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This paper summarizes the development and creation process of the author's Suprematism-inspired mini-collection of shoes and fashion accessories. During the design process, the focus was on creating conceptual solutions from several components in order to reduce the consumption of materials and the possibility of applying the "upcycling" method, i.e. the creative use of leather production scraps in the realization of the model. The experimental part of the work describes the development of prototypes of women's sneakers, boots and backpacks from conceptual solutions, project drawings and the selection of materials for production to model making and the production of templates. Through the use of digital tools, realistic representations of the future models were created. From all these models, the most attractive and suitable for the production of prototypes were selected. As a result, the author's mini-collection of boots, sneakers and backpacks is presented, focusing on design, functionality and quality, as well as the possibility of a longer product life and use according to the guidelines of sustainable fashion.

Küresel anlamda nüfus artışı, sanayileşme, teknolojik gelişmeler gibi faktörlerin etkisiyle üretim ve tüketim süreçleri sürekli olarak gelişmektedir. Tekstil endüstrisi ve moda akımı gelişirken hızlı tüketim ve yoğun üretim süreçlerine tabidir. Gerek ticari kaygılarla gerekse de gelişen teknolojinin seri üretime katkısıyla üretilen tekstil ürünlerinde çevre duyarlılığı ve sosyal konularda gerekli özenin gösterilmediği üretim süreçleri yaşanabilmektedir. Özellikle perakende tekstil üretiminde rekabet, modanın hızlı değişimi, maliyet ve fiyat avantajı sağlama gibi amaçlarla hareket edilebilmektedir. Bu durum neticesinde ekolojik tekstil, sürdürülebilir tekstil, yavaş moda gibi çevre ve insan duyarlılığı yüksek alanlarda tekstil üretimleri kısıtlı kalmaktadır.Modern tekstil ve moda anlayışının beraberinde gelen hızlı üretim süreçleri zehirli kimyasallar, su sarfiyatı, tekstil atıkları gibi doğa sorunlarına yol açabilmektedir. Bu durumun alternatifi ve önleyicisi olarak ekolojik tekstilin geliştirilmesi, ekolojik moda ürünlerin tanınırlığının sağlanması önem arz etmektedir. Ekolojik tekstil ürünleri üretilirken doğanın daha az zarar görmesi sağlanabilecekken, ekolojik moda kavramıyla da sosyal açıdan duyarlı insanlar çoğalabilecektir. Ekolojik modada kullanılan doğal lifler ve bunların Türkiye özelinde incelenmesi ekolojik tekstil altyapısının kavranması açısından önemli görülmüş olup çalışma içerisinde grafiksel olarak ilgili verilere yer verilmiştir.Bu çalışmada tekstildeki yaygın moda ve üretim anlayışının tersi olan ekolojik moda kavramı ve buna bağlı olarak ekolojik tekstil ürünleri konusunda teorik açıklamalar yapılmıştır. Çevreye zarar veren üretim süreçlerinden uzaklaşılmasının bir yöntemi olabilecek ekolojik moda kavramına dair marka yaratılması konularında önerilerde bulunulmuştur. Çalışma “ekolojik moda” kavramı etrafında şekillenmişse de, literatürde yer alan yavaş moda, sürdürülebilir tekstil, eko moda, yeşil tekstil, geleneksel tekstil gibi kavramlar bizim çalışma başlığımıza benzer akımları tanımlamaktadır.Çalışmanın sonuç bölümünde ekolojik moda için marka yaratılmasının gerekliliğinden, avantajlarından bahsedilmiş olup bu süreçte karşılaşılabilecek olumsuzluklar ve zayıf yönler SWOT analizi yapılarak açıklanmıştır., influence of factors such as population growth, industrialization, and technological developments. While the textile industry and fashion trend are developing, it is subject to rapid consumption and intensive production processes. In textile products produced both with commercial concerns and with the contribution of advancing technology to mass production, there may be manufacturing processes in which the necessary attention is not paid to environmental awareness and social issues. Especially in retail textile production, it is possible to act for purposes such as competition, rapid change in fashion, cost and price advantage. As a result of this situation, textile production is limited in areas with high environmental and human sensitivity such as ecological textiles, sustainable textiles, slow fashion. The rapid production processes that come with the modern textile and fashion can cause natural problems such as toxic chemicals, water consumption and textile waste. As an alternative and preventive to this situation, it is important to develop ecological textiles and to ensure the recognition of ecological fashion products. While producing ecological textile products, it will be possible to harm nature less, and with the concept of ecological fashion, socially sensitive people will be able to increase. The natural fibers used in ecological fashion and their examination in Turkey have been considered important in terms of understanding the ecological textile infrastructure, and the relevant data are graphically included in the study. In this study, theoretical explanations were made about the concept of ecological fashion, which is the opposite of the common fashion and production understanding in textile, and accordingly ecological textile products. Suggestions have been made on creating a brand for the concept of ecological fashion, which can be a method of moving away from production processes that harm the environment. Although the study is shaped around the concept of "ecological fashion", concepts such as slow fashion, sustainable textiles, eco fashion, green textiles, and traditional textiles in the literature also define trends similar to our study title. In the conclusion part of the study, the necessity and advantages of creating a brand for ecological fashion are mentioned, and the negativities and weaknesses that can be encountered in this process are explained by SWOT analysis.

The phenomenon of thrifting or buying used clothes is becoming increasingly popular among young people and has attracted public attention because it is considered as one of the sustainable efforts by applying the principles of sustainable fashion.In interpreting this, the researcher then chose the Tukar Baju community as the object of research as well as a representation of environmental activists engaged in the realm of sustainable fashion. This research uses a qualitative method with an ethnographic type of research to see the meaning of thrifting from Tukar Baju activists and how the process of interaction and exchange of meaning between individuals can strengthen the meaning of thrifting as a form of sustainable fashion effort. Researchers found a pyramid concept of "Buyerarchy of need" in interpreting thrifting as a continuous effort and thrifting is at level 4 and which means thrifting is not the only one. So, to strive for sustainable fashion through thrifting, people need to be smart and not impulsive consumers.

The textile and fashion industry is the second industry (after aviation) that pollutes the planet the most, and it uses natural and human resources excessively and irresponsibly. Fast fashion harms the environment. Fast fashion stands for low quality, low prices, constantly updated supplies, and high consumption of natural resources and chemicals. Nowadays, however, the evolution in the fashion industry from fast and unsustainable models to sustainability and a circular economy is firmly established. Fashion industry representatives are paying more and more attention to corporate social responsibility, business ethics, the implementation of circular economy principles, and the technological transition from linear production to a circular economy. The aim of this article is to evaluate the attitude of young Lithuanian designers towards the implementation of circular economy principles in the fashion industry. A problematic question is raised: how do young Lithuanian designers perceive sustainable fashion in the context of a circular economy? A qualitative semi-structured interview was used to collect data for the empirical study. The analysis has shown that the transition of the textile and fashion industry to a circular economy is a rather complex process that requires knowledge, significant financial investment in technological change, and greater consumer purchasing power in the production of products based on a circular economy. Moreover, new brands in the fashion industry do not always have enough information to start a business in the fashion industry based on a circular economy. A qualitative study conducted in Lithuania using the interview method showed that young Lithuanian fashion designers are very positive about sustainability solutions in the fashion industry and try to link their developing fashion brand with sustainability, but this is done fragmentarily rather than consistently. Young fashion designers state that they lack the in-depth knowledge and money to develop a brand in a circular economy. In conclusion, young Lithuanian fashion designers strive to create a sustainable fashion brand and link their development activities to a circular economy in a fragmentary way. Even after the research has been conducted, the question of how to get fast fashion manufacturers to produce sustainable fashion in Lithuania remains open.

Society requires companies to adopt ethical and responsible behavior with regard to environmental policies in order to achieve sustainable development. One of the most controversial sectors in terms of sustainable production is the fashion industry. This study analyzes the extent to which seven of the biggest fashion brands in Spain and around the world communicate their Corporate Social Responsibility (CSR) policies (specifically, those related to sustainability). To this end, we identify the social media platforms used the most by the target audiences for these brands, and apply an exploratory, descriptive methodology to a content analysis of communication about their CSR policies, both formal (corporate websites) and informal (social media). The objective is to identify whether these companies communicate their sustainable activities and practices in the context of their CSR. Our findings confirm that the brands analyzed have integrated sustainability and environmental protection initiatives into their CSR policies. However, although they do communicate this on their corporate websites, they rarely do so on social media. We thus conclude that the seven fashion brands analyzed could make better use of social media to raise awareness and educate customers about environmental sustainability.

