However, there are many challenges and uncertainties that need to be resolved before this concept can be approached as merely a thought-provoking idea that helps us understand our present fast fashion system and its challenges. Here follows a background to the concept.

Origin of the concept “ultra-fast fashion”

A year ago, a special afterwork event on sustainable fashion was held in Stockholm, Sweden. The event was arranged by Hybrid Talks and consisted of a panel debate with leading thinkers in the field of fast and slow fashion. In direct association to the debate, a more intimate side-conversation was held with some of the panelists, led by Ulf Skarin (Veckans Affärer) and Elin Frendberg (CEO of Swedish Fashion Council). One of the panelists was Professor Rebecca Earley (at University of Arts London), whose team has been leading the research on fast and slow fashion over the last decade, and more recently exploring different speeds of fashion, including “ultra-fast fashion”.

Below is an excerpt from the interview of CEO Elin Frendberg with Professor Rebecca Early. The interview was recorded in full length. It sheds important light on the concept of ultra-fast fashion, its origin and the main reasoning behind:

Elin Frendberg: “Speeking about different speeds in fashion, tell me what is that?”

Rebecca Early (see image): “Well we have all heard of fast fashion, right, and we may have heard about slow fashion as well. My team and I are really keen to understand what that really means. Because it doesn’t take sort of very much poking around and what you actually see is that people are consuming products that are made very, very quickly in traditional sort of manufacturing processes, and buying those garments with not very much money and not owning them for very long before they discard them. So this is going on all the time and this is fast fashion. But actually, quite often, those materials are going to be around for an awful long time. It may have taken long time to grow them if they are natural fibers, it may have taken years and years to create oil and polyester. So we have this problem where we are looking at fast fashion but we are actually using slow materials. Polyester is the one that hangs around an awful lot because it is basically a plastic. So, you know, if a fashion brand is bringing out something bright, colorful and shiny, and you are going to buy it that season, you may not want to wear it the next season. And so that polyester shirt could go into landfill. It might go into a secondhand shop. Eventually, it will go. If it goes in landfill, that is where it lasts two hundred years. And as it decomposes, as it rots, as it degrades, it will emit toxins into the soil and gases into the air and actually we are wasting a valuable resource.”

Elin Frendberg: “But how can ultra-fast fashion be sustainable?”

Rebecca Earley: “We think that there could be better materials to use for maybe a younger consumer that does want to change their identity more often than perhaps old ones like us. You know, but it is true, people sort of settle into a sense of style, they have the time to look after things, they have the money to buy beautiful quality maybe later on in life, and the younger generation, a lot of them, they just want to be out with their friends, looking different, feeling good, and that is where a lot of the fast consumers are. So, if we look at them and if we look at their needs, I think we need a whole different pallet of materials to feed that sector, ones that could be made compostable. Actually what about domestic recycling? What about putting clothing into your compost heap? What about having other loops or sort of charities and collaborative consumption models? What about keeping these products going in the right places? It is all about the materials going into the right place.”

Should “ultra-fast fashion” be made a reality?

As expressed in the interview with Rebecca Earley above, the original idea behind the concept “ultra-fast fashion” was not to promote speedier consumption of fashion products, but rather to question the choice of materials that are being used in today’s fast fashion industry. Thus, instead of surrendering to the idea that we need to feed certain consumers’ desire to consume faster, we focus on a very different set of questions.The relevant questions to ask are rather:

What are the actual drivers behind today’s fast fashion consumption? Whose needs are we actually serving by introducing ultra-fast fashion at large scale? Is it possible to find other more long-lasting solutions for sustainable and circular fashion consumption? Perhaps the clues can be found in the mindsets of today’s fashion consumers, specifically in their underlying beliefs. One such common belief is that “we must refresh our style and update our wardrobes in order to become approved of by our peers and by society”. Our basic human fear of not being accepted as we are, of rejection by others, and of exclusion from the group, is driving our behavior to try to fit in by adjusting our attitudes, behavior and looks to those of our peers and of society at large. Abandoning such fear-based beliefs and behaviors could become a key solution for achieving a healthy and sustainable symbiosis between humans, societies and the Earth.

