Contextualizing slow fashion
– disentangling meanings of sustainable clothing
consumption among young professionals
Master Degree Project in Marketing and Consumption
Graduate School
Supervisor: Ulrika Holmberg
Andrea Norberg
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- disentangling meanings of sustainable clothing
consumption among young professionals
Master Degree Project in Marketing and Consumption Graduate School Supervisor: Ulrika Holmberg
Andrea Norberg
Norberg Contextualizing slow fashion
- disentangling meanings of sustainable clothing consumption among young professionals
Andrea Norberg
Master of Science in Marketing and Consumption, School of Business, Economics and Law at the University of Gothenburg, Sweden Abstract : Research on the slow fashion consumer and their identity formation through clothing consumption is scarce. This qualitative study aim to contribute with insights into slow fashion and sustainable clothing consumption from a consumer perspective. This study has been informed by theories of consumer identity and status within the Consumer Culture Theory framework. The following research question guided the study ; How do young professionals make sense of slow fashion and sustainable clothing consumption? To answer the research question phenomenological interviews, along with a diary approach, were conducted. The data was analyzed with an interpretive hermeneutic approach and the results show that the consumers are engaged in tensions between their sustainable identity and their fashion interest. The findings show that young professionals are pursuing a professional identity, whilst pursuing and illustrating their sustainable clothing consumption to others. The findings indicate that sustainable clothing offers status to the consumers, and their consumption was guided from their pursuit of an ego-ideal; being sustainable in all matters of life. Keywords: Sustainability, Slow fashion, CCT, Identity, Status, Slow fashion consumer, Young Professionals Introduction The clothing industry is one of the world’s largest industries and the second worst polluting industry in the world. During the last two decades the average consumption has increased with 60 percent, with half of the clothing items never even being worn (Kell, 2019). The global apparel consumption is estimated to increase another 60 percent, from 62 million tons to 102 million tons by 2030 (Environmental Audit Committee, 2019). In Sweden the average consumer purchases 14 kilo of clothes annually (Rosengren, 2018). In contrast to this development the interest in sustainable clothing has been on the rise during the last few years (Pinnock, 2018). Sustainability is increasingly discussed as unsustainable business behaviors are highlighted and consumers are expressing a willingness to purchase sustainable items (Stein, 2019). This has put pressure on fast fashion retailers that are starting to offer their consumers self-proclaimed sustainable options at their stores. For instance, H&M have introduced a “conscious” line and Lindex offers “sustainable choices”. Moreover, H&M addressed sustainability head on in their 2019 campaign “Take Care”. The campaign focus was that of keeping clothes fresh longer and thus minimizing the number of washes. H&M highlights mending clothes instead of throwing it away, thus prolonging the wear of the item (H&M, 2019). Nonetheless, Swedish consumers’ willingness to purchase sustainable options is the increasing consumption of second hand clothing and the 2018 Christmas gift was the reused sweater (SVT, 2018). This is illustrated even at higher levels in Swedish society as the Swedish Crown Princess wore her mother's old dress at the Nobel Prize Ceremony in 2018 (Nyhetsmorgon, 2018). Fast fashion retailers can not to be considered sustainable, as their short fashion production cycles and up to 20 collections a year is contributing to the
Norberg clothing (Harris, Roby & Dibb, 2016). As well as the connection between self-expression and motivations of purchasing sustainable fashion (Lundblad & Davis, 2016; Kang, Liu & Kim, 2013). However, there is a paucity of studies providing in-depth understandings of the slow fashion consumer (Lundblad & Davies, 2016; Jung & Jin, 2016). A study with emphasis on sustainable clothing consumption and the role of self-identity has been called for as it would contribute to the understanding of the consumers behavior (McNeill & Moore, 2015). This is especially important, considering the suggestion that if the main driver is to pursue an identity, it can override all other motives in regards to shopping sustainable (McNeill & Moore, 2015). To contribute to this field of sustainability, slow fashion, and self-identity, the purpose of this study is to gain a deeper understanding of how consumers understand the tension between sustainability and fashion. This is achieved with the theoretical framework of Consumer Culture Theory in which the theory of Consumer Identity Projects is presented. This theoretical framework offers an important perspective as it builds on the understanding of what items mean for the consumer (Belk, 1988). Consumers are increasingly looking for sustainable options, the new insights into sustainable, and slow fashion, consumption can be valuable for designing more sustainable business models. An increased understanding of this consumer is therefore necessary. This study focuses on Swedish female young professionals with an interest in clothing. According to Steensen Nielsen and Gwozdz (2018) young female consumers are engaging with new sustainable solutions, are more prone than others to purchase and test these solutions. Moreover, as female young professionals are selecting clothing to match their professional identities the aspect of slow fashion and sustainability is interesting. Connell (2010) states that sustainability and some professions does not correspond due to prejudice towards materials, however these consumers are actively pursuing a career whilst selecting sustainable choices. To achieve the purpose of gaining a deeper understanding of how consumers understand the tension between sustainability and fashion, the following research question is therefore utilized; How do young professionals make sense of slow fashion and sustainable clothing consumption? In order to answer this question a qualitative study have been conducted with in-depth phenomenological interviews as the main data collection. From the findings in this study it is possible to understand how young professionals consume slow fashion. This study does not attempt to provide a definition of slow fashion or the slow fashion