We analyze the business models of online business-to-consumer (B2C) fashion rental and share challenges and lessons learned from an in-depth case study of a former German fashion-rental company. The firm focused on renting everyday, rather than special occasion, clothing, thus increasing the potential sustainability impact of its offer significantly. We also examine drivers and barriers of both an everyday children’s wear and a women’s wear rental model by incorporating both retailer and consumer perspectives through business data, manager interviews, and consumer surveys with customer and target groups. All data were merged into a single, in-depth analysis of the business models. By combining the complementary viewpoints of retailer and consumers, we were able to more precisely pinpoint the locations of the difficulties in the business models. The main barriers to success were the worsening quality of the company’s inventory and its difficulty acquiring and retaining customers, due both to a lack of familiarity with the concept of fashion rental and the poorly perceived price-performance ratio of fashion rental. These issues suggest that online-fashion rental should begin by focusing on special occasion rentals with more high-end fashion options and should plan a sizeable budget for marketing to raise consumer awareness of alternatives to traditional retail models and alleviate customer concerns. If such a rental model is successful and establishes a stable customer base, everyday fashion-rental options could be explored as a supplement. The article demonstrates the importance of integrating different data sources to obtain a comprehensive understanding of why online-rental models fail or succeed.

Session IV : Textile Design in Global Context, This study explores the new transformation stages of a fabric called khadi by analyzing its function and acceptance in contemporary society and how it attempts to bring social change. Khadi, a type of cloth once considered an ordinary commodity, later transformed into a political symbol in India and is now recognized as an eco-conscious, sustainable fashion product. Traditionally produced in South Asian countries, khadi is a handspun and handwoven fabric. In India, handspinning had disappeared by the early 19th century as the result of the Industrial Revolution and colonialism. However, it underwent a revival in the 1910s, in which Mohandas Gandhi played a critical role. Gandhi believed that this fabric represented his ideals and could aid in India’s struggle for independence, so much so that khadi ended up becoming a symbol in itself. Gandhi saw not only the practical use of khadi as an ordinary object but also its power to transform the country. The khadi movement may not have succeeded as Gandhi had hoped, but khadi has gained status as a morally desirable product—that is, a sustainable option for the fashion and textile industries. To explain how khadi transformed from a mere everyday fabric to a national symbol and a sustainable product within a century, one must examine Gandhi’s philosophy, specifically its core ideas of “truth” and “nonviolence.” These concepts are strongly associated with the production, consumption, and use of khadi and relate to its unique qualities. After the independence movement, khadi assumed two forms: 1) as a fabric that is believed to transform the country and strongly connected to India’s politics and 2) as a fabric that continues Gandhism and brings about change in society as a sustainable product. By examining the domestic and international examples of khadi, this paper intends to capture how this fabric underwent a critical change.

This study aimed to determine the appropriate fashion design elements for fashion product innovation to achieve continuous product value and promote sustainable fashion. We focused on five fashion design elements: classical, transformative, patterned, multimaterial, and decorative. Using an apparel auction market dataset, we verified how the five design elements contributed to the value continuation of apparel products across five categories. We statistically confirmed the design elements that positively affect the continuous value of different apparel products per fashion product categories. This study can help designers select elements that sustain product value, providing them with direct references for recommendations.

Diplomsko delo z naslovom Oblikovanje kolekcije Luč na obzorju predstavlja proces oblikovanja modularne kolekcije ženskih oblačil z razstavljanjem posameznih oblačilnih kosov in sestavljanjem v nove izdelke. V teoretičnem delu diplomskega dela so predstavljene ideje, na podlagi katerih sem razvijala kolekcijo. Osebno počutje in vprašanja o smislu v “obdobju nesmisla” so me pripeljala do raziskovanja eksistencializma v likovni umetnosti. COVID-19 je pustil posledice v modni industriji. Oblikovalci v kolekcije prav tako vključujejo eksistencialistične tematike. Trajnostna moda postaja še aktualnejša, povpraševanje s strani potrošnikov še večje. Raziskovala sem meni zanimive trajnostne prakse, kot so kapsulna kolekcija, multifunkcionalnost in modularnost. Predstavila sem nekaj multifunkcionalnih in modularnih znamk, ki so me najbolj navdušile. V eksperimentalnem delu je prikazan razvoj kapsulne kolekcije ženskih modularnih oblačil. Raziskovala sem oblike razpadajočega listja, jih vključevala v kroje in silhuete. To sem prikazala z inspiracijskimi kolaži. Predstavljena je barvna lestvica z navdihom v slikarskih delih Jožeta Tisnikarja. Izbrani materiali s surovimi robovi podkrepijo tematiko razgradnje. Iz kolekcije pa kljub temačnem vzdušju “sveti upanje”. Cilj mojega diplomskega dela je bil oblikovati kolekcijo modularnih izdelkov, ki z razstavljanjem in sestavljanjem v nove povečajo število možnih kombinacij in so uporabni skozi vse leto. To po mojem mnenju poveča življenjsko dobo izdelka in hkrati zmanjša željo po novem, zato se mi zdi modularnost pomemben trajnostni pristop, vreden raziskovanja. My thesis titled “Designing the Collection Light on the Horizon” represents the process of designing a modular collection of women's clothing by disassembling individual pieces of clothing and assembling them into new products. The theoretical part of the thesis presents the ideas on which I developed the collection. Personal well-being and questions about meaning in the “period of nonsense” led me to explore existentialism in the fine arts. COVID-19 has left its mark on the fashion industry. The designers also include existential themes in their collections. Sustainable fashion is becoming more and more popular, consumer demand is even higher. I researched sustainable practices, such as capsule collection, multifunctionality, and modularity. I presented some of the multifunctional and modular brands that inspired me the most. The experimental part shows the capsule collection development of women's modular clothing. I researched the shapes of decaying leaves, incorporating them into patterns and silhouettes. I illustrated this with inspirational collages. A color scale with inspiration in the paintings of Jože Tisnikar is presented. Selected materials with raw edges underline the theme of decomposition. Despite the dark atmosphere, the collection "shines hope". My thesis aimed to create a collection of modular products, which by disassembling and assembling into new styles increases the number of possible combinations and can be worn throughout the whole year. This, in my opinion, increases the life expectancy of clothing items and at the same time reduces the desire for something new. That is why I find modularity a sustainable approach, worth exploring.

The purpose of this study is to know how the difference gender awareness of sustainable fashion in Indonesia to purchase intention. In addition, knowledge was used as the moderating variable to see the strengthen or weaken effect towards awareness and purchase intention. 198 respondents gathered with balance sample between female and male with purposive sampling. Several test (Moderated Regression Analysis and Independent Sample T-test) used to analyze the result of the questionnaire. It found that awareness affected the purchase intention, also variable knowledge can strengthen the awareness to purchase intention. The level awareness of gender showed there is difference between men and women. The limitation is this study has used the similar variables (awareness and knowledge) and only focus on gender. In addition, the respondents mostly from the city in the Java Island rather than all over island in Indonesia. Tujuan dari penelitian ini adalah untuk mengetahui bagaimana perbedaan kesadaran gender terhadap fashion berkelanjutan di Indonesia terhadap minat beli. Selain itu, pengetahuan digunakan sebagai variabel moderasi untuk melihat pengaruh penguatan atau pelemahan terhadap kesadaran dan niat beli. Terkumpul 198 responden dengan sampel berimbang antara perempuan dan laki-laki dengan purposive sampling. Beberapa uji (Moderated Regression Analysis dan Independent Sample T-test) digunakan untuk menganalisis hasil kuesioner. Ditemukan bahwa kesadaran mempengaruhi niat beli, juga variabel pengetahuan dapat memperkuat kesadaran untuk niat beli. Tingkat kesadaran gender menunjukkan adanya perbedaan antara laki-laki dan perempuan. Keterbatasannya adalah penelitian ini menggunakan variabel yang sama (kesadaran dan pengetahuan) dan hanya fokus pada jenis kelamin. Selain itu, responden sebagian besar berasal dari kota di Pulau Jawa daripada seluruh pulau di Indonesia.