Thus, if the reason for ultra-fast fashion is to serve our desire for the new, varied, and socially approved, we should instead go back to ourselves and ask more fundamental questions about self-perception, self-acceptance and self-love.

“Ultra-fast fashion” – a rapid way to consume resources

One of the main problems with ultra-fast fashion is that it is not adapted to the speeds of Nature. It takes time for trees to grow and become large enough for felling, and it takes time for cellulose material to decompose and become mulch. These time-dimensions also need to be considered in the equation. And even though the paper-like clothes are recycled into new paper-material, it would still take energy and other natural resources to fuel these recycling processes.

Any type of fashion cycle – whether ultra-fast, fast, slow or ultra-slow – requires the input of natural and human resources, in terms of water, energy, plant- or oil-based materials, minerals, labor and time. Most people would agree that we need our existing resources for more vital matters, such as feeding our growing populations, building secure housing, and developing vital infrastructure, particularly in the face of continued climate change and future unpredictability. Our ecosystems provide not only “goods” for us to harvest but also life-supporting functions, including climate regulation, oxygen production, erosion control, and biodiversity support.

Although ultra-fast fashion would consume significantly less resources than today’s typical fast fashion industry, still resources will be required. Just like any other “fast” fashion, ultra-fast fashion would be a rapid way to turn natural resources into “waste”, even if the inherent material eventually becomes mulch. Thus, instead of focusing our attention and resources on developing ultra-fast fashion, why not create broader support for “ultra-slow fashion” among today’s consumers?

“Ultra-fast fashion” – to promote a critical mindset

It would be my professional call to peers and the industry that the concept of ultra-fast fashion remains as it was originally intended, that is, a thought-provoking idea that raises questions about the materials being used in today’s fast fashion industry and what materials should ideally be used for any faster consumption still at work. Possibly, for the shorter term, it may be used as a temporary solution in the form of paper-like materials, being less resource demanding, less toxic and more degradable than today’s typical fast-fashion materials and thus better suited for fast overturn. Yet, over the long haul, our central concern should be to support and encourage a rapid transition to slower forms of fashion consumption using long-lasting materials, quality constructions, and more timeless or universal designs – in the face of heavily pressured natural resources and climate uncertainties.

Article written by Dr. Anna Brismar, CEO/Owner of Green Strategy. All photos sourced from Unsplash.com

This article was originally written for Make it last (June 23, 2015).

Make it last: A century ago, the fashion industry aimed to produce quality goods that lasted a lifetime. For at least half a century now, the mainstream fashion industry has intentionally produced goods of poorer quality to encourage continuous consumption. Do you see any shifts in attitudes today among the larger fashion brands and retailers in “moving away” from this business strategy?

Anna Brismar: The business strategy that has dominated our manufacturing industry for more almost a century now is called “planned obsolescence”. In essence, it means that a company deliberately designs and manufactures products with shortened lifespans, by making them either worn out, broken, non-functional or unfashionable sooner than necessary (source). Or as explained by The Economist:

Planned obsolescence is a business strategy in which the obsolescence (the process of becoming obsolete—that is, unfashionable or no longer usable) of a product is planned and built into it from its conception. This is done so that in future the consumer feels a need to purchase new products and services that the manufacturer brings out as replacements for the old ones. (The Economist, 2009)

The expression “planned obsolescence” was first used in the mid-1920s by critics who questioned the new business proposal of Alfred P. Sloan, then head of General Motors. In order to increase sales, Sloan proposed that the company should change car model design annually to encourage car owners to buy a new car every year (source). In the 1930s, Bernard London wrote the pamphlet “Ending the depression through planned obsolescence” in which he advised the U.S. government to legalize planned obsolescence for consumer articles at large scale, in order to stimulate manufacturing, consumption, employment, and national economic growth. London’s advice had a great impact on the American industry.

