Prevention of waste

(Brodish, Nixon and Cirka, 2011), it can be assumed that the planning and programming of production also is affected by time pressure.

Concluding notes

The sustainability term is not new and everyone should be able to contribute, due to a shared responsibility. The industry should make a unified response in terms of sustainability, but consumers should as well, because small fashion organisations cannot change the industry alone. Further, a change starts in design, but value chains need to follow and offer sustainable options. Balancing a creative and relevant organisation and sustainability is important, since consumers does not buy products primarily on sustainable properties.

Despite lack in research and a possibility to improve, it is found that implementing

sustainability will provide economic advantage. However, a change in practice is needed.

Price, fashion seasons and lack of materials are design barriers and seen as unsustainable, because it increases production and consumption. Primarily sustainable clothes for children is valued by consumers, but the increase in awareness among suppliers and consumers have also helped. Different initiatives have already been taken to design out negative impact, but designers cannot perform better than options available to them. There is a difference of opinion to whether the creative process can provide better environmental sustainability and the designers can only change the industry to some extent by making the right choices.

are needed to prevent semi-optimal solutions, which also seem to be the only options for the interviewed organisations to avoid putting the company at risk. Adler (2019) describes the problem as follows: “You build up some things that become the foundation for your

economy, so it is clear that if you suddenly have to remove things or change things so that it becomes something else, then you might say that you basically risk the entire company”

(Adler, 2019). The economic sustainability is therefore also important for the organisations to keep in mind to keep producing resources (Caniato et al., 2012: 660). Further, Nielsen (2019) believes it is possible to improve the entire value chain and Adler (2019) argues that all textile groups can be improved. This stems with the theoretical view that there is room for improvement to become more sustainable and that the environmental impact can be

prevented and recovered through learning, adaptability and responsibility (Starik and Kanashiro, 2013). Nielsen (2019) also says that designers should be better educated and should be up to date with sustainability trends, which is also visible with newly educated designers.

For many years it has been challenging to be creative due to lack of interesting materials (Nielsen, 2019), but it is argued that it has improved. A unified industry response (Goworek, 2011) will benefit the environment as well as the industry development and participation (Brodish, Nixon, Cirka, 2011). Fredin (2019) suggest that organisations collaborate, when buying sustainable materials or make a joint decision on sustainable values. Adler (2019) describes that creativity often is prioritised higher than profit due to the internal interest and skills, but that they now experience difficulties finding fabrics, because designers can only choose what is available (Adler, 2019). However, using methods as zero-waste patterns and creativity to design out bad impacts can further help expand the experience of working with sustainability and finally increase maturity in the field (Stables, 2009).

Looking to the literature by Stables (2009), the design of the product should be the easiest to control, however if the planned suppliers are not ready or does not have the technology, the design does not go far. Fredin (2019) does however also suggest not hiding sustainable suppliers from other brands to accomplish competitiveness. Once again the designers considered the size of the organisation important in terms of making demands and not being able to reach the minimum requirements needed to order sustainable fabrics and production (Nielsen, 2019; Fredin, 2019).

Human and financial resources are stated to be the drivers towards sustainability and include manager commitment and values (Desore and Narula, 2018). Still, Møgelgaard (2019) state that it is crucial for the circular economy that the design and materials are given

a great responsibility (Møgelgaard, 2019). Consumers are also expected to treat the garments sustainably by reusing, buying responsibly and washing carefully for them to last longer (Fredin, 2019). H&M have secured a close connection with suppliers and are able to control that the sustainability actions taken by designers are fulfilled (Møgelgaard, 2019). It is not enough that a brand makes a change internally, but requires that the entire chain behind a product changes (Fredin, 2019). As Desore and Narula (2018) argue, does lack of

resources, legislation and governmental involvement not help the good intentions of values and commitments. It requires that big players within the industry take action (Tobiasen, 2019).