consumer, rather the focus is at understanding how the consumers make sense of their clothing consumption. From this understanding it is possible to discuss how consumers retail experiences can be enhanced by new business models. Theoretical Framework As a starting point the main fashion concepts at presented. Further, the slow fashion concept, its consumption practices and current research is discussed. Thereafter, the theory of Consumer identity projects and Status are presented as the main theoretical framework. The theories are a part of the Consumer Culture Theory perspective, and provides an understanding of consumer identity in a marketing context. Fashion concepts Fashion, clothing, style and trends are frequently used words within the clothing industry albeit distinctive from each other. Fletcher (2008) makes a clear distinction of clothing and fashion. Clothes are a material product that are being used to the functionality of the item, whereas fashion concerns the symbolic product and connects humans with time, emotions and our social identity (Fletcher, 2008). Furthermore, fashion is defined as a cultural form of expression “which is discernible at any given time and changes over time within a social system or group of associated individuals” (King &
Norberg Ring, 1980 p.13). Fashion and clothes together creates a never ending need of fashion clothes that never could satisfy the consumers psychological needs (Fletcher, 2008). The concept of style is seen as an expression of the uniqueness of a person and can last for a long period of time, whereas trends fluctuates and are only relevant in a specific time frame (Gabriel & Lang, 2006; Harris, Roby & Dibb, 2016). Taste is the preferences of a specific style, hence style is an expression of taste (King & Ring, 1980). Consequently, style can be considered to be more sustainable as it transcends through time and is meant to be worn for a long period of time. Cho, Gupta and Kim (2015) argue that the likelihood of consumers to purchase sustainable items increases when purchasing according to style, and as a result the consumer will shop less items that are considered to be timeless. Additionally, style is considered to be an expression of uniqueness for an individual, and this desire to be unique and different are the motive behind disregarding trends and favoring style (Harris, Roby & Dibb, 2016). Thus, there is a complexity between style and trends, as trends makes it possible to take part of the now and being included in the now, whereas style is an expression of uniqueness. In addition, King and Ring (1980) states that fashion is the connector of style and taste, and states that when a group of individuals accept and prefer a certain style it becomes fashion. Slow fashion consumption Slow fashion as a concept has not been explicitly defined, however there is a common agreement of it originating from a sustainable perspective to address a sustainable form of fashion consumption (Fletcher, 2008). The common understanding is the social, environmental and economic aspect of sustainability starting from the production of the garment to purchase, consumption and disuse. As such slow fashion is a holistic perspective and thoughtful process of fashion and sustainability that concerns everyone in the fashion cycle, starting with farmers, by cultivating organic cotton or using less toxic chemicals, to the consumer that purchase sustainable items (Fletcher, 2010). From a designer perspective slow fashion refers to ensure that the design and production of the item is sustainable, and in addition educating consumers on sustainability (Clark, 2008; Fletcher, 2010). From a retailer perspective it refers to offering smaller lines of high quality clothing, that are made with satisfying labor condition (Pookulangara & Shepard, 2013). These are the common assumptions of slow fashion, however there are no established definition of slow fashion (Zarley Watson & Yan, 2013). Nonetheless, the overall philosophy of slow fashion is to slow down the fashion cycle, from production to consumption, to make fashion consumption more sustainable (Fletcher, 2008). As there are no true definition of slow fashion there is no true slow fashion retail store, instead slow fashion can be identified by the clothing (Zarley Watson & Yan, 2013). Similarly, Tran (2008) argue that slow fashion is the items that are lasting through times, a classic cardigan, vintage clothing, Levi’s 501. Consequently, purchasing an organic shirt does not constitute as slow fashion if it is in the garbage after only a few months (Tran, 2008). Thus, as slow fashion attempts to slow down the consumption of clothing there are multiple ways of engaging in slow fashion, as research shows. The consumer might only purchase specific products in the slow fashion range, or it can be predominating in the consumer’s clothing consumption (Pookulangara & Shepard, 2013). Furthermore, slow fashion consumption are said to be when the consumers purchase high quality items that are intended to be worn for a long time. Additionally slow fashion consumption occur when the consumer is recycling, reusing and shopping second hand (Pookulangara & Shepard, 2013). Similarly, non- consumption or second hand shopping is also considered to be slow fashion consumption. This is addressed by Clark (2008) and Ozdamar Ertekin and Atik (2015) who states that reusing and recycling are an essential part of the slow fashion concept, as well as shopping second hand, and from local, smaller businesses. Consequently slow fashion consumption refers to consuming less, and foremost it is about using the items in the wardrobe
Norberg against this social norm (Pookulangara & Shepard, 2013). This prejudice towards sustainable clothing is a double-edge sword because if more consumers would shop sustainable, it would be socially acceptable to purchase this kind of clothing. although some customer groups would lose its appeal if it became mainstream (Connell, 2010). Still, Ozdamar Ertekin and Atik (2015) believes that the aesthetics of slow fashion can influence more consumers to shop less. As slow fashion differs from mass produced items, the items are rare, high quality, and thus the items becomes almost as a piece of art (Ozdamar Ertekin & Atik, 2015). Similarly to the research by Zarley Watson and Yan (2013) and Tran (2008) that states that slow fashion consumers are emotionally connected to their items and consider them to be a form of art. Consequently, based on the fashion theory and slow fashion philosophy, slow fashion can be argued to be a cultural phenomenon that is purchased due to the symbolism of the items, and