Since the 1950s, the strategy of planned obsolescence has played a fundamental role in our modern society, also for the apparel industry. In particular, fast fashion chains and large retailers act upon this strategy to encourage customers to shop frequently, so as to spur revenues. By changing fashion styles often and rather drastically, consumers are encouraged to buy new items although their existing wardrobe may work perfectly. In other words, what is “high trend” today will soon be yesterday’s news. For example, this season’s rounded shoes will be replaced by pointed toes next year, long wide skirts will be outdated by short and tight skirts, and slim dark jeans will be surpassed by light blue and flared. Consumers acting upon such trend variations (by updating to the latest trends) will indirectly contribute to a society built on planned obsolescence.

Perhaps the “worst case” of planned obsolescence is the situation where a producer deliberately designs and manufactures a product so that it will break easily or after only a few uses, either by making one or more components weaker than necessary or by programming a shortened lifespan into the product (for example in electronic software). Either the broken part will need to be replaced, which may be costly, or the consumer is encouraged to buy a new or similar item. A classic example is how easily the screen of an iPhone breaks and how the cost of replacing the glass is almost one fifth of the price for a new phone (i.e. 1300 SEK for repair and 7500 SEK (for a new iPhone 6). According to some journalists, “planned obsolescence has been part of how Apple, and just about every other PC maker, has operated since time immemorial.” (See a video test comparing iPhone’s and Samsung’s screen breakability!)

Similarly, as for clothes, most of us have experienced how the new t-shirt quickly wears out as the fabric catches small holes and becomes asymmetrical in shape. A typical reason for this early quality degradation is a thinner and more delicate fabric and poor pattern-fabric matching. As for shirts and blouses, side seams that used to be double are today single, while buttons that used to be carefully stitched now easily fall off. When the garment break in the fabric, it is often difficult to restore its original look, while broken seams or lost buttons can more easily be fixed. Yet, many consumers would rather buy a new blouse than go through “the hassle” of fixing its seams or buttons (this, regardless of the fact that sewing a button takes about 10 minutes, while going out shopping probably takes a lot longer).

Although it may be understandable that companies wish to encourage customers to buy more and frequently (to uphold company revenues), this business strategy causes severe impacts on the environment, particularly in production countries like China, India, Bangladesh and Indonesia. Our modern fashion industry is in fact responsible for an alarming over-consumption of clothes, shoes and accessories, which also leads to huge amounts of fashion items being incinerated or dumped into landfills every year. In Sweden, the population consumed almost 132 000 tons of clothing and home textiles in one year (in 2008), of which an estimated 70 000 ton were thrown into the household bin and subsequently incinerated. In the UK, incineration of garments is not legalized (other than as household waste); instead, around 350 000 tons of unwanted clothes are sent to landfill every year (source). Meanwhile, the industry continues to manufacture new products. Thus, as we speak, large flows of raw oil are extracted to produce polyester clothes, huge amounts of water are diverted (from rivers, lakes and below ground) to irrigate cotton land, and substantial amounts of water, dyeing agents and potentially harmful chemicals are used to wash, dye, and treat fabrics and yarns, as part of the supply chain. The global fashion industry of today is clearly not sustainable.

Fortunately, the concept “circular economy” is changing the agenda worldwide. With the adoption of new circular business strategies, the fashion industry seems to be entering a new era of design and operation. Some large fashion companies now begin to rethink their business models and adjust their design practices to enhance product life expectancy. Weaker parts of a product are targeted in order to strengthen overall quality and to facilitate repair. Yet, few companies today would probably consider producing more long lasting styles (that is, lasting more than a few seasons) to discourage unmotivated shopping.

