Shaping Sustainable Fashion

Gwilt, Alison; Rissanen, Timo

doi:10.4324/9780203126172

Cited by 71 publications

(26 citation statements)

References 3 publications

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“…Fashion designers can seek design strategies to influence and lead consumers to engage more actively in sustainability; the highest impact phase in the clothing life cycle is frequently attributed to use (Fletcher & Grose, 2012;Gwilt & Rissanen, 2011). Apparel designers have the power to influence consumers' behaviour and the responsibility to enhance sustainability in fashion (Black, 2008;Bye, 2010;Fletcher, 2008;Gwilt, 2011).…”

Section: Introductionmentioning

confidence: 97%

Design functions in transformable garments for sustainability

Koo

Dunne

Bye

2013

International Journal of Fashion Design, Technology and Educati

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This study was designed as a bottom-up approach to understanding what kind of changeable functions people desire in transformable garments by analysing a wardrobe database, participants' perceptions of garment varieties, and participants' values related to transformable garments (specifically tops, the wardrobe garment with the most observed design variability). The wardrobe database was analysed using data quantification and descriptive analysis. Style-conscious professional women, ages 20-40, were interviewed; their perceptions and values related to design variability in tops was the focus. Versatility was the most important reason for preferring specific changeable design functions. Among candidates for changeable design functions, the most preferred functions were transforming colours or patterns and sleeve lengths. Participants had three expectations for transformable garments: functional (ease of matching, ease of layering, comfort, usability, ease of care, and durability), hedonic (fun and be able to experiment with various styles), and social (context aptness and modesty).

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Section: Introductionmentioning

confidence: 97%

Design functions in transformable garments for sustainability

Koo

Dunne

Bye

2013

International Journal of Fashion Design, Technology and Educati

View full text Add to dashboard Cite

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“…When a second-hand garment undergoes a transformation and is reshaped for a new design (Gwilt and Rissanen, 2011)…”

Section: Re-designmentioning

confidence: 99%

“…Restyling a garment consists of taking a second-hand garment and changing its purpose or use without actually altering it physically (e.g., without cutting, sewing, etc.) (Gwilt and Rissanen, 2011)…”

Section: Restyle/redecoratementioning

confidence: 99%

“…The key turned out to be a combination of people, processes, and the environment. The second book was Gwilt's (2011) "Shaping Sustainable Fashion: Changing the Way We Make and Use Clothes." This book explains the environmental damage caused by the production, use and disposal of clothing.…”

Section: Prefacementioning

confidence: 99%

“…Reducing waste, reusing discarded items (in this case garments and costumes) and recycling materials (in this case textiles) is not only an environmentally friendly practice (Blackburn, 2009;Sherburne, 2009;, it is also economically advantageous as it allows people to get more use out of a product as well as reducing the need to buy new materials when creating something new (Blackburn, 2009;Andersen and Earley, 2014). Because of this, many people in western countries, including fashion designers and costume makers for theatrical and other productions, engage in the practice of sustainable costume design such as reusing and recycling garment and materials (Green, 2011;Gwilt and Rissanen, 2011;Gwilt, 2014). However, Kuwait is particularly noteworthy for not adopting this practice, as there is not only a dearth of research on sustainable costume design in the country, the small amount of research that does exist indicates almost no designers practice it (Michalak-Pikulska, 2001;Naseem, 2013).…”

Section: Research Introductionmentioning

confidence: 99%

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