are used to display a certain type of taste, i.e. style. To build on the existing theories of slow fashion consumers, the concept of identity and status is used to contribute to a deeper understanding of the connection between slow fashion consumers and identity formation. Consumer Identity Projects Consumer Culture Theory (CCT) is a theoretical framework that examines consumption practices from a social and cultural perspective. Within the CCT theoretical framework is the theory of consumer identity projects. Central in CCT is the concept of connection between market made commodities that are marketed by symbolism which inflicts a consumer desire (Arnould & Thompson, 2005). In this perspective there are symbolic market made commodities which inflicts a consumer desire, and consumer identity projects concern how the consumer creates the perception of self by using these commodities (Arnould & Thompson, 2005). CCT is not an explicit theory, it is a family of theoretical perspectives that provides an understanding of consumer identity in a marketing context. Consumer identity projects are the research concerning how consumers purchase marketing symbols to create a sense of the self, with initial research made by McCracken (1986) and Belk (1988). Their research contributed to the understanding of how individuals assign cultural meanings to consumption products, and use these products in their identity creation. McCracken (1986) argued that individuals are using culturally market made goods as a tool for self- communication, and he created a comprehensive analysis of the meaning from the cultural constituted good onto the consumer. Moreover, the fashion system find meanings in the cultural world, in which the consumer lives in, and transform these meanings into consumer goods. After the acquisition of these consumer goods, the consumer transfer the meaning of the good through consumption rituals and thus it becomes a part of the consumer’s identity (McCracken, 1986). In this process of meaning transfers the consumer is argued to legitimize their consumption according to McCracken (1986) and Belk (1988). This is further explained by Belk (1988) who state that the symbolic meanings from brands are used to create an individual and collective identity. From their research consumers are considered to be identity seekers, as the consumer legitimizes their consumption by these meaning transfers (Belk, 1988; McCracken, 1986). By maintaining this purchase of symbolic meanings the consumer is constructing their identity.
The role of fashion in identity
construction
The initial research of the symbolic meanings from consumption products and the sense of self is still relevant as much research builds on this ideas, and contemporary consumption is seen as a tool to form an identity based on the inevitable symbolic meanings from consumption products (Elliot & Wattanasuwan, 1998; Gabriel & Lang, 2006), similar to the discussions by McCracken (1986)
Norberg and Belk (1988). Hence, the consumer is selecting a desirable identity by the consumption of products, products that are fueled with cultural meanings, and to maintain the desired identity there is an ongoing consumption process in which the consumer is defining and re-evaluating oneself (Gabriel & Lang, 2006; Thompson & Haytko, 1997). In other words, the consumer is trapped in an ongoing consumption of products that are used to maintain a desired identity. By associating consumption meaning to products the consumer is encouraging an ongoing consumption. In this process, fashion and clothing is especially relevant, as clothing is highly associated with symbolic value and assigned meanings whilst being highly visible to others. Thus fashion becomes a part of the consumers narrative of the self (Belk, 1988; Thompson & Haytko, 1997). In the research of fashion discourses by Thompson and Haytko (1997) it was found that various factors influence consumers in symbolic fashion consumption, and the consumers countervailing beliefs made the consumers engage in fashion narratives that promotes an ongoing consumption that suits their everyday life. This research showed that the consumer is negotiation between their perceived fashion uniqueness, whilst conforming to cultural, social norms. As such the individual believed oneself to be a creator of fashion, that resisted fashion conformity and had created their own personal style. In this process the positive aspects of fashion was used as in the trajectory of a future desired self (Thompson & Haytko, 1997). Similarly, Schiermer (2010) argue that consumers are unaware of themselves being fashion imitators of others, and goes as far as stating that consumers does not have an opinion of their own instead consumers are unknowingly following the socially acceptable fashion trends. Accordingly, Gabriel and Lang (2006) builds on the idea that consumption and clothes are an extensive part of culture and identity creation. Especially the Western consumer is consider to be an identity-seeker, shopping goods for the fulfilment of a self-identity and for the positive feelings of self-esteem and a positive self-image. In this search the authors state that the individual wants to be unique, and having a unique object offers status to the beholder (Gabriel & Lang, 2006). Additionally, if the item is closely connected the holders identity, the holder creates a strong emotional connection to it. However, Gabriel and Lang (2006) discusses that due to the mass-production of fashion the holder does not create this emotional connection because the item is an image that can be easily replaced by new trends. Thus not the carrier of meaning that was intended (Gabriel & Lang, 2006). An identity is defined as the self in context and it is argued that only in a social construct is it possible for the individual to form the self (Wilska, 2002). Therefore, it is argued that the self is created in an individual process and in a social experience (Hogg, Terry & White, 1995). Correspondingly, Banister and Hogg (2012) explain the three components of the self, namely the current self, the ideal self and the social self. The current being the currently perspective of oneself, ideal self being the desired self and the social self being the perception of how the individual believes others to hold (Banister & Hogg, 2012). Similarly, the ego-ideal is discussed by Gabriel and Lang (2006) which is the ideal self that the consumers have built a narrative around. By purchasing products the consumer comes closer to the ideal, and by this ongoing consumption the consumer believes to become happier and more connected to the closer self (Gabriel & Lang, 2006). The self can thus be argued to be created through consumption, namely through the acquisition of symbolic products that are communicating self-identity (Thompson, 1995). Depending on the social surroundings the individual’s self-identity changes (Banister & Hogg, 2012). Moreover, individuals define themselves from what is similar but also what is different from others as such there is a dualism as identity is being defined as sameness and distinctiveness (Gabriel & Lang, 2006). As such the consumption items becomes an expression of who the individual wishes to be, as well as a
