more sustainable future, as
described as one that oscillates between desire and disap- well as a necessity for our apparel buying choices to
pointment, the initial love of a garment quickly transforms
change. However, there is also a growing recognition
into discontent as its original appeal deteriorates[6]. A
that the aim must shift from trying to recondition current
change to be addressed within this cycle is the anonymity
consumer habits. This approach is making little headway
of the consumer and their distance from the garments’
in the current retail environment, so there is consequently
manufacture that leaves an unbridgeable gap. Any poten-
good reason to explore new approaches. Specifically, with
tial receptiveness to the benefits of wearing a well made,
an aim to refocus any satisfaction gained from the shop-
and ethically sourced garment are not sufficiently tangible
ping experience, and instigate new methods of sustaining
or real enough to encourage a genuine feeling of responsi-
inherent human needs for creative interaction[22][1]. The
bility[16].
process of active learning in dressmaking skills that Mar-
One of the reasons the external value of fashion items
tin[3] proposes, echoes the ‘Life of Action’ expressed by
hold such personal appeal is social standing; the idea of
Illich[23]. Individuals have the capacity to choose whether
being sufficiently skilled to make your own clothing, has
they buy items, or the freedom to make and use them.
some potential to be seen as aspirational. In the education-
Here, active participation and interaction with personal
al setting, the uptake of a skill is presented as an oppor-
power is perceived. The idea that developing dressmaking
tunity for further knowledge and offers a potential career
skills provides a more long-standing personal gain com-
pathway. Further, in an environment where such a skill
pared with the gain felt through the passive consumption
is practised from the beginning of a school career, by the
of goods is also supported. Chapman[6] offers conclusions
time a pupil leaves school they could be proficient enough
on how better design can produce product that people
to continue developing this skill. Therefore, the process
desire to keep for longer. Uncertainty still exists about the
of making, if practised regularly, has the potential staying
relationships between participation, increased emotional
power to create behavioural change[17]. Such thinking sug-
attachment and reduced consumption. However, there
gests that developing the skills of the consumer, to engage
is no apparent evidence of previous studies employing a
with the process of making/fashioning their own gar-
basic dressmaking method, in a paradigm that explores
ments, has arguably some potential to challenge the cycle
potential benefits for young teenagers. This work seeks to
of consumerism[18].
gain further insight into participatory design in a fashion
2.4 Participatory Design context. Through the use of basic dress pattern shapes, it
In this study, a participatory workshop is designed to will explore self-sufficiency, self-worth, adventure and
encourage making skills specifically for an age group sustainability, using Martin’s method as a vehicle to make
typically at an early stage of their fashion consumerism. clothing for all unique body types.

30 Distributed under creative commons license 4.0 DOI: https://doi.org/10.30564/jiep.v2i1.403

 Journal of International Education and Practice | Volume 02 | Issue 01 | January 2019

2.5 Nudge Theory The data collected, provides a platform to address the
Actively learning how to make our own clothing gives question of whether awareness of how to make one’s
individuals more options and opportunity to better explore own garments, can positively impact change in the way
self-expression[3]. In defining the role of the designer, we garments are used and cared for. Furthermore, the data
establish that to design is to provide solutions in order to assesses the ability of the participatory process to elon-
take us from a current situation onto the next one[24]. Ar- gate the life of the clothing, reducing the necessity to buy
guably, knowledge of this aspect of design is fundamental more. An assessment of the dressmaking methodology
for a sustainable future. “The Design Council reported that presented by Martin [3] further aims to influence the field
80 per cent of a product’s environmental impact is decid- of creative education and move fashion towards a more
ed at the design stage”[25]. Waste can be argued as essen- sustainable future.
tially a design flaw, making the education of the designer, Questionnaires were strategically placed throughout
maker, and user, regarding this challenge, a crucial step in the workshop experience, pre, post and six weeks follow-
encouraging change. In the context of this study, the im- ing the workshop, allowing for a holistic evaluation of the
portant objective is to create positive reinforcement, and a results. The three questionnaires were designed to create
sense of achievement in the acquisition of new skills. The a data set based on both qualitative and quantitative mea-
aim is to present individuals with the means to make their sure, by combining closed and open-ended questions to
own clothing, and in line with Nudge Theory[26], not radi- provide opportunity for a greater insight into participants’
cally change their habit by prohibiting them from buying experience. Each set of questions was presented to partic-
garments. Instead the aim is to present an alternative way ipants at different stages of the workshop to evaluate their
to create incremental changes in the drive towards a more experiences in a managed way. Different types of closed
sustainable future in fashion. Furthermore, consumption questions were used including, dichotomy (yes/no), multi-
habits are known to relate to how individuals present their ple choice, quantity and frequency of occurrence. Ranking
values, and how they want them to come to fruition[8]. The questions were used to establish participants’ attitudes to-
values of a commitment to developing dressmaking skills wards the experience of the workshop and the likelihood
could instil dedication, patience, criticality and independ- of behavioural change. These included Likert scales, nu-
ence. Essentially, this study sets out to assess if knowl- meric scales, and behavioural scales[29]. The workshop and
edge of dressmaking skills has potential to encourage its strategic evaluation aim to disseminate knowledge of
individuals to prioritise sustainable consumption. fashion practice.