Understanding the complexity of sustainable fashion issues can be overwhelming and a barrier for fashion designers. A number of tools for sustainable fashion design have been developed to aid designers in the integration of sustainability into their design practices. We analyze these to determine their fitness for purpose. Among them, three categories (archetypes) of tools are identified: Universal, Participatory, and Assessment. We propose an innovation framework and a five-dimensional model of sustainability specific to fashion to facilitate the analysis of the tools. Using the archetype categorization may facilitate designers in identifying the most appropriate type of tool for a specific circumstance, depending on context and need.

«Trans» es un emprendimiento de moda sostenible ubicado en la capital de Colombia, el cual ha logrado romper las barreras del estilo acartonado de «estar a la moda» para convertirse en una contribución a cada sector de la industria textil, haciendo notar que sí se puede crear un proyecto que se centre en lo verdaderamente importante como es el hábitat en el que nos encontramos y el cuidado de lo que usamos, más exactamente en nuestro vestuario (la ropa). Gracias a emprendimientos como «Trans», la visión que se tenía al principio de la moda trascendió a un ideal de un mundo que día a día logra impactar positivamente a la sociedad, además de concientizar con el cuidado del medio ambiente desde proyectos como Upcycling, Supra Sostenibilidad, Reciclaje, Manejo de Prendas, entre otros. Sin embargo, en muchas ocasiones, la identidad y filosofía de este tipo de emprendimientos poco son reconocidos, incluso por sus grupos internos. En este caso, se identificó que desde la cabeza del mismo no se había dado la oportunidad de implementar estrategias comunicativas que ayudaran a solventar esta necesidad y potenciar el emprendimiento. Es allí donde se retoma la importancia de mantener activa y eficiente la comunicación interna de las organizaciones en relación con conceptos como marketing sostenible, pues en la actualidad son muchas las personas que utilizan el marketing para desarrollar cada uno de sus negocios —desde lo digital—, situación que parecía complicada para la CEO y los colaboradores de «Trans», dado que lo veían como una herramienta globalizada. No obstante, gracias a los talleres, productos y expertos en el tema, se logró mostrar un panorama amplio de todo lo que se puede lograr si se traslada la moda sostenible en la nueva era innovadora y tecnológica. Esto ayudó para que «Trans» tuviera un crecimiento importante en cuanto a su reconocimiento como una tienda de ropa diferente a las demás, sin ningún tipo de marca contaminante, libre de productos contaminantes, cómodo para quienes son conocedores del tema, y es considerado como un proyecto que le apuesta a la economía desde el otro lado de las estadísticas: el medio ambiente, sin contar que se reconoce también como un negocio que genera aprendizajes y conocimientos para los públicos interesados en la industria de la sostenibilidad y la moda, es decir, esto potenciaría la comunicación externa del emprendimiento. En síntesis, nuestra investigación está centrada en potenciar la identidad corporativa de este emprendimiento capitalino que contribuye a la moda sostenible y a la visibilización de la importancia del medio ambiente, pero que a su vez requería de estrategias de comunicación interna —en relación con lo digital— que ayudaran a sus colaboradores a reconocerse como parte de la marca y/o filosofía de la organización, además de reflejar eso en su público externo, logrando fidelizarlos y convirtiéndose en un emprendimiento líder, reconocido en la industria como un negocio con productos innovadores y responsable con el medio ambiente. «Trans» is a sustainable fashion enterprise located in the capital of Colombia, which has managed to break the barriers of the stiff style of "being fashionable" to become a contribution to each sector of the textile industry, noting that it can be create a project that focuses on what is truly important, such as the habitat in which we find ourselves and the care of what we use, such as clothing. Thanks to ventures like «Trans», the vision of fashion that was initially held transcended into an ideal of a world that manages to positively impact society day by day. In addition to raising awareness with the care of the environment from projects such as upcycling, supra sustainability, recycling, clothing management, among others. However, on many occasions the identity and philosophy of this type of enterprise are little recognized, even by their internal groups. In this case, it was identified that the head of the same had not been given the opportunity to implement communication strategies that would help solve this need and promote entrepreneurship. It is there where the importance of keeping the internal communication of organizations active and efficient in relation to concepts such as Sustainable Marketing is taken up again, since at present, there are many people who use marketing to develop each of their businesses from the digital, a situation that It seemed complicated for the CEO and collaborators of «Trans», since they saw it as a globalized tool. However, thanks to the workshops, products, and experts on the subject, it was possible to show a broad panorama of everything that can be achieved if sustainable fashion is transferred to the new innovative and technological era. This helped «Trans» to have significant growth in terms of its recognition as a clothing store different from the others, without any type of polluting brand, free of polluting products, comfortable for those who are knowledgeable about the subject and is considered as a project that bets on the economy from the other side of the statistics: the environment, not to mention that it is also recognized as a business, also generates learning and knowledge for the public interested in the sustainability and fashion industry, that is to say, that this would also enhance the external communication of the enterprise. In short, this research is focused on promoting the corporate identity of this capital enterprise that contributes to sustainable fashion and the visibility of the importance of the environment, but which, in turn, required internal communication strategies, in relation to what digital, which will help its collaborators to recognize themselves as part of the brand and/or philosophy of the organization, and reflect this in its external public, achieving their loyalty and becoming a leading enterprise, recognized in the industry as a business with innovative products and responsible with the environment. Comunicador Social Pregrado

This work investigates how the COVID-19 outbreak has affected consumers’ green purchasing intention in the fashion industry. It examines how this exogenous shock has influenced the relationship between consumer green purchasing intention and its three relevant antecedents (environmental knowledge (EK), environmental concern (EC), eco-friendly behaviour (EFB)). A survey of 1433 Italian consumers was carried out. The data were analysed through a structural equation modelling method to evaluate the direct and indirect mediating effects of the COVID-19 shock on the relationship between green purchasing intention and its antecedents (i.e., EK, EC and EFB) by considering traditional and online purchasing channels. The results of the model confirmed a positive relationship between green purchasing intention and its antecedents. The COVID-19 pandemic was also found to positively mediate the relationship between green purchase intention and two out of its three antecedents (i.e., EK and EC) in both traditional and online purchasing channels. This paper contributes to the literature on sustainable consumption by assessing magnitude of the relationship between green purchasing intention and its antecedents, and the mediating role exerted by a complex exogenous shock such as the COVID-19 outbreak.

This work project discusses the development of the hybrid D2C business “meiæs”. meiæs is a local, transparent, and impactful fashion brand producing socks and donating five percent of its revenues to the Hope Zones Foundation. This foundation focuses on preserving and protecting the ocean, with a special focus on Portugal’s coasts. Starting with developing a business model using the Lean Business Model Canvas by Maurya (2010), the authors cover essential aspects such as the problem and solution definition, market size, sales and marketing channels, and team. Eventually, hypotheses are developed which are rejected or accepted in the individual parts. The authors’ main findings were that meiæs was not able to achieve product-market-fit yet due to the immaturity of the business but will most probably achieve it in the near future once the first batch of socks has sold out. Moreover, using short-form videos (reels) on Instagram are the most effective form of advertising, and enlarging the company’s network can increase future funding and partnership opportunities. Lastly, meiæs socks were found to be more sustainable due to their low raw material CO2 footprint of only 1kg per pair of socks.

