A

Sustainable

Fashion

Manifesto

Anja Claire Crabb

design

Su s t a i n ab i l i t y

is the possibility that humans and oth-

er life will flourish on Earth forever.

Flourishing means the well-being of all living systems[beyond just remaining healthy].

F a s h i o nis signified by time and change. The change itself is neither positive nor negative

– the nature of the change is important .

It is also a very intimate and simultaneous-

ly public expression of material culture.

D e s i g nis a powerful conduit for change.

It is a tool to visualise the ‘attain-able micro utopias’ we could be living in,

S u s t a i n a b l e f a s h i o n d e s i g n

requires fundamentally challenging historical and current percep-tions of design and fashion. With its inherent qualities, it can be a driver for transformative

innovation, an agent for so-cial change and even be the

activist among the design disciplines.

Design can find the best fit between...

B a l a n c e

e c o n o m i c viability

ethical and cultural acceptability

and

ecological truth.

[The Tao of Sustainability]

Ethical

Natural Human

Sustainability

Sustainability is complex.

C O

M P

L

EX

E M B R A C E

IT Y

Accept that ‘facts’ may change over time

and that there are many different ways of viewing the world.

[Machines, technology and science are complicated.]

School of fish, flocks of birds, the eco-system and the neurological system are complex.

Aesthetics of sustainability

can be expressed in many different ways:

the message may be

EXPLICIT,

encrypted

or even completely concealed.

In its dynamic nature, it will constantly continue to seek new expressions, appealing to a range of people.

These will continue to evolve over time.

means designing with

durability

or transience

in mind, depending on the context.

[Long-lasting but unsustainable products merely slow down rather than prevent envi-ronmental degradation.]

Appropriate design

f a i ra n ds q u a r e

Finite resources should be treated as precious capital.

The environment and society should to be treated as clients, too.

a) Designs must be viewed in relation to the business system they support.

b) Reducing unsustainability does not create sustainability.

c) Systems-thinking is required in seeking solutions.

Less bad

good.

A zoomed in view tackles particular tangible issues

Micro & Macro

The designer maintains a balanced approach of

humility & confidence, by questioning how the designer’s role and values

define their place in the world.

by the

zoomed out view: a holistic, deep understanding in

which design decisions are framed.

and isinformed

Designers combine fragments of knowledge from different areas into new wholes:e x p a n d i n g the knowledge base and bringing forth new, original concepts.

Collective Wisdom

Cross-pollination al-lows projects to happen

on the boundaries of disciplines,

pushing these boundar-

Sharing information improves competence and confidence.

Habits

are

changeable.

Change your design habits &

change other people’s habits through your design.

is key to sustainability. Designs can be creat-ed to induce reflection. And when design-ing, take time to reflect.

ReflectionReflection

WE

NEED

AUTHENTIC

INNOVATION

[Not something new for newness’ sake.]

Being

Design that places em-phasis on the experience rather than the mean-ingless accumulating of material objects.

vs.

Having

“Creativity is uniting the pre-existent elements in new, useful combinations”

-Henri Poincaré

Inspiration from nature

efficiency

cooperation

symbiosis

interdependence

interconnectedness

cycli

cal

wonde

r

playfulness

balance

engagement

community

Humour, surprise and joy

?!

Include an element of into the narrative to increase emotional durability. Sustainability should be about enjoyment and well-being.

unpre

dictab

ility

Open source design

User-centred design

Service design

Meta design

Experience design

Empathetic design

Inclusive design

Universal design

Co-design

Slow design

Exploring new ways of designing....

Don’t ask is it TRUE?

but

what does it MEAN?

A less rationalistic and more contemplative enquiry al-lows deeper understanding. This level of understand-ing and realization becomes part of our perception, we respond to it and develop and grow.

‘The real JOY of design is to deliver fresh perspectives, improved well-being and an intuitive sense of balance with the wider world.

The real SPIRIT of design elicits some higher meaning.

The real POWER of design is that professionals and lay people can co-design in amazingly creative ways.

The real BEAUTY of design is its potential for secular, pluralistic expression.

The real RELEVANCE of design is its ability to be proac-tive.

The real PASSION of design is in its philosophical, ethical and practical debate.’

- Alastair Fuad-Luke

References

p.1 Sustainability / Fashion / Design Ehrenfeld, J.R. (2008) Sustainability by Design – A Subversive Strategy for Transforming our Con-sumer Culture. London, Yale University Press.

Walker, S. (2006) Sustainable by Design: Explorations in Theory and Practice. London, Earthscan.