In sum, “planned obsolescence” as a business strategy is today being questioned, much thanks to the notion of circular economy. (An EU institution even called for a total ban on planned obsolescence in 2013.) Yet, while some fashion companies are now prepared to upgrade their product quality and reparability to create products that will last in durability, making products that will also last in style for more than a few seasons seems to be a far greater challenge. (For more, watch the film The Light Bulb Conspiracy!)

This article was originally written and published for Make it last on June 23 (2015). Republished here with permission.

Make it last: Fashion can be both about following new trends and finding your own personal style. How do you think sustainability and fashion can be combined in this perspective?

Anna Brismar: Fashion consumers are becoming increasingly aware of the serious sustainability challenges facing today’s fashion industry, in terms of various environmental, social and ethical issues needing to be addressed on a global level. Yet, fashion consumers also seem to get keener to developing their own personal styles, and this latter trend actually rhymes with the development of more sustainable wardrobes. The reason hereof is that fashion consumers are beginning to see the various benefits of mixing different sources of fashion pieces; but such different sources of fashion may also constitute different forms of more sustainable fashion! (See image here.)

More specifically, fashion consumes are starting to blend and combine various fashion sources. For example, new eco-friendly garments (”Green & Clean”) are paired with second hand or vintage pieces, and rented or borrowed pieces (”Rent, Loan & Swap”) are matched with tailored or self-made items (”On demand or DIY”). To mend and redesign one’s favorite clothes has also become a more common phenomenon, representing another type of sustainability strategy (referred to by Green Strategy as “Remake, Repair & Upcycle”). On top of this, the concern for ethical issues within the fashion industry has also intensified over the last years.

Poor working conditions, low factory wages and violations of animal rights have been quite extensively debated in media, especially since the large factory accident at Rana Plaza in Bangladesh in April 2013, and now re-actualized through the Norwegian television series (Sweatshop – Deadly Fashion) about three young fashion enthusiasts who went to Cambodia to experience the actual working conditions in sweatshops first hand. To buy clothes made in an ethically responsible way now seems obvious to most people (referred to as ”Fair & Ethical”), although lack of transparency in supply chains remains a major obstacle.

For most fashion companies, certain sustainability strategies tend to be in greater focus than others. For example at Filippa K, “sustainability” has always been synonymous with long lasting fashion in both design and quality (referred to as ”High Quality & Timeless Design”). Nudie Jeans, on the other hand, has taken ”Repair” services to its heart. Houdini Sportswear has been using recycled polyester materials and offering ski outfits for rent for quite some time, while DEM Collective has embraced the concept of ”Green & Clean” since its start.

Perhaps in response to the growing interest in circular economy worldwide, forward-oriented fashion companies in Sweden are now opening up to new business models and sustainability strategies, including new customer services. For example, Filippa K now works towards a more circular business model, and as part of this effort, they recently launched a new rental service, a take-back scheme, and also presented their “Front Runners” collection, which consists of three pieces made of 100% renewable and natural Tencel fiber. Three new strategies of Filippa K towards more sustainable fashion!

Thus, while some fashion companies may still be hesitant to exploring new forms of sustainable fashion, consumers have every opportunity to test and embrace additional if not all seven forms! Thus, for your daily wear, you can quite easily pick a home-knitted scarf, a secondhand outerwear, a tailored blazer, a rented pair of pants, an environmentally friendly shirt (of organic cotton, Tencel or other more sustainable fiber), a pair of tights in recyclable Nylon, a borrowed pair of shoes, ethically made jewelry, and a timeless high quality bag. Mixing clothing, shoes and accessories in this way will probably be the most common way to build a more personal as well as sustainable wardrobe.

Approaching “sustainable fashion” simply as a wardrobe full of organic cotton or recycled polyester is no longer the case. Rather, a more sustainable wardrobe means developing your personal style and mixing your carefully selected favorites, may they be rented, borrowed, secondhand, vintage, remade, DIY, tailored, custom-made, ethically made, locally made, high quality, timeless, and/or environmentally manufactured. Mixing pieces in a responsible way and according to your own personal taste and style is now the way to go!