The textile and fashion industry is the second industry (after aviation) that pollutes the planet the most, and it uses natural and human resources excessively and irresponsibly. Fast fashion harms the environment. Fast fashion stands for low quality, low prices, constantly updated supplies, and high consumption of natural resources and chemicals. Nowadays, however, the evolution in the fashion industry from fast and unsustainable models to sustainability and a circular economy is firmly established. Fashion industry representatives are paying more and more attention to corporate social responsibility, business ethics, the implementation of circular economy principles, and the technological transition from linear production to a circular economy. The aim of this article is to evaluate the attitude of young Lithuanian designers towards the implementation of circular economy principles in the fashion industry. A problematic question is raised: how do young Lithuanian designers perceive sustainable fashion in the context of a circular economy? A qualitative semi-structured interview was used to collect data for the empirical study. The analysis has shown that the transition of the textile and fashion industry to a circular economy is a rather complex process that requires knowledge, significant financial investment in technological change, and greater consumer purchasing power in the production of products based on a circular economy. Moreover, new brands in the fashion industry do not always have enough information to start a business in the fashion industry based on a circular economy. A qualitative study conducted in Lithuania using the interview method showed that young Lithuanian fashion designers are very positive about sustainability solutions in the fashion industry and try to link their developing fashion brand with sustainability, but this is done fragmentarily rather than consistently. Young fashion designers state that they lack the in-depth knowledge and money to develop a brand in a circular economy. In conclusion, young Lithuanian fashion designers strive to create a sustainable fashion brand and link their development activities to a circular economy in a fragmentary way. Even after the research has been conducted, the question of how to get fast fashion manufacturers to produce sustainable fashion in Lithuania remains open.

Vinted is a free digital sharing economy platform where individuals buy and sell secondhand apparel. It is an example of industry 4.0 that promotes an innovative and successful business model while favoring sustainable fashion consumption. Gen Z consumers are concerned about climate change and social and ethical issues. Their environmental awareness is significant. Nevertheless, their values do not always translate into sustainable consumption behavior; their role as heavy consumers in the fast-fashion market is proof of this. The research aims to delve into the motivations of Gen Z towards sustainable fashion and their perception of the eco-friendly brand attributes in the case of Vinted. From the methodological point of view, the qualitative and quantitative approaches are combined through focus group sessions and a pilot study based on a questionnaire. The results confirm that Gen Z consumers recognize and appreciate the eco-friendly attributes of Vinted, although other types of brand attributes are the ones that mostly mobilize their behavior. Some participants claim that the representation of sustainable values in Vinted’s advertising campaigns is too soft. Among the conclusions, the opportunity to revise Vinted’s brand strategy stands out, giving a more explicit role to eco-friendly attributes pursuing an effective change in Gen Z consumption behavior. Keywords: Gen Z; sustainable fashion; sharing economy; industry 4.0; vinted; eco-friendly; consumption behavior; brand attributes; brand strategy; focus group.

La moda sostenible es una parte de la industria de la moda a nivel mundial que tiene cada vez más fuerza, con grandes marcas de este sector que han impulsado la sostenibilidad durante los últimos años. Debido a las tendencias mundiales de disminución de huella de carbono y buenas prácticas ambientales, en Colombia este tipo de moda ya es parte de la agenda de discusión ambiental. En la industria colombiana de moda aún no hay cifras claras del impacto ambiental que tiene la fabricación de prendas de vestir, pero se sabe que muchas de las marcas internacionales que actualmente consumen las personas tienen un alto impacto debido a la cantidad de ropa que fabrican, el agua que contaminan los procesos textiles, además de las malas prácticas de empleo que tienen. En Colombia ya existen marcas que han construido procesos de sostenibilidad para la producción de las prendas de vestir, y tienen ya un grupo de consumidores que se preocupan por un consumo responsable; ahora bien, lo importante también es saber cuáles son los hábitos de consumo de las personas que buscan empresas que se preocupan por la sostenibilidad ambiental y social, cuáles son las motivaciones que tienen para comprar este tipo de ropa y las necesidades que cubren a la hora de tomar la decisión, sabiendo que es muy importante para el mercadeo y para la construcción de marca tener un panorama de cómo es el comportamiento de este consumidor., Sustainable fashion is a portion of the fashion industry worldwide which is growing stronger and which the big brands in this sector have promoted in recent years. Due to global trends in carbon dioxide reduction and good environmental practices, in Colombia this type of fashion is already part of the environmental discussion agenda. In the Colombian fashion industry there are still no clear numbers on the environmental impact of clothing manufacturing, but it is known that many of the international brands that people currently consume have a high impact due to the number of clothes they manufacture, the water that contaminates the textile processes and in addition to the bad human resources practices. In Colombia there are already brands that have built sustainability processes for the production of clothing and already have a group of consumers who care about responsible consumption, however, it is also important to know which are the consumption habits of the people who look for companies that care about environmental and social sustainability, what are the motivations they have for buying this type of clothes and the needs they cover when making the decision, knowing that is important for marketing and for brand building to have an overview of what this consumer behavior is like.

Žurnālistika Informācijas un komunikācijas zinātnes Journalism Information and Communication Sciences Radošais bakalaura darbs – YouTube raidījums “Modes industrijas dzelmēs”. Raidījums par modes industriju un ilgtspējību. Radošā bakalaura darba mērķis ir izveidot raidījumu “Modes industrijas dzelmēs”, kurā trīs epizožu garumā viesosies modes industrijas pārstāves, runājot par dažādiem ar modes industriju un ilgtspējību saistītiem aspektiem. Bakalaura darbā tiek apskatīta intervija kā žurnālistikas žanrs, jo ne vien tiek ievākta informācija, bet arī apstrādāta un publicēta YouTube. Radošā bakalaura darba produkts – raidījums “Modes industrijas dzelmēs” – tiek publicēts platformā YouTube un sastāv no trim epizodēm. Izstrādātas un publicētas ir visas epizodes, kuras darba nodaļās tiek aprakstītas. Epizodes ir pieejamas audiovizuālā formātā. Teorētiskajā daļā apskatīta literatūra par YouTube iespējām veidot saturu ikvienam, tai skaitā žurnālistam, interviju kā žurnālistikas žanru, žurnālistu kameras priekšā, modes industriju un ilgtspējību. Koncepcijas daļā aprakstīts radošā produkta izstrādes process: intervējamo atlase, intervijas jautājumu un struktūras izveide, filmēšanas norise, apstrāde un montāža, publicēšana platformā YouTube, izplatīšana sociālajā medijā Instagram. Tā kā strauji attīstās ne vien tehnoloģijas, bet arī mediju formāti, tad gan mediju lietotājiem, gan satura veidotājiem, tai skaitā žurnālistiem, ir jāpielāgojas. Digitālie mediji, tai skaitā YouTube, piedāvā ne vien patērēt, bet arī veidot un publicēt unikālu saturu jebkurā sev ērtā un pieejamā laikā, vietā un ierīcē. Intervija ir raidījuma “Modes industrijas dzelmēs” epizožu pamats, tāpēc, lai tās būtu pēc iespējas kvalitatīvākas, ir jāsagatavojas, jāizvēlas atbilstoši intervējamie, kā arī jāorganizē intervija pēc izveidotajiem pamatprincipiem. Darbs sastāv no 53 lapām, 7 pielikumiem, 3 epizodēm un 3 epizožu fragmentu video. Creative bachelor’s thesis – YouTube series “In the depths of the fashion industry”. Series about the fashion industry and sustainability. The aim of the creative bachelor’s thesis is to create a series “In the depths of the fashion industry”, in which representatives of the fashion industry will be guests for three episodes, talking about various aspects related to the fashion industry and sustainability. The bachelor’s thesis examines the interview as a journalistic genre, as information is not only collected, but also processed and published on YouTube. The product of the creative bachelor’s thesis – YouTube series In the depths of the fashion industry – is published on the YouTube platform and consists of three episodes. All the episodes have been developed and published, which are described in the chapters. Episodes are available in audiovisual format. The theoretical part examines the literature on YouTube’s opportunities to create content for everyone, including journalists, interviews as a journalistic genre, journalists in front of the camera, the fashion industry and sustainability. The concept part describes the process of creative product development: selection of interviewees, creation of interview questions and structure, filming process, processing and montage, publishing on the YouTube platform, promotion on the social media Instagram. Since not only technologies, but also media formats are developing rapidly, both media users and content creators, including journalists, have to adapt. Digital media, including YouTube, offer not only to consume, but also to create and publish unique content at any convenient and accessible time, place and device. The interview is the basis of the episodes of the series “In the depths of the fashion industry”, therefore, in order for them to be as high-quality as possible, it is necessary to prepare, choose the appropriate interviewees, and also organize the interview according to the established basic principles. The bachelor’s thesis consists of 53 pages, 7 appendices, 3 episodes and 3 video fragments of episodes.