3. Methodology 3.2 Participants

The workshop, ‘DRESS CODE: DIY’ was located in
3.1 Study Design
the Art Department of UK based Secondary School for
The following research employs a multi-method ap-
Girls, and comprised of 14 female participants between
proach, Methodological Triangulation (originally also
the ages of 13 and 15 (school years 9 and 10). In order
referred to as ‘mixed methodology’) to obtain both quan-
to generate the desired immersive environment for the
titative and qualitative data through questionnaires and
workshop an application process was used to select partic-
observation[27][28]. The design of the empirical dressmaking
ipants. Application letters where potential candidates ex-
workshop based on the application of simple geometric
pressing a high level of enthusiasm and evidence of some
pattern shapes combined Participatory Design methods to
aptitude for active engagement in fashion practice were
actively encourage an inclusive co-design environment,
selected to take part.
with Nudge Theory[26] being the driver for a change in
the participants’ thinking. The collaborative approach[29] 3.3 Instruments
allowed the collection of a new set of data on the poten- The participants employed a simple garment making
tial value of inclusive design and positive enforcement process originated by Martin[3], making the evaluation
through ethnographic observation. The objective of this suitably design process focused. Each participant was pro-
research is to explore education, and the development of vided with the same set of instructions and necessary tools
traditional sewing skills, as a means to offer school age (a part-circle paper template, fabric, scissors, sewing ma-
consumers alternative options to engage with the chal- chine, needles, tape measure and paper). All participants
lenges of fast fashion consumerism. The practice element then used part circle-shaped pieces of fabric to construct
of the methodology was delivered through a collaborative their individual ‘Segment Dresses’. To encourage indi-
fashion skill workshop that took place over the course of vidual engagement with creative choices, fabric colour
two days. selections were offered prior to the workshop. The ‘shape’

Distributed under creative commons license 4.0 DOI: https://doi.org/10.30564/jiep.v2i1.403 31

 Journal of International Education and Practice | Volume 02 | Issue 01 | January 2019

method encourages basic understanding, through active finishes). On the second day Group One swapped with
participation. This simultaneously develops the practice Group Two and in the afternoon, individuals continued
skills required to make the garment. working independently. Anecdotal observations and infor-
mal discussions were recorded throughout. This provided
qualitative data, which served as a means to assess levels
of engagement and the general behaviour of participants
in the workshop environment.
The first written questionnaire was completed after an
introductory presentation given by the researcher. The
objective of the presentation was to give an overview of
the problems facing the fashion industry. This included
infographics on the negative impact of the current fash-
ion industry and an overview of the researcher’s industry
experience. Current solutions, including upcycling and
recycling were explained, along with the instructions for
making the garment. Giving participants an overview of
the expectations of the participatory workshop was essen-
tial to aid engagement from the outset.
The questions required respondents to provide informa-
tion about their knowledge of fashion, their consumption
habits, and their sewing skills. It was important to mea-
sure participants’ interest in fashion prior to taking part in
the workshop to provide a valid platform for comparing
the data gathered at the conclusion of the workshop. At
the end of the second day, participants completed ques-
tionnaire two, designed to evaluate engagement levels and
collect participants’ views on the workshop. The questions
also aimed to explore whether participant involvement in
the making of the garment would likely increase the par-
ticipants’ typical use of such a garment.
Figure 1: Colour Selection and Guide Garment Example