Literature shows how the economical aspect plays a role for consumers when deciding whether or not to buy sustainable products (Goworek, 2011). Elmkvist (2019) argue that consumers should consume fewer products and exploit the bought garments instead of being caught up in the availability of cheap fashion products, often of poor quality. This barrier for going sustainable is also evident for fashion brands in the more expensive prices when using sustainable fabrics (Nielsen, 2019). Møgelgaard (2019) describes how H&M prevented the high retail price barrier by taking on the price difference. As do the company Blanche (Fredin, 2019) to secure a competitive advantage, become frontrunners and provide sustainability for more people at reasonable prices (Møgelgaard, 2019; Fredin, 2019). The prevention of taking on the price difference supports the theoretical argument that a sustainable world provides resources for many people, while caring for the environment (Starik and Kanashiro, 2013). By buying larger units from suppliers, Nielsen (2019) argues it becomes easier to make sustainability demands though ordering smaller units make it easier for designers to control and visit suppliers. Placing demands is an important aspect (Nielsen, 2019) as organisations have a responsibility in what they produce, and the production is responsible for executing it (Adler, 2019). The possibilities for designers to minimize resources, waste and chemicals may not only be up to the designers as Kahn and Islam (2015) states. The size and economy of the fashion brand is therefore also a challenge for going sustainable (Nielsen, 2019; Fredin, 2019).

Regarding the economic aspect, it is often more expensive for designers to choose

sustainable fabrics (Elmkvist, 2019) for example if the fabrics for organic cotton, for instance, are more narrow and require more meters (Fredin, 2019). However, Fredin (2019) also argue, that it is not a given that products will become much more expensive, because quality is expensive too. In Won Hundred, the management made the organisational objectives in collaboration with their production to make sure demands were realistic (Nielsen, 2019). She

further states that some markets are more willing to pay for sustainable initiatives, whereas others are not (Nielsen, 2019).

The connection between human and nature is so obvious that it is feared forgotten on organisational levels (Starik and Kanashiro, 2013). In H&M, they also have the capacity to work with sustainability throughout the entire value chain (Møgelgaard, 2019), whereas smaller, established organisations do not (Nielsen, 2019). H&M have sustainability

employees looking at different aspects, depending on whether they work in the main office in Stockholm or in a sales or production country (Møgelgaard, 2019). They also work with projects locally and globally in collaboration with WWF² and Unicef³ and also towards protection of animal life and nature (Møgelgaard, 2019). The work with animal and nature projects prove that H&M use their economic position to preserve the environment (Caniato et al, 2012). The strategy on becoming 100% circular were not established according to the SDGs, but have been implemented in the strategy since (Møgelgaard, 2019). Recognition and responsibility are important sustainability values when seeking to prevent further environmental impact (Starik and Kanashiro, 2013). This is also proved when stating that they, as one of the big players on the market, need to focus on SDG 12 (sustainable consumption and production) and that they further have a vision to lead the change

(Møgelgaard, 2019). The change will require further development, but there is a big interest among organisations, in finding alternative ways to produce with fewer resources

(Møgelgaard, 2019). In this organisation, sustainable production and consumption is

considered according to definitions on environmental sustainability to care for qualities in the physical life (Hasanuzzaman and Bhar, 2017), whereas specifically the strategy on having a 100% circular product range considers the actual production. Fredin (2019) states that no product is 100% good for the environment.

Because the SDGs are not made to make specific demands, they can only be used to influence attitudes, but Lykketoft (2019) also assume that it will inspire organisations,

“because Denmark historically have been frontrunners on a lot of those things that the rest of the world has then demanded”. Because the fashion industry is a cultural industry (Lampel, Lant and Shamsie, 2000), it depends on the symbolic value consumers put in and whether they buy a non-utilitarian product (Hesmondhalgh, 2013). Moreover, because designers only have the ability to choose what is available, they need to push the industry and consumers

2 Read more about the parthership with WWF here

https://www.wwf.dk/stot_os/virksomheder/strategisk_partnerskab/h_m/

3 Read more about the partnership with UNICEF here https://www.unicef.org/corporate_partners/index_handm.html

need to push the designers (Adler, 2019). The brands then have a responsibility to deliver sustainable products (Tobiasen, 2019), but the consumers also need to buy those products, as the “brands need to make profit and look at numbers too” (Nielsen, 2019). If products are build on sustainable values like renewable resources and ingredients that do not affect future generations (Kahn and Islam, 2015), theses properties should be made visible for the

consumer as well in terms of how and where it is produced to best inform the consumer (Fredin, 2019; Møgelgaard, 2019). A further suggestion by Møgelgaard (2019) is to make a tool for consumers to navigate between brands and their level of sustainability, which is also a tool to pressure the fashion organisations to do better and rank high on that scale.