Scientific research indicates that perceptions of sustainable fashion are diverse and influenced by regional, cultural, and industry-specific attitudes and behaviours. Recent studies highlight the growing impact of social media on individual knowledge, attitudes, and behaviours, particularly Instagram’s role in promoting sustainable fashion values and encouraging appropriate consumer behaviour. The article presents a study aimed at identifying the contexts of sustainable fashion communication on Instagram in Lithuania, highlighting the key actors of the sustainable fashion ecosystem, the subject matter of the communication and the specifics of its presentation. The study found that Instagram in Lithuania is dominated by the concept of sustainable fashion, and the majority of accounts communicating sustainable fashion are commercial entities. The study also revealed that opinion leaders are not actively involved in the communication of sustainable fashion, most accounts using the hashtag have a small number of followers, and the content they publish does not expand on the topic of sustainability, but only mentions it. The posts that do dive deeper into the topic of sustainability show a multifaceted perception of the phenomenon of sustainable fashion and the issues surrounding it, determined by the different perspectives of the actors involved in the communication.

This thesis focuses on research through the design process of building an immersive Virtual Reality (VR) experience concept resembling a digital art gallery. It covers the topics of sustainable fashion, changing people’s perspectives and behaviour, and new technologies like VR and Artificial Intelligence (AI). Through the experience of the art pieces displayed in the virtual gallery, created with AI, and focused on the critique of the fast fashion system, users are involved in the process of opening a space for reflection, discussion, education, and learning on the relative topic. The subjects of the research are deeply analysed in the Theoretical Framework. Therefore, this section is divided into three main research areas: Sustainable Fashion, changing people’s behaviour, and VR and Artwork. The three other key chapters that follow this first one are the Methodology, Concept Development, and the Final Concept and Validation chapters. In the first two, it is presented the design process and the CoDesign methods used during the process to gather information and insights in order to create the final concept. Meanwhile, in the latter, the content discussed is the concept created as the final deliverable of this project and the validation session that was organised to evaluate it. In conclusion to this thesis, the last chapter of Conclusions and Discussion answers the research questions at the base of this project and presents the possibilities offered by the concept of a virtual and immersive art gallery. The outcome of this project is presenting a design for a virtual art gallery showing AI-generated pictures that combine classical art pieces with problematic issues in fast fashion, intended to change people’s perception of sustainable fashion. Moreover, it is discussed the potentiality of using VR as a relevant and promising medium to convey a meaningful message about sustainable fashion that might induce people to embrace a more responsible consumer behaviour. In this optic, the final concept has the opportunity to be used as an educational tool for younger generations and the chance to place it in public spaces or art exhibitions to be experienced by people. Examensarbetet är utfört vid Institutionen för teknik och naturvetenskap (ITN) vid Tekniska fakulteten, Linköpings universitet

Sustainability and ethical consumption have emerged as essential topics globally in the carbon-neutral era. The adoption of eco-friendly production and distribution methods have been prominent in the fashion industry as well. This study performed a qualitative case study analysis based on a literature review and in-depth expert interviews. The search yielded ten keywords reflecting how value producers pursue sustainable fashion. These keywords are “eco-friendly”, “recycled”, “vegan”, “upcycled”, “zero waste”, “local production”, “fair trade”, “women-owned”, “gives back” and “animal protection”. The values are divided into five core environmental values and five core social values. Based on in-depth interviews with domestic sustainable fashion experts, the core values and detailed standards of sustainable fashion were specified and presented as practical values. These values were also applied to the Market Gredit platform, an integrated e-commerce platform for sustainable fashion brands in South Korea. This research contributes to improving the environmental and social impacts throughout the value chain of the fashion industry by presenting the core values and detailed standards of sustainable fashion suitable for communication with consumers.

The abrupt changes in the environment have sparked a shift in behavior toward more environmentally friendly, sustainable forms of consumption. Textiles is one of the businesses that most degrades nature, therefore second-hand fashion emerges as one of the expanding phenomena in this industry, with various perceptions and motivations according to the culture in which an individual is inserted. Thus, this study aims to dive deeper into the current perceptions and motivation of Portuguese consumers toward this market. For this, a qualitative methodology with an exploratory approach is adopted. The data collection technique consisted of 15 semi-structured interviews with open-ended questions. The findings show that in a general overview and in the context of this study, consumers are starting to become more open and receptive to the concept of second-hand fashion, even though several prejudices and stigmas were mentioned. In terms of motivation, the need for uniqueness and vintage items, closely followed by economic and sustainable concerns were the most commonly stated motives. At last, most consumers expressed positive second-hand shopping experiences, along with its challenges, and showed a desire to be more exposed to second-hand brand marketing and advertising on social media.

Cilj diplomskog rada je na studentima i studenticama Sveučilišta u Zagrebu ispitati stavove o brzoj i održivoj modi, identitetska obilježja i vrijednosti koje su s tim stavovima povezane (simbolika odjeće), kao i motivaciju za određeno potrošačko ponašanje, odnosno cilj je dobiti uvid u potrošačko ponašanje. Također, cilj je pokazati relevantnost teme održive mode za socijalnu ekologiju jer društveni troškovi koji su uključeni u proizvodnju brze mode nisu samo štetni za okoliš, već i za ljudsko zdravlje i ljudska prava. Istraživanje je provedeno putem online ankete na prigodnom uzorku od 230 studenata i studentica Sveučilišta u Zagrebu. Rezultati pokazuju da su im neki faktori održivosti važniji od drugih, primjerice najvažnija im je društvena održivost, tj. etički uvjeti rada. Što se tiče ponašanja, studenti i studentice obraćaju veću pozornost na primjerice recikliranje papira i plastike nego na recikliranje odjeće. Ono što je zanimljivo, mali broj studenata i studentica vidi modnu industriju kao velikog zagađivača, to pokazuje malu svjesnost o tome koliko ova industrija šteti okolišu. Ovaj rad može poslužiti kao dobra podloga za daljnja istraživanja koja se mogu provesti na temu održive i brze mode, kako bi se podigla svjesnost o tome koliko je zapravo modna industrija veliki zagađivač i ne samo ekološki već i društveni problem. The aim of this paper is to investigate the attitudes of the students of the University of Zagreb about fast and sustainable fashion, the identity characteristics and values associated with these attitudes (symbolism of clothing), as well as the motivation for certain consumer behavior, i.e. the aim is to gain insight into consumer behavior. Also, the goal is to show the relevance of the topic of sustainable mode for social ecology because the social costs involved in the production of a fast fashion are not only harmful to the environment, but also to human health and human rights. The research was conducted through an online survey on a sample of 230 students of the University of Zagreb. The results show that some sustainability factors are more important to them than others, for example social sustainability, i.e. ethical working conditions, is most important to them. In terms of behavior, students pay more attention to, for example, paper and plastic recycling than to clothing recycling. What is interesting is that few students see the fashion industry as a major polluter, which shows little awareness of how much this industry damages the environment. This paper can be a good base for further research that can be carried out on the topic of a sustainable and fast fashion, in order to raise awareness of how big a polluter the fashion industry really is, and not only an ecological but also a social problem.

The existence of sustainability has changed businesses running their business. The implementation of this new concept has tremendously affected businesses in many industries, including the fashion industry. Many big fashion companies are applying the concept of sustainability to their production process. It is intended to create accountability for the environment and people. Fashion as the second largest contributor to wastewater in the world has started to use more sustainable and safer raw materials for its production process. As the growth of sustainable production increases, the responsibility of companies in acquaints to customers also increases. Without the understanding of a new concept of sustainability in the market, customers are unable in understanding the purpose of the sustainable product. Thus, this study examined the awareness of sustainable fashion by using the eight criteria of sustainable fashion, namely: Recycling, Organic, Vintage, Vegan, Artisan, Locally Made, Custom, and Fairtrade Certified. The result of the survey showed that among 115 Indonesian people aged between 15-50 years old, the level of awareness is dominated by females aged between 36-50 and males aged between 26-35. By using the descriptive analysis to compare different variables, the average awareness of people with master’s degree educational background also showed a significant role. The proposed study implies the variety of Indonesian people’s awareness towards sustainable fashion that might become a market overview for sustainable fashion businesses.