Figure 2: Set of instructions given to each participant reproduced from

Martin 2016 Figure 3: Collection of photographs showing the workshop in progress

The Workshop Domain The final questionnaire was delivered six weeks after
The researcher divided the participants into two groups the workshop, enquiring if the experience had positively
of seven based on their initial progress in the task. For impacted the relationship between participants and their
example, those who had created their patterns, and drawn ‘Segment Dresses’. The impact of the workshop experi-
them out onto the fabric, with the correct measurements, ence on buying behaviour was also measured in terms of
remained in Group One. Group Two spent the day work- whether participants had favoured new sewing projects
ing on their machine skills (setting up, seams, and zig zag over purchasing new garments.

32 Distributed under creative commons license 4.0 DOI: https://doi.org/10.30564/jiep.v2i1.403

 Journal of International Education and Practice | Volume 02 | Issue 01 | January 2019

4. Results and Analysis for the environment[30].

4.1 Observations
In addition to the three questionnaires, further data was
collected through informal discussions and behavioral ob-
servations over the two-day workshop. It is interesting to
consider at the outset of this discussion an element of con-
tradiction that reflects the broader paradox. Despite their
relatively young age, each of the participants expressed
strong ethical credentials in their application letter, one
defining herself as being an Eco-Prefect: “I am an Eco
Prefect so am passionate about saving our environment Figure 4: Pie Chart of participant responses to question 4 on the
and controlling the amount of waste that is produced”. Pre-Workshop Questionnaire
Consistently the selected group identified a strong interest As highlighted, the participants all identified a pri-
in fashion design and the fashion industry, however they or interest in dressmaking, and were keen to begin the
also evidenced knowledge of pertinent environmental workshop. However, it was apparent that they wanted to
concerns and issues surrounding waste: “As much as achieve the end result straight away. This became obvious
I love clothes, I feel that I do share the concern for the through a reluctance to fully read and understand the in-
amount of fabric and materials that are wasted during the structions. Rather than rely on problem solving skills, par-
production of clothing”. Another participant expressed ticipants requested to be directly told or shown what to do.
concern writing that “waste is the last thing we want to This desire to be immediately satisfied was reminiscent of
hear when it comes to fashion as it is such a major part of literature exploring factors that have contributed to indi-
our everyday lives, and because of that we need to find a viduals expecting such immediate solutions[31]. However,
way to use it sustainably”. What is particularly interesting once participants began to take ownership, the distractions
to this study is the participants’ desire to improve on, or disappeared, as seeing their work evolve encouraged them
develop, the skills necessary to make their own clothes: to continue, indicating positive reinforcement. One indi-
“I would love the chance to work on my sewing skills as vidual who had made significant progress by the end of
I do not get the chance outside of school”. Further com- the workshop exclaimed: ‘’I just want to stay all night and
ments included: “I have been sewing since a very young finish it”. Informal questions and empirical observations
age, but I know I could still learn a lot to make my work during the class further enforced the importance of fashion
better” and, “I haven’t ever had the chance to try sewing to the individual and the connotation relating to perceived
or working with fabrics, yet it is something that I would social identity. At the same time, awareness of sustainabil-
love to learn”. Another participant wrote: “My ambition is ity issues and the underlying concerns were commonplace
to go to art school, I love to make new clothes out of my amongst the participants. Their knowledge of these issues
old favourites. I love a challenge because I think it is great was mostly conveyed through education and exposure to
to learn new things”. conventional media.
4.2 Questionnaire One
The initial questionnaire pre-workshop helps illustrate
the nature of the broader challenge. When asked what
they spent their money on, the majority selected clothes/
fashion over other commodities and activities. These in-
cluded, accessories, the cinema, eating out, books, iTunes
and Apps. Although there was a general claim that gar-
ments were worn at least 10 or more times, and kept for a
year and longer, the majority still claimed to purchase new
clothing at least once a month. Despite any commitment
to be an ‘Eco-Prefect’, the desire to be ‘fashionable’, and
the drive to engage with the anticipated trends, prolifer-
ated via social media (36% of participants claimed social
media had the strongest influence when buying a new out-
Figure 5: Participants one word summaries of the workshop (responses
fit), is arguably a stronger lure, than any counter concern to question one on the Post-Workshop Questionnaire)