Making green strategies according to the institutional pressure from regulatory agencies, competitors and suppliers are said to give a competitive advantage (Desore and Narula, 2018). Despite the limitations and the challenge of making sustainable designs in the short run, it is argued to give more possibilities in the long-term, also due to the constant increase in knowledge (Fredin, 2019). Moreover, it is stated by Fredin (2019) that designing

conventionally could be done in half the time, but possibilities with sustainability require designers to think differently. This once again confirms the ability to earn competitive advantage (Desore and Narula, 2018), but can also add to a more sustainable business (Caniato, Caridi, Crippa, Moretto, 2012).

It requires many to do a big difference (Fredin, 2019) and some prioritize producing organic fabrics or producing sustainably (Fredin, 2019; Tobiasen, 2019) when designing, compared to the desires consumer demands. Fredin (2019) also explains how the products need to be relevant to prevent the production of waste. Consumer-centric barriers like trend are the main problem in becoming sustainable, because the fashion industry is consumer-driven (Desore and Narula, 2018). Moreover it is also important to better inform consumers about green and ethical consumption (Goworek, 2011), which also Adler (2019) states. The

argument used by Adler (2019) is that the only way to educate consumers is by talking about sustainability. The interest among consumers is still on style and it therefore needs to be considered and valued as high as sustainability (Fredin, 2019). Elmkvist (2019) describes how it is important to accept the limits of what is possible within sustainable boundaries.

Some initiatives for designers to contribute to better production and consumption are:

● Choosing durable solutions (Nielsen, 2019),

● Collaborating with suppliers (Nielsen, 2019),

● Thinking through every material (Nielsen, 2019),

● Designing timeless and with multi-functions (Fredin, 2019; Nielsen, 2019),

● Changing the seasonal releases (Elmkvist, 2019),

● Start changing one product at a time and learn from it (Adler, 2019),

● Designing clean garments (Tobiasen, 2019),

● Design of classics for longevity and avoiding things not present in the company’s sustainable values (Tobiasen, 2019).

More specific examples of unsustainable features are things like tulle and silver, gold and neon colours (Tobiasen, 2019). Designing for longevity can therefore include designing minimalistic garments, as the Nordic countries are known for (Nielsen, 2019), or it can include designing basic products that, if designed right, does not need to change the next season (Fredin, 2019). Using European standards gives a better reach and secures a good standard in terms of bad additives (Tobiasen, 2019). Further the use of certifications like the Better Cotton Initiative (BCI) or Global Organic Textile Standard (GOTS) are suggested to secure production standards and display their actions to consumers (Nielsen, 2019;

Elmkvist, 2019; Adler, 2019). Because the BCI certification looks at the entire value chain, the approach is argued to be a good inspiration for organisational strategies, but does as a certificate only inform about sustainable actions (Nielsen, 2019).

When looking at the fashion industry, Lykketoft (2019) argues, big issues are the habits of buying, disposing and the production and he states that some may be prevented with regulations on price and taxes on unsustainable products. Managing sustainability should according to literature include recognition and adaptation to the natural milieu (Starik and Kanashiro, 2013). Fredin (2019) argue that the choice of sustainability should be made for the consumer and organic products should be the only available choice. Further, the research that the government supports should be build on sustainable technologies and products (Lykketoft, 2019). As stated previously, much of the technology needed to achieve sustainable development is not invented, but the prerequisites for that to happen, does already exist, as technology has developed drastic in the past years (Lykketoft, 2019).

It is a complex issue to secure sustainable production and consumption because it relies on international agreements, change in production and behaviour and market regulations (Lykketoft, 2019). There is no correct answer, except to take action (Fredin, 2019).

Concluding notes

The sustainable development goals should be seen as a way to spread knowledge on the need to take action. Long-term solutions are needed for optimal change and to keep a sustainable business and environmental impact can be avoided through learning,

adaptability and responsibility. Further, a growing experience with sustainability will help the field reach maturity. Product design is considered the easiest to control, but the value chain as a whole needs to change too. The economic aspect is important for consumers and organisations in terms of cost and end-price. Organisational operations should become more in line with the environment to preserve nature and physical life and therefore designers need to push the industry and consumers need to push the designers. Actions should also be visible to consumers for them to be able to change. Sustainable actions will provide possibilities in the long run and products will not necessarily be more expensive than quality products. Therefore some markets may be more willing to pay for sustainability. Employees are important in the transition, while educating consumers on sustainability may help

consumer-centric barriers, as the industry is consumer driven. Certifications can help secure production standards, while garment collecting systems for recycling should be managed by the government to reach know-how and availability. Everyone have a responsibility to make the industry better.