In the past decade, consumer demand for ethical fashion has substantially increased, as consumers are becoming more conscious about the impact of their fashion choices on the planet. However, the high pricing of ethical fashion is one the main factor impeding ethical consumption, as consumers are not aware of the reasoning behind it. Price transparency can be a way to improve consumer trust and purchase intention, and the use of disruptive technology such as Blockchain can be a key enabler. This research aims to address the research gap by focusing on the application of Blockchain technology to enhance price transparency, specifically in the fashion industry. This study explores Portuguese consumer attitudes towards the adoption of Blockchain technology for enhancing price transparency and its impact on purchase intention, by integrating the mediating role of skepticism and perceived value and the moderating role of awareness of ethical issues in fashion. This study also contributes to academics, who may further explore related topics and scrutinize the present research’s limitations. The study’s research object considers the answers of 298 consumers and the results reveal that Blockchain price transparency is a key factor to increase consumer purchase intention towards ethical fashion consumption. The results of this study suggest that managers should invest on the implementation of blockchain within their business models, in order to become more transparent and enhance consumer purchase intention towards ethical fashion consumption. Na última década, a procura dos consumidores por moda sustentável aumentou substancialmente, devido a uma maior consciência em relação ao impacto das suas escolhas no planeta. No entanto, o preço elevado da roupa de moda sustentável é um dos principais fatores que impedem o consumo ético, devido ao facto dos consumidores não estarem cientes do racional por trás do preço. A transparência de preço pode ser uma maneira de aumentar a confiança do consumidor e a intenção de compra, e o uso de tecnologia disruptiva, como Blockchain, pode ser um fator fundamental. Este estudo tem o objetivo de abordar um tema pouco explorado anteriormente, focando-se na aplicação da tecnologia Blockchain para aumentar a transparência de preço, especificamente na indústria da moda. Este estudo explora as atitudes dos consumidores portugueses em relação à adoção da tecnologia Blockchain para aumentar a transparência de preço e o seu impacto na intenção de compra, integrando o papel mediador do ceticismo e valor atribuído pelos consumidores e o papel moderador da sensibilização para questões éticas da indústria da moda. Este estudo contribui para a comunidade académica, que pode explorar outros tópicos relacionados com este e examinar as limitações da presente pesquisa. O objeto de investigação desta pesquisa considera as respostas de 298 consumidores e os resultados revelam que a transparência de preços através do uso de Blockchain é um fator chave para aumentar a intenção de compra do consumidor em relação ao consumo ético de moda. Os resultados deste estudo sugerem que as empresas de moda deverão investir na implementação de Blockchain nos seus modelos de negócios, a fim de se tornarem mais transparentes e aumentar a intenção de compra do consumidor em relação ao consumo de moda ético.

Mestrado Bolonha em Ciências Empresariais Os consumidores estão cada vez mais preocupados com os desafios ambientais e sociais que atualmente se enfrenta. Temos assistido a um crescente movimento de apoio às práticas sustentáveis no setor têxtil, com o objetivo de garantir que os recursos utilizados não comprometem os do futuro. Esta pressão feita pelos consumidores tem mostrado efeito nas marcas, que têm apostado cada vez mais na produção sustentável. Estas práticas sustentáveis no setor são denominadas de moda sustentável que procura combater os impactos negativos, tanto a nível social como ambiental, desta indústria conhecida como uma das mais poluentes. O presente estudo pretende perceber quais os influenciadores na compra de artigos de moda sustentável, os hábitos e comportamentos do consumidor na compra, na utilização e pós-compra. Para dar resposta a estas questões, foi utilizada uma abordagem qualitativa com recurso a entrevistas em profundidade, semiestruturadas. Os resultados mostraram que o consumidor opta maioritariamente por comprar produtos em marcas mais pequenas e portuguesas, não mostrando grande confiança pelos produtos sustentáveis das fast fashion. No entanto, devido ao preço elevado destes produtos, continuam a comprar artigos em marcas fast fashion. Os consumidores são influenciados por fatores externos na compra de moda sustentável, mostrando também algum conhecimento sobre o tema. No momento de descarte, parte dos consumidores ainda não sabe exatamente o que fazer, contudo optam por descartar para locais dos quais conhecem o destino final. A nível académico, este estudo analisa variáveis que, do conhecimento da autora, não foram estudadas simultaneamente. Pretende-se trazer maior consciencialização para os problemas ambientais deste setor. A nível empresarial, existe um crescimento de marcas de moda sustentáveis portuguesas, tornando-se este estudo uma referência para o conhecimento do comportamento do consumidor, de modo a construir estratégia das marcas. Consumers are increasingly concerned about the environmental and social challenges currently being faced. We have witnessed a growing movement to support sustainable practices in the textile sector, with the aim of ensuring that the resources used do not compromise those of the future. This pressure from consumers has influenced brands, which have increasingly invested in sustainable production. These sustainable practices in the sector are called sustainable fashion, which seeks to combat the negative impacts, both socially and environmentally, of this industry known as one of the most polluting. The present study aims to understand what the influencers in the purchase of sustainable fashion items are, the habits and behaviors of the consumer in the purchase, use and post-purchase. To answer these questions, a qualitative approach was used, using semi-structured in-depth interviews. The results showed that the consumer mostly chooses to buy products from smaller, Portuguese brands, not showing much confidence in sustainable fast fashion products. However, due to the high price of these products, they continue to buy items in fast fashion brands. Consumers are influenced by external factors when buying sustainable fashion, also showing some knowledge on the subject. At the time of disposal, part of the consumers still does not know exactly what to do, however they choose to discard to places of which they know the final destination. On an academic level, this study analyzes variables that, to the author's knowledge, have not been studied simultaneously. It is intended to bring greater awareness to the environmental problems of this sector. At the business level, there is a growth of Portuguese sustainable fashion brands, making this study a reference for the knowledge of consumer behavior, to build brand strategy. info:eu-repo/semantics/publishedVersion

The fashion industry has changed in the past years and a new concept of fast fashion has emerged. Fast fashion brands focus on rapidly producing high volumes of cheaply made pieces of clothing, at a rapid rate, that are the latest trends on the market. Its success lies on its supply chains which follow a just in time philosophy, operating primarily with quick responses and agility through global integration and collaboration. With a fast fashion brand such as Zara it only takes 2 weeks to finish the design and production of an item and sent to stores globally. This results in harmful impacts on the environment through its supply chains as well as overconsumption from fast fashion consumers. Therefore, the study investigates how can the fashion industry sustain sustainable supply chains. A questionnaire with 207 Angolan, Portuguese and British participants was conducted to collect data from a consumer’s perspective and their influence towards achieving a sustainable supply chain. Two versions of the questionnaire were developed, English and Portuguese and the data collected was combined. The results suggest that consumption of fast fashion products is undergoing however consumers are more concerned about how items are produced. Therefore, supply chains can be sustained if consumers understand their influence towards brands to return to slow fashion and their scrutiny towards more sustainable approaches. A collaboration between brands and consumers is necessary to achieve this. Brands can implement initiatives to tackle this problem as well as influence consumers to follow more sustainable practises. A indústria da moda mudou nos últimos anos e um novo conceito de fast fashion surgiu. As marcas de fast fashion concentram-se em produzir rapidamente grandes volumes de peças de vestuário baratas, em ritmo acelerado, que são as últimas tendências do mercado. O seu sucesso está em suas cadeias de abastecimento que seguem uma filosofia just in time, operando principalmente com respostas rápidas e agilidade por meio da integração e colaboração global. Uma marca de fast fashion como a Zara, leva apenas 2 semanas para terminar o design e a produção de um item e enviar para as lojas em todo o mundo. Isso resulta em impactos prejudiciais ao meio ambiente por meio de suas cadeias de suprimentos, bem como o consumo excessivo por parte dos consumidores de fast fashion. Portanto, o estudo investiga como a indústria da moda pode sustentar cadeias de abastecimento sustentáveis. Foi realizado um questionário com 207 participantes angolanos, portugueses e britânicos para recolher dados do ponto de vista do consumidor e a sua influência para alcançar uma cadeia de abastecimento sustentável. Foram desenvolvidas duas versões do questionário, inglês e português e os dados coletados foram combinados. Os resultados sugerem que o consumo de produtos fast fashion ainda é notável, porém os consumidores estão mais preocupados com a forma como os itens são produzidos. Portanto, as cadeias de abastecimento podem ser sustentadas se os consumidores entenderem a sua influência perante as marcas para retornar à moda lenta e seu escrutínio para abordagens mais sustentáveis. Para isso, é necessária uma colaboração entre marcas e consumidores. As marcas podem implementar iniciativas para enfrentar este problema, bem como influenciar os consumidores a seguirem práticas mais sustentáveis.