Distributed under creative commons license 4.0 DOI: https://doi.org/10.30564/jiep.v2i1.403 33

 Journal of International Education and Practice | Volume 02 | Issue 01 | January 2019

4.3 Questionnaire Two

Questionnaire Two gathered information regarding the
dressmaking experience of each participant. Overall the
responses suggested that there was a general feeling of
pride in what had been achieved, with 93% responding
yes to the question of whether they were proud of what
they had achieved. Participants selected their two most
enjoyable things about the workshop from a list of six.
The options were based on the structure and aim of the ex-
perience. The two most selected were gaining new sewing
skills and being involved in a different creative activity.
The four remaining options included, working with your
Figure 6: Photograph of participants wearing their ‘Segment Dresses’
peers, having two days out of timetable, making some- during the workshop
thing for yourself, and building on previous experience.
Out of all 14 participants, all except one felt excited by the
option to make, alter and personalise garments after the
workshop, and over half said they would consider making
their next garment before purchasing it. A negative aspect
of the workshop was expressed in relation to the expecta-
tion for more help and more time to complete the work.
This may suggest a lack of independence, but perhaps
measured against the desire to improve the quality of the
resultant garments.
4.4 Questionnaire Three
In summary the final questionnaire distributed and Figure 7: Bar Chart of participant responses to question two of the
Post-Workshop Questionnaire
collected six weeks post-workshop revealed that for the
majority, an emotional attachment remained for their 5. Discussion
dresses. Of the participants, 21% had worn their dresses The broader aim of the workshop was to offer young
since taking part in the workshop and 64% of participants women an opportunity to develop a designer/maker skill-
felt the experience of the workshop created an attachment set. A further aim was to moderate their fashion consump-
to their dress. One participant wrote the reason being: “so tion, and ideally generate a greater emotional attachment
much work went into it and it was the first time I made a to otherwise disposable garments. It is recognised that
garment with a sewing machine”. Perhaps more interest- statistically the results are not significant, however, argua-
ingly, just over half of the participants had kept up their bly they offer value in the potential to instigate change by
sewing skills and indeed gone on to independently start empowering people to behave differently. To return to the
new sewing projects. For example, one individual wrote: analogy of attitudes to food and health discussed in the lit-
“I am making a short / top combo to take to Greece”, an- erature review; where people can identify a direct personal
other explained: “I made a dress for my party”. Further benefit clearly, they can be motivated to invest in change.
examples included, trousers, and a scarf. The remaining The participants consistently recognised the negative
participants returned to their default purchasing habits, impacts of fashion consumption on the environment, and
citing limited time and/or lack of confidence in their equally how current shopping habits are questionable in
sewing skills. The majority of participants were unsure terms of waste, verses sustainable impact. The underlying
if the workshop experience had created fond memories issues are widely taught and integrated into the standard
in relation to their garment, and they were 50/50 on the curriculum, at the same time a current topic widely debat-
workshop experience creating an emotional attachment to ed on standard media. Despite knowledge and understand-
the dress. Overall, with 9 of the 14 participants agreeing it ing of the interrelated problems gained through education,
is unlikely they will discard the dress; involvement in the without an alternative, they can be seen to simply respond
making process decreased the likelihood of discarding the in the same way as their older contemporaries.
garment. The ideals surrounding slow fashion are deemed as
fanciful without commitment from the mainstream fash-

34 Distributed under creative commons license 4.0 DOI: https://doi.org/10.30564/jiep.v2i1.403

 Journal of International Education and Practice | Volume 02 | Issue 01 | January 2019