This article was written by Anna Brismar and originally published by Make it last on February 13, 2015. Republished here with permission.

(Photo at the top from Unsplash.com)

Make it last: In your opinion, what issues are often neglected in today’s debate on fashion and sustainability?

Anna Brismar: One issue that is rarely discussed is the need to reduce today’s enormous annual production volumes of new clothes, shoes and accessories by the fashion industry on the global market. This is especially true for the production of fast fashion items aimed to serve the demands of industrialized countries. The present production rate of fast fashion – often of lower quality and short-lived design – is by no means sustainable. This is evident when we learn about the various harmful environmental impacts throughout the production chains, the poor working conditions in most fast fashion garment factories (mainly located in Asia), and the vast amounts of clothes, shoes and accessories that end up in landfills or are incinerated every year. It is also apparent when we study statistics of annual consumption rates by European countries over the last two decades. In Sweden, for example, we have increased our annual consumption level of textiles by 40 percent, from 2000 to 2009. In Great Britain, the volume of sold clothing has increased by 60 percent between 1995 and 2005.

The continuous increase in fashion consumption per capita in industrialized countries is hardly generated by an increase in people’s basic needs for more clothes etc., nor can it be fully explained by a growing world population, or by a growing middle-class segment. Rather, it is an incautious shopping behavior primarily driven by psychological and sociocultural factors. Various studies have shown that we tend to buy new clothes for various non-functional reasons, for example to express a cultural belonging, to get momentary satisfaction by finding a new trendy piece or shopping at a good price deal, or we shop to cure an emotional unease or even spiritual void. Today, shopping is rarely about filling an actual gap in the personal wardrobe of a “necessary” functional piece, such as a new pair of running shoes (if the old ones are worn out) or a new winter jacket (if the old one is too small or torn).

But, how do fast fashion companies address this trend of increased fashion consumption per capita? Are companies actively looking for ways to promote a more conscious and healthy shopping behavior? Are they starting to question their present production levels and their ambition to “grow” in volumes to meet stockholders’ demand for profit and consumers’ demand for fashion news? Are fast fashion companies today considering the possibility to actually reduce their annual production volumes and finding other means of upholding revenues? Unfortunately, there is still little evidence pointing in this direction. (Yet, new circular business models provide promising possibilities and a number of “more conscious” fashion brands are already working along these lines.)

To add to the case, “the need to close the loop on textiles” has become a common statement among large fashion chains in Sweden in recent years, primarily by H&M. Only in the last year, several Swedish chains have followed the example of H&M and launched their own textile collection initiatives (such as Hemtex, KappAhl and Gina Tricot). H&M are also investing big money in new fiber recycling technologies, primarily as a means to secure their supplies of raw material (textile fibers) for future production. Yet, circularity and sustainability in fashion is not only about creating closed loops of textiles (through reuse, redesign and recycling). Also, it is about addressing the key question “How can we do more with less?”. Only working to promote closed loops will not bring sustainability in the fashion industry. Production rates or volumes, as well as the contents, purpose and beneficiaries of the fashion flows, will have to be considered too. In essence, a more sustainable fashion industry means making wise, careful, efficient and purposeful use of our limited natural resources on a global level, as well as preventing, mitigating or reducing any adverse impacts on the environment (and creating fair and ethical working conditions).

In sum, fast-fashion companies need to start seriously questioning their present production rates and instead begin to explore new ways of making profitable business that do not rely on high/increased production rates (which require high natural resources input). Business models that offer custom-made, locally made, long-lasting and high quality fashion, as well as more sustainable fiber alternatives and toxic-free production, will have to lead the way and become the industry norm in the future. Offering a selective, high quality and more sustainable range of fashion products would also serve the demands of an increasingly conscious middle and upper class worldwide.

This article was originally written and published for Make it last on December 15 (2014). Republished here with permission.