„Brza moda” – održivost i klimatske promjene. Komparativno istraživanje Hrvatske i Portugala

Abstract

The fast fashion model is one where the fashion industry produces pieces of clothing in keeping with the latest trends, with low storage and high turnover, making the marketing of the products quick and giving consumers new clothes at affordable prices while increasing the amount of possible produced textile residues from being reused. This article examines the concept of fast fashion and its impact on climate change through an observational analytic comparative study of Portugal and Croatia. Using this type of study, the investigator samples a source population cross-sectionally and then retrospectively assesses the histories of exposures and outcomes of the subjects over a specified time period. The target populations of this study are that of Portugal and Croatia. A questionnaire was conducted, and additional data were collected from the analysis of waste reports and from Eurostat. The results were evaluated using the IBM SPSS Statistics program through descriptive statistics and the Chi-Square independence test. Results show that Portugal has a larger volume of clothing purchases as compared to Croatia, while at the same time Portugal produces more textile waste so the impact on the environment is higher. One of the main reasons associated with the higher production of textile waste is related to the increase of fast fashion. It is therefore important to encourage a circular economy, to stress the importance of stimulating the recycling of textile materials and emphasise the need for increasing the collection of clothing, as well as to invest in recycling technologies. A new model for the textile sector is necessary, one in which clothing, fabrics, and fibres re-enter the economy after use and never end up as waste through the creation of a closed system.

Pouco Instagramável: A Sustentabilidade na Comunicação Digital da Moda Autoral Portuguesa

“…This gloomy perspective of the fashion industry is further reinforced by the unsustainable nature of the production methods adopted (Williams, 2019), which detrimentally compromise both the human and environmental components of the equation that defines sustainability (Kalambura et al, 2020). Williams (2019) suggests an interpretation that underscores the essential need to integrate sustainability with the fashion sector: sustainability ( … ) concerns the balancing our of collective interdependencies as human beings with our simultaneous dependencies on nature.…”

“…Before this theorisation, the Brundtland Report (Brundtland, 1987) had already emphasised the need for progressive transformations in the economic and social fields to consecrate sustainable development, defining it as "development that meets the needs of the present without compromising the ability of future generations to meet their own needs" (p. 41). In fact, when contrasting the current practices of the fashion industry with this approach to sustainability, it is easy to understand how crucial environmental and human elements are in realising a genuinely sustainable trajectory (Brewer, 2019;Ceylan, 2019;Kalambura et al, 2020).…”

“…It would be erroneous to approach the evolution of the concept of "sustainable fashion" without considering one of its main barriers: fast fashion and its vast array of products at affordable prices (Birtwistle & Moore, 2007). Movements such as slow fashion have emerged as an alternative to mass production, aiming to counteract the detrimental effects of the current fashion system (Blazquez et al, 2020;Kalambura et al, 2020). By adopting the model, the industry makes more conscientious decisions across various dimensions of the supply chain (Little, 2018), recognising that many of the issues linking fashion to sustainability stem from issues of scale, efficiency, and localisation (Fletcher, 2014).…”

“…Positioned in contrast to "mass-fashion" (Haug & Busch, 2016, p. 331), it is worth highlighting the need for fashion companies to pivot their strategic approach, leveraging sustainability as an opportunity for competitive advantage (Gazzola et al, 2020): a "newluxury" (Niessen, 2020, p. 871) rooted in timelessness (Joy et al, 2012) and prioritising more humane design and production processes (Kalambura et al, 2020).…”

The Consumer’s Role in the Transition to the Circular Economy: A State of the Art Based on a SLR with Bibliometric Analysis

“…Both industry and consumers agree that better product quality is a starting point for increasing product shelf life [53]; however, the reduced price of new products discourages consumers from taking this approach [54]. Price continues to be the consumer choice factor for this option [28,53,55,56]. The inferior characteristics perceived by consumers in used products lead to their being neglected [57].…”