ion industry[1]. Arguably, consumers and their collective of consumption are making little headway. The tangible
response are a key influence here. If there was a viable outcome for this study is that new behaviour can be fos-
option, a participatory design methodology that better tered through an education experience helping to empow-
engaged consumers, and offered a level of personalisation er up and coming generations of consumers. An earlier
through sewing skills, for example, there could be numer- and more widespread introduction of clothing design and
ous mutual benefits. A key ingredient is the proliferation making education is shown to have clear potential to con-
of sewing skills through mainstream education. However, tribute as a springboard towards a ‘leaner economy’[32].
there is the need for a creative response from the Retail REFERENCES
sector to imagine new consumer experiences exploring
[1] Sumner, M. 2017. It may not be possible to slow
co-design. Here digital technologies have potential to sup-
down fast fashion – so can the industry ever be sus-
port mass-customisation from many platforms. Advance-
tainable? [Online]. [Accessed October 25, 2017].
ments in digital fabric printing, weaving, knitting and im- Available from: http://www.independent.co.uk/life-
portantly pattern-cutting technologies, offer the means to style/fashion/it-may-not- be-possible-to-slow-down-
evolve the desirable circular economies often discussed as fast-fashion-so-can-the-industry-ever-be- sustain-
an antidote to the global supply chain and the associated able-a797003.html
environmental issues. Engaging consumers in design and [2] AL Hirscher, K Niinimäki (2013) Fashion activ-
making, logically offers prospective empowerment with ism through participatory design Proceedings of the
the means to be proactively involved in a solution. Crafting the Future
A difficult to measure problem characteristic is the pos- [3] Martin, R. 2016. No Patterns Needed DIY Couture
sibility of increasing the lifecycle of garments. Although from Simple Shapes. London UK: Laurence King
the research presented offers no tangible evidence that the Publishing Ltd
dresses will endure, Fletcher[5] identifies quality, individu- [4] Feldman, E. 1992. Fashions of a decade: the 1990s.
ality, and longevity as important values missing from the London: B.T. Batsford.
purchase decisions amongst current consumers. The pride [5] Fletcher, K. 2014. Sustainable Fashion and Textiles
and sense of achievement the participants collectively ex- Design Journeys (second ed.). Oxford: Routledge.
pressed at the close of the workshop are arguably triggers [6] Chapman, J. 2009. Design for (Emotional) Durabil-
for an extended garment lifespan. In addition, it is not ity. Massachusetts Institute of Technology: Design
unreasonable to suggest that skills gained by the individu- Issues. 25(4), pp. 29-35
al are equally triggers for the recognition of both making [7] Honoré, C. 2005. In Praise of Slow How a Worldwise
and design qualities in the garments they might buy. A Movement is Challenging the Cult of Speed. London
greater first-hand appreciation of making skills could also UK: Orion Books Ltd.
underpin a greater sense of purchasing satisfaction, po- [8] Minney, S. 2016. Slow Fashion aesthetics meets eth-
tentially countering the negative feelings and short-lived ics. Oxford UK: New Internationalists Publications
value identified by Van Bowen[15] and Chapman[6]. It is Ltd.
also reasonable to surmise that more discernible fashion [9] Statistica. 2018. Market Value of Health and Well-
choices, underpinned by new knowledge can perhaps sup- ness in the United Kingdom (UK) from 2012 to 2017
port a changing in attitude, and help to counter the lack of (in million euro0. [Online]. [Accessed February 27,
responsibility consumers feel regarding the consequences 2018].
of fast fashion as reported by the Business of Fashion[16]. [10] Korn, L, Gonen, E, Shaked, Y, Golan, M. 2013.
Health Perceptions, Self and Body Image, Physical
6. Conclusion Activity and Nutrition among Undergraduate Stu-
This study was designed to determine the effect of dents in Israel. PloS ONE. [Online] 8(3) [January 15
teaching dressmaking skills as a means to instigate change 2018]. Available from: https://doi.org/10.1371/jour-
in the buying habits of young women. Holistically, the nal.pone.0058543
findings suggest that the participatory design experience [11] Office for National Statistics. 2017. Adult smoking
has the potential to nurture stronger relationships between habits in the UK: 2016 Cigarette smoking among
young people and their clothing. Furthermore, the new adults including the proportion of people who smoke,
knowledge and skills of dressmaking, gained through their demographic breakdowns, changes over time,
education, show a broader potential to encourage more and e-cigarettes. [Online]. [Accessed December
considered fashion purchases. It is recognised that the aim 2018]. Available from: https://bmcpublichealth.
to change consumer fashion buying habits is a complex biomedcentral.com/articles/10.1186/s12889-018-
problem, and attempts to recondition established patterns 5995-3.

