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A Sustainable Fashion design

Manifesto

Anja Claire Crabb


Sustainability is the possibility that humans and oth-

flourish

er life will Flourishing

being [beyond

means of just

on Earth forever. the

all living remaining

wellsystems healthy].

F a s h i o n is 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 simultaneously

public

expression of material culture.

D e s i g n is a powerful

conduit for change. to visualise the ‘attain-

It is a tool able micro utopias’ we could be living in,


Sustainable f a s h i o n d e s i g n

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

innovation, cial

change

an and

agent even

for be

sothe

activist among the design disciplines.


B

a

l

a

n

c

e

Design can find the best fit between...

economic viability

ethical and cultural acceptability

and

ecological truth.


Ethical

Sustainability Natural

Human

[The Tao of Sustainability]


E

C

O

M

M

B

R

A

C

E

L P

E

X

T

Y

I

Sustainability is complex.

Accept that ‘facts’ may change over time and that there are many different ways of viewing the world.


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

[Machines, technology and science are complicated.]


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.


Appropriate design means designing with durability or transience in mind, depending on the context.

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


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

f a i r a n d square Finite treated

resources should be as precious capital.


Less bad

good.

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.


Micro

A zoomed in view tackles particular tangible issues

Macro

&

and is informed

by the

zoomed out view: a holistic,

deep understanding in which design decisions are framed.

The designer maintains a balanced approach of

confidence

& , by questioning how the designer’s role and values define their place in the world.

humility


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

Sharing information improves competence and confidence.

Cross-pollination allows projects to happen on the boundaries of disciplines, pushing these boundar-


Habits

are changeable.

Change your design habits & change other people’s habits through your design.


Reflection

is key to sustainability. Designs can be created to induce reflection. And when designing, take time to reflect.


WE NEED AUTHENTIC INNOVATION

[Not something new for newness’ sake.]


Being

vs. Having

Design that places emphasis on the experience rather than the meaningless accumulating of material objects.


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


Inspiration from nature unity

cy c

lic

al

comm

n

io

at er

op

co

symb

ss

ne

ul

f ay

pl

iosis

ess

dn cte

ne

on terc

in

interde

penden

ce

en

ga

w on de r

balance

ency

effici

ge

me

nt


Humour, surprise and joy

un

pr

ed

ic

ta

bi lit

y

?!

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


Exploring new ways of designing.... Open source design User-centred design Service design Meta design Experience design Empathetic design Inclusive design Universal design Co-design Slow design


Don’t ask

is it TRUE? but

what does it MEAN?

A less rationalistic and more contemplative lows deeper understanding. This level of ing and realization becomes part of our we respond to it and develop

enquiry alunderstandperception, 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 proactive. 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 Consumer 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 Design Fletcher, K. (2008) Sustainable Fashion & Textiles - Design Journeys. London, Earthscan. p.3 Balance Fuad-Luke, A. (2009) Design activism : beautiful strangeness for a sustainable world. London, Earthscan. p.4 The Tao of Sustainability / p.5 & 6 Complexity Ehrenfeld, J.R. (2008) Sustainability by Design – A Subversive Strategy for Transforming our Consumer Culture. London, Yale University Press. p.7 Aesthetics Manzini, E. (1999) The Aesthetics of Recycling is not in the Product [PDF online]. Delft University of Technology, Delft. <http://www.re-f-use.com/opinions/ezio_manzini.pdf> [accessed 11.02.2012]. p.8 Appropriate Design Walker, S. (2006) Sustainable by Design: Explorations in Theory and Practice. London, Earthscan. p.9 Fair and Square Manzini, 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 good McDonough, 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 Consumer 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 widsom Chick, 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 changeable Southerton, 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 Reflection Ehrenfeld, J.R. (2008) Sustainability by Design – A Subversive Strategy for Transforming our Consumer Culture. London, Yale University Press. Walker, S. (2006) Sustainable by Design: Explorations in Theory and Practice. London, Earthscan. p.15 Authentic innovation Svendsen, L. (2006) Fashion: A Philosophy. London, Reaction Books Ltd. p.16 Having vs. being Ehrenfeld, J.R. (2008) Sustainability by Design – A Subversive Strategy for Transforming our Consumer Culture. London, Yale University Press. p.17 Creativity Poincaré, H. in Brower, C., Mallory, R. and Ohlman, Z. Experimental eco-design : architecture, fashion, product. Mies, Rotovision. p.18 Inspiration from nature Fletcher, 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 Joy Chapman 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 designing 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. p.21 Truth and meaning Walker, 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.


â&#x20AC;&#x153;Whatever you can do or dream you can, begin it. Boldness has genius, power and magic in it.â&#x20AC;? - Goethe


Sustainable Fashion Manifesto  

My personal manifesto for designing fashion. Project for MA Fashion & the Environment 2011 London College of Fashion.

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