Norberg Methodology The purpose of this study is to gain a deeper understanding of how consumers understand the tension between sustainability and fashion. Consequently, a qualitative research approach has been selected based on Bryman and Bell (2003) argument that a qualitative research approach put emphasis on individuals perception and interpretation of their social reality. The main data collection has been in-depth phenomenological interviews, Kvale and Brinkmann (2014) argue that phenomenology refers to the interest in understanding a social phenomenon from the actors own perspective, and thereafter to describe the world as it is being experienced. As such, the phenomenological interviews with respondents having lived the experience makes it possible for the researcher to enter the mind of the participants (Kvale & Brinkmann, 2014). In this study the lived experience is expressed by an interest of clothing and sustainability in fashion, illustrated by slow fashion. In addition a diary method was utilized as a complementary to the interviews. This approach allowed for a deeper understanding of the consumer (Bryman & Bell, 2003). Pilot study Prior to the collection of the main data, interviews, a pilot study in the form of researching Internet sites and contacting sustainable fashion businesses. The reason for this was to get insights on the slow fashion consumer in order to move on to select a sample. Facebook and Instagram was utilized, and the author became a member of the Facebook groups “Hållbart Mode” (2293 members), “Sustainable Fashion” (1851 members) and “Sustainable Fashionistas” (676 members). In addition to the online research two slow fashion businesses were contacted to gain further insights into the slow fashion consumer. Correspondingly the two interviews were considered to be of importance, mainly to contribute with insight from a retailer perspective but also in creating a deeper understanding of the consumers. Consequently, the information from the pilot study gave an enlarged pre-understanding of the consumer group to be researched and influenced the interview questions. Moreover, prior to interviewing the participants the interview questions were tested in a pilot study interview. The aim was to test how the questions captured the essence of the topics. The pilot interviews aided the process by making the author reflect upon the formulations of the questions and the follow-up questions. In phenomenological interviews the formulation of questions are important (Thompson, Locander & Pollio, 1989), as such the pilot interviews were helpful in reflecting and changing the formulations. The pilot study included two interviews, one in person and one through Skype. These interviews were a crucial step as changes to the questions were made, and the pilot study was considered valuable as the nature of the conversations during the following interviews were considered better as it allowed for a natural flow, more similar to a conversation than an interview. Thus achieving the objective of phenomenological interviews being similar to a conversation, instead of merely having questions and answers (Kvale & Brinkmann, 2014). Data collection and sampling The participants were selected with purposeful sampling, with the requirement that the respondent purchase clothing items that are considered to be under the category of “ slow fashion ”. This criteria is especially critical in phenomenological interview approaches as the participants have to have lived the experience, thus a purposeful sample is required with participants that have experienced the phenomena that is being researched (Goulding, 2005). Initially a post was made in the Facebook group “Hållbart Mode” with the incentive to recruit individuals to be interviewed, however due to a low response rate, prospective participants were approached. Individuals who had written about sustainability on their page or liked sustainability pages were contacted. In order to ensure the sample would be within the scope of slow fashion the explanation of slow fashion by Pookulangara and
Norberg Shepard (2013) was used along with a similar sample criteria as Zarley Watson and Yan (2013) used in their research. Their sampling criteria was that of shopping at slow fashion retailers, and/or purchase items that could be worn through several seasons, and not conforming to fast fashion where items are replaced on a seasonal basis (Zarley Watson & Yan, 2013 ). Consequently, the individuals were asked if quality and sustainability was of importance when purchasing clothing, and from which retailers their main purchases were made. In addition, second hand stores was considered to be satisfactory to slow fashion as several researchers states it is part of slow fashion (Clark, 2008; Ozdamar Ertekin & Atik, 2015; Zarley Watson & Yan, 201 3 ). When the first participants had been identified with the sustainability criteria they were found to be young professionals. A young professional is identified as a college graduate with less than 10 years of a full- time position (Smith, 2013). Considering the complexity of being into slow fashion, whilst having to conform to a business style and outfit in order to dress in accordance to their workplace this group is interesting to investigate. Thus, the individuals who fulfilled these criteria’s, sustainable and young professionals, were selected to be part of the sample. Thereupon 11 participants were purposefully selected and interviewed, although only 10 participants are part of the final sample. The reason for this is that one participant could not be considered a slow fashion consumer, due to the lack of exhibited slow fashion practices. This participant consumed clothes on a weekly basis, and did not consider sustainability to be an issue in the fashion industry. However, the rest of the sample consumed according to slow fashion and were positive towards this form of consumption. During the interviews it was apparent that the consumption range of slow fashion varied as the participants