V zadnjih nekaj desetletjih smo lahko spremljali hiter porast trajnostne mode kot odgovor na okoljevarstvene probleme, povezane s hitro modo, ozaveščanje o trajnostni modi pa se je odvijalo predvsem na družbenih omrežjih in je predstavljalo nov trend nakupovanja. Cilj moje naloge je bil predstaviti vpliv, ki ga imajo družbena omrežja na krojenje novih trendov, med katere spada tudi trajnostna moda, predvsem pa, kako družbeno omrežje TikTok vpliva na reprezentacijo trajnostne mode med mlajšo generacijo uporabnikov. S pomočjo semiološke analize in analize diskurza sem raziskovala, kakšno vlogo ima družbeno omrežje TikTok pri reprezentaciji trajnostne mode med mladimi in kaj spodbuja priljubljenost trajnostne mode med digitalnimi potrošniki. Za analizo sem izbrala tri ustvarjalce na omrežju TikTok iz področja trajnostne mode in preučevala njihove najbolj priljubljene posnetke. Glavna ugotovitev moje naloge je, da družbeno omrežje TikTok pozitivno vpliva na reprezentacijo trajnostne mode med generacijo Z, saj jim trajnostna moda predstavlja trend, ki jim omogoča samoizražanje ter vzpostavljanje ekonomskega statusa in osebne identitete. Over the past few decades, we have seen the rapid rise of sustainable fashion as a response to the environmental concerns associated with fast fashion, and the awareness of sustainable fashion has mainly taken place on social media and represented a new shopping trend. The aim of my assignment was to present the influence that social networks have on shaping new trends, including sustainable fashion, and above all, how the TikTok social network affects the representation of sustainable fashion among the younger generation of users. With the help of semiological analysis and discourse analysis, I researched what role the social network TikTok plays in the representation of sustainable fashion among young people and what promotes the popularity of sustainable fashion among digital consumers. For analysis, I chose three creators on the TikTok network from the field of sustainable fashion and studied their most popular videos. The main conclusion of my thesis is that the TikTok social network has a positive effect on the representation of sustainable fashion among Generation Z, as sustainable fashion is a trend that enables them to express themselves and establish economic status and personal identity.

V diplomskem delu z naslovom Ženska kolekcija oblačil Yutopia opisujem nastajanje avtorske kolekcije, za katero sem navdih črpal iz paradoksalnega pojava jugonostalgije med mladimi. Glavno izhodišče za kolekcijo sta oblikovanje in umetnost v Jugoslaviji v 70. letih prejšnjega stoletja, osrednji likovni element pa stare odeje jugoslovanskih proizvajalcev. V teoretičnem delu sem predstavil različne vire navdiha, iz katerih sem črpal pri oblikovanju kolekcije. Najprej sem se poglobil v splošno družbeno stanje Jugoslavije v 70. letih kot tudi v značilnosti takratnega oblikovanja, umetnosti in mode. Raziskal sem dela grafičnega oblikovalca Mihajla Arsovskega, podrobneje pa sem se posvetill interieru kavarne Šestica, ki je delo arhitekta Igor Emilija. Sledila je opredelitev samega fenomena jugonostalgije: kdaj in zakaj se pojavlja ter kako vpliva na nas. Na koncu teoretičnega dela sem se posvetil tudi nadcikliranju kot obliki trajnostnega oblikovanja. V praktičnem delu sem predstavil razvoj avtorske kolekcije oblačil. Raziskoval sem vsakodnevno modo 70. let ter zvonaste elemente in silhuete oblačil, ki so prevladovali v tistem času. Te oblike sem z eksperimentiranjem s polaganjem raznovrstnih gub prenesel na različne dele telesa. Sledilo je raziskovanje odej kako lahko uporabim njihove elemente, kot so vzorci, dvostranskost ter obrobni trakovi, in kako vse to vpliva na krojenje. Kolekcija realiziranih štirih silhuet je predstavljena skozi modne in tehnične skice. Predstavljeni so uporabljeni materiali ter barvna paleta. Končni rezultat je unikatna kolekcija, namenjena ženskam, ki si želijo izraziti lastno občutenje jugonostalgije z nošenjem izrazitih oblačilnih kosov. Kolekcija je celostno predstavljena v modnem editorialu. In my graduate collection, titled Womenswear collection Yutopia, I describe the making of this collection, for which I was inspired by the paradoxical phenomenon of yugonostalgia amongst young people. The starting point of this collection are design and art in Yugoslavia during the 1970's, followed by blankets made by Yugoslavian manufacturers. In the theoretical part of my thesis, I presented the main sources of inspiration for my collection. I first delved into the general social state of Yugoslavia in the 1970s, as well as the characteristics of design, art and everyday wear of that period. I started of by researching on the work of graphic designer Mihajlo Arsovski and the interior of a cafe named »Šestica«, which was made by an architect Igor Emili. I followed by determinating the phenomenon of yugonostalgia when and how it occurs and also its impact on society. At the end of the theoretical part I also researched upcycling as a form of sustainable design. In the practical part, I showcased the development of my collection. I researched the everyday wear and more importantly, the bell shaped silhuette of the 1970's and how can I achieve it on different parts of the body by using different kinds of pleats. In the following part I studied the blankets themselves how I can use their defining elements, such as: patterns, double-faced nature and bias tapes, and how they affect the pattern cutting itself. The collection of four realised silhouettes is showcased through collages and technical sketches. At the end there is also a showcase of used materials and colour palette. The finished product is a womenswear collection made for individuals, who are not afraid to express their fascination towards yugonostalgia by wearing bold fashionable clothing. The collection as a whole is documented in a fashion editorial.

La economía mundial se basa en el consumo irresponsable para garantizar el crecimiento a través de la creación de nuevas y falsas necesidades. Así, este modelo de consumo se puso en marcha sin tener en cuenta las consecuencias que podría llegar tener en la sociedad y en el planeta. Actualmente, la industria textil es la segunda más contaminante del planeta, ya que el proceso por el que pasan las prendas, consume una gran cantidad de recursos naturales y genera una gran cantidad de residuos. Así pues, La moda rápida o fast fashion ha propiciado un cambio radical en la industria textil a la hora de diseñar, producir y vender, además de ser un modelo que ha fomentado la precariedad laboral y la explotación de los ecosistemas. Asimismo, con el auge de las tecnologías y el desarrollo de internet, la industria ha optado por adaptarse a los nuevos medios a través de figuras como la del influencer, con la que se pretende, como indica el término, influenciar en la opinión pública para aumentar el número de ventas de los productos. Ante esto, se presenta la alternativa de la moda sostenible o slow fashion, una corriente que pretende mitigar los daños provocados por la moda rápida en el planeta, garantizar los derechos de los trabajadores y concienciar a la población sobre la gravedad de la problemática actual. De esta forma, el principal objetivo de este trabajo es conocer si la moda sostenible es una alternativa real capaz de enfrentarse a la moda rápida y paliar los problemas derivados de esta o, por el contrario, es una estrategia de marketing utilizada por las diferentes marcas y empresas para aumentar sus ventas. The mundial economy is based on irresponsible consuption to ensure growth through the creation of new and false needs. This consuption model began without taking into account the consequences it could have on society and the planet. Currently, the textile industry is the second most polluting on the planet, since the process through which the garments go through consumes a large amount of natural resources and generates a large amount of waste. Thus, fast fashion has brought about a radical change in the textile industry when it comes to designing, producing and selling, as well as being a model that has fostered job insecurity and the exploitation of ecosystems. Likewise, with the rise of technologies and the development of the Internet, the industry has chosen to adapt to new media through figures such as the influencer, with which it is intended, as the term indicates, to influence public opinion to increase the number of sales of the products. Consequently, appear the slow fashion, a trend that aims to mitigate the damage caused by fast fashion on the planet, guarantee the rights of workers and make the population aware of the seriousness of the current problem. In this way, the main objective of this work is to know if sustainable fashion is a real alternative capable of facing fast fashion and alleviating the problems derived from it or, on the contrary, if it is a marketing strategy used by different brands and companies to increase their sales. Universidad de Sevilla. Grado en Periodismo