Wood, J. cited by Fuad-Luke, A. (2009) Design activism : beautiful strangeness for a sustainable world. London, Earthscan.

p.2 Sustainable Fashion DesignFletcher, K. (2008) Sustainable Fashion & Textiles - Design Journeys. London, Earthscan.

p.3 BalanceFuad-Luke, A. (2009) Design activism : beautiful strangeness for a sustainable world. London, Earthscan.

p.4 The Tao of Sustainability / p.5 & 6 ComplexityEhrenfeld, J.R. (2008) Sustainability by Design – A Subversive Strategy for Transforming our Con-sumer Culture. London, Yale University Press. p.7 AestheticsManzini, E. (1999) The Aesthetics of Recycling is not in the Product [PDF online]. Delft Uni-versity of Technology, Delft. <http://www.re-f-use.com/opinions/ezio_manzini.pdf> [accessed 11.02.2012].

p.8 Appropriate DesignWalker, S. (2006) Sustainable by Design: Explorations in Theory and Practice. London, Earthscan.

p.9 Fair and SquareManzini, E. (2007) ‘The Scenario of a Multi-Local Society: Creative Communities, Active Networks and Enabling Solutions’ in Chapman J. and Grant, N. (eds) Designers, Visionaries and other Stories – A Collection of Sustainable Design Essays. London, Earthscan.

p.10 Less bad is not goodMcDonough, W. & Braungart, M. (2009) Cradle to cradle : remaking the way we make things. London, Vintage.

Fuad-Luke, A. (2007) ‘Re-defining the Purpose of (Sustainable) Design: Enter the Design Enablers, Catalysts in Co-design’ in Chapman J. and Grant, N. (eds) Designers, Visionaries and other Stories – A Collection of Sustainable Design Essays. London, Earthscan.

Ehrenfeld, J.R. (2008) Sustainability by Design – A Subversive Strategy for Transforming our Con-sumer Culture. London, Yale University Press.

p.11 Micro & macro Manzini, E. ‘Creative Communities’ (2009) in Brower, C., Mallory, R. and Ohlman, Z.Experimental eco-design : architecture, fashion, product. Mies, Rotovision.

Parsons, T. (2009) Thinking Objects – Contemporary approaches to product design. Lausanne, AVA Publishing.

p.12 Collective widsomChick, A. and Micklethwaite, P. (2011) Design for Sustainable Change – How design and designers can drive the sustainability agenda. Lausanne, AVA publishing.

Fletcher, K. (2008) Sustainable Fashion & Textiles - Design Journeys. London, Earthscan.

p.13 Habits are changeableSoutherton, D. (2012) Sustainable Lifestyles: Great Theory, Impossible Practices [lecture]. Myths and Realities: A Series of Public Debates. London, British Library. [7.2.2012]

p.14 ReflectionEhrenfeld, J.R. (2008) Sustainability by Design – A Subversive Strategy for Transforming our Con-sumer Culture. London, Yale University Press.

Walker, S. (2006) Sustainable by Design: Explorations in Theory and Practice. London, Earthscan.

p.15 Authentic innovationSvendsen, L. (2006) Fashion: A Philosophy. London, Reaction Books Ltd.

p.16 Having vs. beingEhrenfeld, J.R. (2008) Sustainability by Design – A Subversive Strategy for Transforming our Con-sumer Culture. London, Yale University Press.

p.17 CreativityPoincaré, H. in Brower, C., Mallory, R. and Ohlman, Z.Experimental eco-design : architecture, fashion, product. Mies, Rotovision.

p.18 Inspiration from natureFletcher, K. (2007) ‘Clothes that Connect’ in Chapman J. and Grant, N. (eds) Designers, Visionaries and other Stories – A Collection of Sustainable Design Essays. London, Earthscan.

p.19 Humour, Surprise and JoyChapman J. and Grant, N. (eds)(2007) Designers, Visionaries and other Stories – A Collection of Sustainable Design Essays. London, Earthscan.

Papanek, V.J. (1995) The Green Imperative: Ecology and Ethics in Design and Architecture. London, Thames and Hudson.

p.20 New ways of designingFuad-Luke, A. (2007) ‘Re-defining the Purpose of (Sustainable) Design: Enter the Design Enablers, Catalysts in Co-design’ in Chapman J. and Grant, N. (eds) Designers, Visionaries and other Stories – A Collection of Sustainable Design Essays. London, Earthscan.

p.21 Truth and meaningWalker, S. (2006) Sustainable by Design: Explorations in Theory and Practice. London, Earthscan.

p.22 Joy, power, spirit, beauty, relevance, passion Fuad-Luke, A. (2009) Design activism : beautiful strangeness for a sustainable world. London, Earthscan.

“Whatever you can do or dream you can, begin it. Boldness has genius, power and magic in it.” - Goethe