occasionally purchased items that are considered non-slow. This can be considered a sample limitation, however the definition never states that the consumer have to fully engage in slow fashion, rather the mindset of purchasing longevity and wearing items through seasons are most important in slow fashion (Ehlin, 2019). Additional, since the aim is not to define slow fashion the perceived sample limitation is outside the scope of this study. The participants were voluntary participating and were informed of the possibility to withdraw at any time as part of ethical consideration suggested by Eriksson and Kovalainen (2015). The interviews were semi-structured since this approach offer a more conversational and informal conversation which was important because the goal of phenomenological interviews is a first-person description where the respondent sets the dialogue (Thompson, Locander & Pollio, 1989). The emphasis lies in making the interview similar to a conversation rather than just having questions and answers, as the participant should be given the opportunity to describe their experiences without restrictions (Kvale & Brinkmann, 2014). The interview guide was used during the interviews to ensure that the pre-decided topics, style, trends and sustainability, would be discussed ( see Appendix A ). The interviews mostly consisted of open-ended questions, correspondingly to Flick (2014) argument that semi-structured interviews should be filled with open-ended questions. Additionally, the researcher should ask the participant follow up questions that offers for further reflections and a dialogue about their experience, rather than asking questions that makes the respondent rationalize their previous statements (Thompson, Locander & Pollio, 1989). To minimize the risk to be intrusive the researcher can follow a few steps, namely not asking “why”, having the questions following up on the participants discourse, and offer the participant support by having short descriptive questions (Thompson, Locander & Pollio, 1989). In order to ascertain that these criteria’s were met, the approach of semi-structured interviews, with pre decided topics (style, trends and sustainability, see Appendix A ) and descriptions, were considered the most appropriate data collection method. This
Norberg work day. It was found during the interviews that their work life persona guided their selection of clothes. Thus the diary approach allowed the participants to elaborate on their feelings and experience of putting an ensemble together for a workday and reflect on this process at the of the day. The participators of the diary were the same group of individuals from the interviews, the diary was anonymous and contained seven questions about their choice of clothing during a workday ( see Appendix B ). The participants had to complete the diary no longer than 24 hours after the lived experience, because if longer than 24 hours the participants would not remember the events correctly (Jones & Woolley, 2015). Moreover, an email diary was used in this study, since it is benefited the participants by not being as time consuming and offered a degree of flexibility as the individual could write with their smartphone directly after the event (Jones & Woolley, 2015), which increases the chances of the participants actually filling it out. Consequently, all of the 10 participants filled out their e-dairies. Data analysis method The interviews were transcribed in full, and the analysis started with becoming familiar with the material by reading and re-reading it carefully (Moisander & Valtonen, 2006). Thereafter, the process of open coding followed by an iterative process. The open coding offers an initial understanding of the data, as the researchers goes line by line looking for sentences or phrases (Eriksson & Kovalainen, 2015). This process was conducted on all interviews, in a Word document with comments and colors making it easy to distinguish the coding. Thereafter the processes moved on by finding events that are related to each other in non-evident ways. In this process of interpretation it is important for the researcher to understand, and acknowledge, that interviewee’s might have the same experience but expresses it in different manners. Or the other way around, having similar expressions but different experiences, consequently the researcher needs to identify situations where the intentions were the same (Thompson, Locander & Pollio, 1989). The comparison between the interviews and their meanings are aiming to find explanatory categories, and this process aim at conceptualizing latent patterns, and not the accuracy of speech (Eriksson & Kovalainen, 2015). From this process common patterns in the interviews are to be identified, and commonalities are referred to as global themes (Thompson, Locander & Pollio, 1989). To aid this process an excel sheet was created in order to identify the meanings. In this research the common patterns, i.e. global themes were found to be meanings of slow fashion and sustainable clothing consumption, negotiating fashion, trends and style, dealing with unsustainability, and the contrasting consumer journeys. Trustworthiness To assess the ‘goodness’ of a qualitative research the concept of trustworthiness is a common used method and includes the following four criteria’s; dependability, transferability, credibility and conformability (Eriksson & Kovalainen, 2015). The degree of trustworthiness in this study is considered to be fulfilled. This is based on the comprehensive methodological section that provides information which makes it possible for the reader to follow the research process, which is in accordance with the dependability criteria (Eriksson & Kovalainen, 2015). For instance, the interview guide can be found as Appendix A, and this methodological section describes the interviewee’s, the sampling process, and provides a discussion of the data collection method. Moreover, considering transferability is referring to the possibility to find similarities in a different research context, this criterion is met as information about the participants, the number of interviews and the lengths of the interviews as well as the data collection techniques can be found and thus makes it possible to replicate the study (Eriksson & Kovalainen, 2015). The credibility criterion is fulfilled if the researcher has enough data to support claims and arguments, as such the logic of observations and categories should be