Distributed under creative commons license 4.0 DOI: https://doi.org/10.30564/jiep.v2i1.403 35

 Journal of International Education and Practice | Volume 02 | Issue 01 | January 2019

[12] Ng Fat, L, Shelton, N and Cable, N. 2018. Investigat- [21] Oxborrow, L. 2015. Extending the Life of Clothes.
ing the growing trend of non-drinking among young Textiles. 42(3), pp.6-9 Fashion Revolution. 2017.
people; analysis of repeated cross-sectional surveys What’s Your Clothing Love Story? Loved Clothes
in England 2005-2015. London , UK. BMC Public Last. 1(2), pp.51-61
Health. [Online]. [Accessed October 2018]. Available [22] Dickson, M, Cataldi, C and Grover, C. 2016. The
from: https://bmcpublichealth.biomedcentral.com/ Slow Fashion Movement. [Online]. [Accessed Au-
articles/10.1186/s12889-018-5995-3 gust 10, 2017] Available from: https://www.notjustal-
[13] Max-Neef, M. 1992 Development and Human Needs abel.com/editorial/slow-fashion-movement
in: Elkins, P. ed(s). Real Life Economics: Under- [23] Illich, I. 1971. Deschooling Society. London: Calder
standing Wealth Creation. London UK: Routledge and Boyers Ltd Martin, R. 2016.
pp.197-214 [24] Friedman, K. 2016. Forward. In: Muratovski, G, Re-
[14] Thorpe, A. 2007. The Designer’s Atlas to Sustainabil- search for Designers a Guide to Methods and Prac-
ity. Washington: Island Press, p.118. tice (p.xxi). London: SAGE Publications Ltd.
[15] Van Bowen, L. 2005. Experientialism, Materialism [25] Hoskins, T. E. 2014. Stitched Up The Anti-Captialist
and the Pursuit of Happiness. Review of General Book of Fashion. London UK: Pluto Press.
Psychology. [Online] 9(2) pp.132-142 [January [26] Thaler, R.H and Sunstein, C.R. 2009. Nudge: Im-
14 2018]. Available from: http://psych.colorado. proving Decisions About Health, Wealth, and Hap-
edu/~vanboven_rgp_2005.pdf pniess. London, UK: Penguin Publishing Group.
[16] Business of Fashion. 2017. Fashion Needs an Open- [27] Yin, R.K. 1994. Case Study Research: Design and
Source Sustainability Solution. [Online]. [Accessed Methods. Thousand Oaks, CA: SAGE
October 13, 2017]. Available from: https://www. [28] Bryman, A. 2006. Integrating Quatitative and Qual-
businessoffashion.com/articles/this-week-in-fashion/ itative Research: How Is It Done? Qualitative Re-
fashion- needs-an-ope n-source-sustainability-solu- search. 6(1), pp.97-113
tion [29] Muratovski, G. 2016 Research For Designers A
[17] Gladwell, M. 2008. Outliers: The story of Success. Guide to Methods and Practice. London UK: SAGE
United States: Little, Brown and Company. Publications Ltd
[18] Fletcher, K. 2010. Slow Fashion: An Invitation for [30] Marsh, S. 2017. Girls suffer under pressure of online
Systems Change. Fashion ‘perfection’, poll finds. [Online]. [Accessed October
Practice. 2(2), pp, 259-266 27, 2017]. Available from: https://www.theguardian.
[19] Sung, K, Cooper, T and Kettley, S. 2015. An explor- com/society/2017/aug/23/girls-suffer-under- pres-
atory study on the links between individual upcy- sure-of-online-perfection-poll-finds
cling, product attachment and product longevity. In: [31] Bobrow, E. 2014. In search of lost time. Why is ev-
Cooper, T, Braithwaite, N, Moreno, M and Salvia, eryone so busy? The Economist. [Online]. (Christmas
G (Joint Editors). PLATE Conference. 17-19 June. Double Issue) [Accessed January 24, 2018]. Avail-
Nottingham, UK. Nottingham: Nottingham Trent able from: https://www.economist.com/news/christ-
University: CADBE, pp.349-356 mas- specials/21636612-time-poverty-problem-part-
[20] Schifferstein, H.N.J and Zwartkruis-Pelgrim, E.P.H. ly-perception-and-partly- distribution-why
2008. Consumer- product attachment: Measurement [32] Flemming, D. 2016. Lean Logic: A Dictionary for
and design implications. International Journal of De- the Future and How to Survive It. Vermont: Chelsea
sign. 2(3) pp.1-13 Green Publishing.

36 Distributed under creative commons license 4.0 DOI: https://doi.org/10.30564/jiep.v2i1.403