Norberg evident (Eriksson & Kovalainen, 2015). This criterion has been fulfilled as an initial research on the internet was done to understand the concepts that slow fashion consumers are talking about. In addition, the literature review gave insights into the slow fashion philosophy and guided the interview questions. Thus, supporting the claims. Lastly, the conformability criterion is argued to be fulfilled due to this methodological section as the process has been documented. Hence the reader can follow the logic of the arguments as suggested by Eriksson and Kovalainen (2015). Findings The following section present the findings, which responds to the purpose of this study, to gain a deeper understanding of how consumers understand the tension between sustainability and fashion. Thus the findings are divided into four specific sections. First the consumer meanings of slow fashion and sustainable clothing consumption is presented. Thereafter the negotiation between fashion, trends and style is discussed. How the consumers deal with unsustainability is thereafter analyzed and highlighted. To illustrate the different consumer journeys of the participants in this study, the findings end in a typology of two varying consumer journeys. Meanings of slow fashion and sustainable clothing consumption All of the participants were at the start of their careers, some had recently gotten a job within their field of studies and the longest since being in school was 6 years. Consequently all of the participants had the aim of advancing in their careers, some wanted to grow within their current employer/field and some had plans on eventually going back to school to pursue a master’s degree. Furthermore, two of the participants mentioned their future goals being an owner of a sustainable fashion business. The participants found purchasing slow fashion to be about more than merely thinking of where to purchase, it was also about purchasing items that there was an evident need of. As such items that was simply being desired, but not needed was not purchased. Slow fashion was thought of as to think critical of one’s clothing consumption, and instead of an ongoing consumption the treatment of owned clothes were important. The items in their wardrobes were purchased with the intent to be worn through several years. Thus, slow fashion was to consume longevity and be solicitous in clothing decisions. Then, the item would be worth the time effort of taking care of it, and the money of repairing it. “It’s to purchase better clothing, more expensive clothes with good quality that if and when it breaks you can spend the extra money to repair it [...]. Also, using the items a lot and not purchase something that is never even worn. Purchase something that you know you will use many many times” - Julia In order to achieve this lasting wardrobe it demanded to carefully selecting items. The items were required to be used along with other clothes and through several occasions. “As an example if I purchase a jacket it should last years. Take one my favorite jackets that I’ve had for a long time, probably more than 10 years. That is slow fashion, you think thoroughly of what you need and then you don’t buy everything all the time. Instead, when you buy something you find multiple ways of using it so that it’s possible to wear it on multiple occasions” - Hanna From the participants explanations, slow fashion consumption is to purchase items with the intent of wearing them for years. Newly acquired clothing need to be able to be worn together with other pieces in their wardrobe, and when finding the clothing valuable enough the participants spend money to repair them. Which goes in line with the slow fashion philosophy (Zarley Watson & Yan, 2013).
Norberg Furthermore, it was mentioned that most of the second hand purchases were made through Facebook sites, namely the Facebook Marketplace. The participants felt that this form of shopping was easier, as they could get an overview of all the clothing and meeting up to exchange money for item was a convenient form of shopping. “I have shopped at Facebook many times, it’s like online shopping. You see exactly what you want, write, and then meet the person. Especially here there is so many people in these groups that you see new stuff every day. It’s easy to find pretty things”
- Sara Purchasing at Facebook instead of second hand was said to be effortless, as second hand stores were perceived as being unsorted and something that only a few people were good at. “Some really have an eye for that [second hand shopping] and I envy those people. I know one person I worked with, she was so good at picking out, and find gems in second hand stores. Every time I asked ‘oh where did you get that sweater?’ or those shoes, and it was always second hand” - Emma Even though all of the participants engaged in second hand shopping and visited second hand retailers occasionally, the consumption through Facebook was easier and more accessible. Ozdamar Ertekin and Atik (2015) argued that digitalization has changed the way consumer shop, and aided the slow fashion consumption. This is found to be true in this study as well. This new form of consumption has aided the consumers in their pursuit for a sustainable wardrobe. Consequently, slow fashion occurred both through slow fashion retailers, and sustainable retailers, but also from second hand consumption. Additionally, the participants stated that when wanting an item that was not a significant piece to purchase, the alternative was to borrow the item from friends of family instead. This notion was evident through all of the participants who had borrowed clothing from friends or family several times. Thus, slow fashion was about extending their wardrobes to friends and family, and expecting the same in return. Moreover, all of the participants were mending their clothing in some form. Although some altering were outside their sewing knowledge, in these cases the participants turned to their immediate family for help. Occasionally items could be handed in to a seamstress for minor changes, such as changing zipper. The findings support Jägel et al. (2012) discussion of traditional attributes and ethical considerations. As the participants did consider traditional attributes when selecting items, such as price and quality, but also the ethical consideration, fair trade, length of transportation, and so forth. Jägel et al. (2012) research showed that the consumer engaged in a negotiation between the altruistic and egoistic values when shopping. This can be argued to be true in this study as well, nonetheless the participants seemed to have found strategies to minimize this inner conflict, i.e. by shopping second hand, carefully select retailers, and consider the clothing to be part of the wardrobe. Negotiating fashion, trends and style The findings implied that the participants in this study had a strong connection to their clothing. This can be explained with findings showcasing the consumers inner negotiation process, with the aim to rationalize their purchases. The process of identifying a need and the actual purchase was lengthy, and lasted several weeks. As a consequence occasional purchases were said to have been decreased or eliminated. Seemingly the participants had identified their occasional purchases as unsustainable and had strategies in order to minimize the risk of purchasing something unnecessary. This process was evident in all the participants, and it started with the identification of an item that is needed. Thereafter the participants went on a search, finding the best item for the best price, as purchase were made within a budget. All of the participants have been students at a higher
Norberg level, and after their studies their budget had gone up, making it possible to expand the budget. After having found the best item, and acknowledged that the item can be paired with the rest of the wardrobe, the participants assessed their emotional connection to the item. The purpose of which was to assess how much the item would be worn, and the amount of “love” towards the item. During this process, it was evident that having a need for an item became an unwanted desire that often caused anxiety or a bad conscience. As an illustration, the example of Julia will be presented, which adequately describes the anxiety in the consumption process. In the following quote Julia talked about the T-shirt she was wearing during the interview. “Right now I’m wearing a T-shirt from Patagonia, it’s made of recycled plastic I think, like PET bottles. And that is the kind of things I’m looking for, because I feel like it can mend my conscious when purchasing something. Like you feel that ‘yeah, I bought something I needed but it wasn’t as bad as a T-shirt from H&M made in Bangladesh with 100 percent viscose” - Julia However, in order to relieve this anxiety the assessment of the emotional connection seemed to be significant. As the feeling of having an item that would be greatly appreciated seemed to ease the anxiety. After the assessment of emotional connection to the item, the clothing was purchased or discarded. Moreover, after purchasing the item it was seen as an essential part of the wardrobe. As an example Julia, after having gone through the consumption process, talked about a shirt that she often wears at work. “It is a standard Julia shirt. I don’t even think people see that I’m wearing it anymore, since I always wear it. I feel, like, this is me” - Julia The following process illustrates the slow fashion consumption, with the sole aim of minimizing their fashion consumption. The participants aimed at having long lasting, quality pieces similar to what is being described as the desire of a slow fashion consumer (Zarley Watson & Yan, 2013). The process of purchasing items that were loved and that was seen as an essential part of oneself is true to the findings of Ozdamar Ertekin and Atik (2015), and this finding indicates the true nature of the slow fashion consumer. Arguably this form of consumption, in the perspective of the consumer being an identity-seeker (Gabriel & Lang, 2006), can be seen as a wanting to purchase item carried with meaning rather than image. The unique items are a contrast to mass-produced clothing, and the items connects the consumer with meaning rather than image.
Fashion
From the interviews it was evident that the time between the consumption of one clothing item to the next could take several months due to the lack of consumption need. For instance, Sofie talked about the need of an item and said that it often goes months before purchasing anything. “It has happened that I haven’t purchased anything for six months, I just didn’t need anything. When I do shop, I need something and then I go and buy it. But it has happened that I haven’t shopped for months, like six months or even more” - Sofie This is interesting since it is a resistance towards fashion. The findings showed that the participants collected items were strongly connected to their personality and it can be argued that this made them keep the items longer, taking care of them and when it cannot be used any longer it would be reused for something else. For instance, the average age of the items that the participant was asked to present during the interviews was 7 years. However some of the items were second hand, and the age of the item in someone else’s possession is not included. For instance Stina’s raincoat was from the 1970’s and had belonged to her aunt before Stina got it in 2013. “It’s from Fjällräven. My mom gave it to me, or I found it in mom’s basement. And I think my aunt had it when she was young. I think it’s a kid’s jacket, but I wear it all the time. It’s one of my favorite items [...] I got in when I moved to
Norberg items that would be an essential piece lasting through time, whilst being a unique. The idea to have an aesthetic outfit and look better than others goes in line with the social comparison theory (Ulver-Sneistrup, 2012). These signature pieces offered status and acceptance from others. Addressing oneself as a trendsetter is a way of putting oneself on top of the fashion social hierarchy, and the risk of falling behind this status hierarchy made the consumption of clothing an ongoing process, albeit at second hand or slow fashion retailers. Additionally, this fashion narrative influences the cultural rooted consumption society, even though the participant is trying to minimize their consumption. It creates a narrative of being sustainable and fashionable, as the questions begs: is it even possible? Consequently, the consumer is involved in a conflicting tensions of the basic needs of shopping clothes and the ongoing creation of a fashion identity. To prolong this consumption practice the consumer shops items that cannot be lived without and were an extensions of self-image. However as the items are consumed from a more sustainable form of retailer, the fashion consumption creates a narrative of being sustainable whilst being a trendsetter. In this narrative the participants believes others are seeing them as trendsetters of fashionistas, and thus consumption is necessary in maintaining this identity. Seemingly it was important that others knew that even though fashion is a great interest, sustainability was a central theme fundamentally sustainability became one of their communicating self-identities along with trendsetter/fashionista.
Trends
In the juxtaposition of trends and style, trends was understood as unnecessary and as a technique for fashion companies to convey impressionable fashion conscious consumers to purchase an enormous amount of clothes. Trends were simultaneously being perceived as enjoyable and something more than merely a clothing item. Additionally, trends were recognized as a catalyst for new perspectives, thoughts and building inspiration. Having clothes that were considered trendy was a way to take part of the present and represent our current time, which was deemed important. Trends were perceived as something for them to interpret, thus even though everyone are wearing the same trend their own interpretation of that trend is different from others. While the participants had the perspective of trends being almost forced upon by fashion companies, it was something they enjoyed as it was seen as an expression of creativity rather than simply a consumption of products. “Trends offer a new perspective in everyday life. [...] And it can give a positive effect on your wardrobe because you try new things and it opens your perspective. Like, I have an old blazer that my grandma used to wear. It’s very broad shouldered and special, and got some criticism for it, people didn’t understand why I wore such a big blazer. But now it’s popular again. And I think it’s fun that my grandma’s blazer, that she had in the 80’s got, like a new life. That’s the cool thing with trends, old stuff get life again”- Elin The consumers then are in a constant negotiation of wanting to be sustainable and wanting to express their inner self. The consumer is trying to be trendy whilst conforming to the ego-ideal (Gabriel & Lang, 2006), the sustainable consumer. “Not too long ago it was a trend to have short pants, you know to the ankle. So, I took some old pants and a scissor and cut them. Also, the t-shirt trend, when it was a trend to have short t-shirts, I took some old t-shirts I wasn’t using and made them short” - Emma Thus when possible the consumer engaged in non- consumption behavior in a quest to be sustainable and trendy. Which goes well in line with slow fashion (Clark, 2008; Ozdamar Ertekin & Atik, 2015 ). Instead of purchasing new items the participants were borrowing or obtained clothes from friends or family, alter old clothes to match current trends as Emma did with the pants and T- shirt.
Norberg Furthermore, the findings also indicated that when a current trend was difficult to achieve by tailoring items at home, there was a demand to purchase the item. These purchases were rationalized of being important, as there was a ‘love’ of the item or the item had to be something smaller like sunglasses or ear rings that the participants did not have at home. If so, the item had to be according to their personal style, and thus even though it being a trend the intention was to wear it for a long period of time. “You see trends and get influenced, but I only buy things I’m comfortable in and fits me [...] The most important part is that the items lasts a long time so I don’t have to purchase new one’s” - Olivia Trends had the narrative of being a creative outlet, however, trends, and the interpretation of them, are probably more connected to the uniqueness and sameness theory rather than being an expression of an identity of being creative (Thompson & Haytko, 1997). The pursuit of trends, either by altering old clothes or purchasing signature pieces, connects the participants to the sameness of others, simultaneously their interpretations of the trends makes them same albeit unique from others. Similar to the discussion by Gabriel and Lang (2006), who suggest that having a unique fashion item not only bring the uniqueness and the identity to the holder, but also status. In this situation, the participants get status from being sustainable, as it is considered to be important for them and those around them. Thus, the altered clothes becomes a status barrier for the participant, as sustainability is getting an increased awareness in the Swedish society. Moreover, the need to take part of trends as a form of engaging in the social reality in which the participants are living in, is a form of status consumption. Veblen (2008) discussed in Conspicuous consumption that wearing fashion that illustrates the current time is a form of status. In consideration of trends being highly valued by the participants it can be argued that it is a technique to not be deprived of status, rather taking part of trends. whilst being sustainable, is a method to maintain status.
Style
From the interviews it was evident that the participants desired style was that of a business woman. Considering the participants were graduates and belonged to the young professionals group this finding is perhaps not that surprising. However, similar to the discussion in meanings of fashion the participants had a strong emotional connection to their work style and wardrobe. Several years had been spent on building a wardrobe that would be appropriate for work. Especially one of the participants adequately illustrated the desire to belong to a certain identity and style, as she described being 10 years old and visiting her father at a finance company. At his job she explained that everyone were well-dressed, the men in suits with pocket squares, and women in pencil skirts, blouses and heels. Her strong desire to belong to this world made her purchase her first pencil skirt at 14 years old, however never having an opportunity to wear it she stored it in her wardrobe for 10 years until she finally had her degree and a matching job where she was able to wear this business style. “I saw them walking around in heels, pencil skirts and blouses. And I felt like I wanted to do that too, and it feels crazy to be wearing that now after thinking about it since I was 8 years old” - Elin Interviewer: How does that make you feel? “It makes me feel wonderful! At first I was nervous that my wardrobe wasn’t enough, but I quickly noticed that it was” - Elin The quotes illustrate the process of identifying a desired identity, purchasing according to the identity and finally belonging to the identity whilst signaling status. One possible reason for this finding could be based on the participants being young professionals, as such the participants had aspired for a life within the business sector for several years. Additionally, several participants aspired to have their own business in the future preferably working with sustainability. Consequently, the identity of a ‘business woman’ have been negotiated for a long time and their own