Activating sustainability in the apparel industry has become more a necessity than a kind of luxury, because of the increasing awareness of apparel industry's negative impact on environment, social and economic sectors. This research aims to activate the role of design in enhancing the competitiveness of sustainable garment products in the Egyptian market by applying sustainable design strategies aiming to reduce the negative environmental, social, and economic impact of this industry.In order to apply the design strategies and improve the competitiveness of sustainable design methods, a total number of 20 sustainable apparel designs for women were developed, aligned with Egyptian tradition and requirement in an innovative vision of the cultural heritage arts in Egyptian society. A questionnaire was developed and applied through Google forms, a number of 50 academics and specialists in the apparel industry have participated in the study, and results were analyzed through Statistics Program for Science (SPSS).Five designs were produced into wearable garments. The results proved that used strategies for sustainable design meet the standards consumption of high quality by reducing the chances of getting rid of the proposed designs, in addition to enhancing the competitive position of these products among the targeted market segment.The results of the research showed that the application of sustainability in the Egyptian apparel industry could be one of the most important elements of competitiveness, which helps Egyptian companies to provide products follow the global fashion trends yet achieve the requirements of the Egyptian consumer and meet their needs.

Repairing and repurposing clothes can extend their lifetime, helping reduce the environmental impacts of the fashion industry. We aimed to investigate influences on clothing repair and repurpose using the Theoretical Domains Framework. A survey was conducted with a representative sample of 300 UK citizens. The frequency of, and influences on, clothing repair and repurpose behaviour were measured with self-report scales and a free-text item. Quantitative (logistic regression) and qualitative (thematic) analyses were used to identify barriers and enablers of behaviour. Findings showed that participants typically engaged in the behaviour every six months. The main barriers concerned a lack of skills, poor product design, unaffordability of repair services, and incongruence with identity. Key enablers concerned the ability to focus during DIY tasks, dynamic social norms, beliefs about benefits of repairing, emotional attachment to clothing, and having routines and habits of repairing. This study is the first to apply the Behaviour Change Wheel to identify intervention types and behaviour change techniques that can modify these influences, such as training workshops and the provision of free repair and repurpose services. Policy options were suggested to support implementation, such as extended producer responsibility. Awareness and skill-building campaigns, while important, are not enough to support behaviour change; structural and policy changes are needed.

Opinion leaders can catalyze social change processes by spreading information, increasing people’s knowledge, and influencing attitudes and behaviors. This project contains three studies. First, we applied the novel method of Massive Unsupervised Outlier Detection (MUOD) to identify online opinion leaders in the field of sustainable fashion on the social network platform Twitter. Second, we conducted two validation studies to validate outliers as opinion leaders and confirm the MUOD as reliable method to identify domain-specific opinion leaders within online social networks.

[ES] El presente Trabajo Final de Grado (TFG) trata de realizar un análisis estratégico acerca de la existencia de la posible alternativa al modelo actual que sigue el sector textil, conocido como fast fashion o moda rápida. Este se caracteriza por una producción, distribución y consumición de la ropa de manera desproporcionada y desenfrenada, causando impactos negativos en el planeta. Pero este modelo fast fashion, que estaba empezando a predominar en el sector, está dando paso a un nuevo modelo más respetuoso con el entorno y las personas, conocido como slow fashion o moda sostenible. A lo largo del presente trabajo se va obteniendo información clara y precisa de quienes forman parte del mundo de la moda, observando si realmente la sociedad ha llegado a un cambio en la mentalidad y concienciación por un compromiso sostenible. A través del análisis interno y externo del sector textil, mediante la utilización de diversas herramientas de estrategia, la observación de los comportamientos de diferentes empresas destacables y con ayuda de la encuesta efectuada a diversas personas consumidoras del sector textil para observar sus hábitos de compra, se ha obtenido una visión a gran escala del sector y de las posibles tendencias futuras, además de un listado con diferentes alternativas e iniciativas para hacer frente al modelo fast fashion. El trabajo concluye con una descripción de cómo se encuentra el sector textil en estos momentos, además de un resumen de cómo están actuando las compañías y los consumidores actuales. Este trabajo lo que pretende es abrir los ojos a la necesidad de un cambio de hábitos por parte de toda la sociedad acerca del sector textil, mediante la concienciación de los problemas del modelo actual., [EN] This Final Degree Project (TFG) is a strategic analysis of the existence of a possible alternative to the current model followed by the textile sector, known as fast fashion. This is characterized by a disproportionate and unbridled production, distribution and consumption of clothing, causing negative impacts on the planet. But this fast fashion model, which was beginning to predominate in the sector, is giving way to a new model that is more respectful of the environment and people, known as slow fashion or sustainable fashion. Throughout this work, clear and precise information is obtained from those who are part of the fashion world, observing if society has really reached a change in mentality and awareness for a sustainable commitment. Through the internal and external analysis of the textile sector, by means of the use of different strategy tools, the observation of the behaviors of different outstanding companies and with the help of the survey carried out to different consumers of the textile sector to observe their purchasing habits, we have obtained a large-scale vision of the sector and of the possible future trends, as well as a list with different alternatives and initiatives to face the fast fashion model. The work concludes with a description of the current state of the textile sector, as well as a summary of how companies and consumers are acting. This work aims to open the eyes to the need for a change of habits by the whole society about the textile sector, by raising awareness of the problems of the current model.

[ES] Nos encontramos ante una postura realmente desafortunada, los océanos del mundo están sufriendo una situación trágica a manos del hombre, durante muchos años. Existen pruebas de que estos océanos están corrompidos por contaminantes dañinos que no son usuales en un ecosistema marino. En este proyecto se exponen los factores más significativos que afectan a la contaminación marina y las consecuencias que existen por este motivo. El objetivo de este Trabajo de Final de Grado es elaborar un plan de empresa para crear una organización que tenga como fin inicial la reconstrucción de los residuos encontrados en el término de la Comunidad Valenciana, concretamente en el mar Mediterráneo de la zona, y darles una segunda vida con la elaboración de ropa sostenible. El cometido de esta empresa va a ser favorecer la gestión del medio ambiente y la conciencia hacia una consumición más responsable. Para ello, esta compañía elaborará ropa con los materiales de origen reciclado que se encuentren en el mar., [EN] We are facing a really unfortunate situation; the world's oceans are suffering a tragic circumstance because of man for years. There is evidence that these oceans are corrupted by harmful pollutants that are not common in a marine ecosystem. This project presents the most significant factors affecting marine pollution and the consequences that exist for this reason. The objective of this Final Degree Project is to develop a business plan to create a company whose initial purpose is the reconstruction of the waste found in the area of the Valencian Community, specifically in the Mediterranean Sea of the área and give them a second chance with the development of sustainable clothing. The mission of this company is to promote the management of the environment and awareness towards a more responsible consumption of this waste. To do this, this company will make manufacture clothing with recycled materials found in the sea., [CA] Ens trobem davant una postura realment desafortunada, els oceans del món estan patint una situació tràgica a les mans de l'home, durant molts anys. Existeixen proves que aquests oceans estan corromputs per contaminants nocius que no són usuals en un ecosistema marí. En aquest projecte s'exposen els factors més significatius que afecten la contaminació marina i les conseqüències que existeixen per aquest motiu. L'objectiu d'aquest Treball de Final de Grau és elaborar un pla d’empresa per a crear una organització que tinga com a fi inicial la reconstrucció dels residus trobats en el terme de la Comunitat Valenciana, concretament en la mar Mediterrània de la zona i donar-los una segona vida amb l’elaboració de roba sostenible. La comesa d'aquesta empresa serà afavorir la gestió del medi ambient i la consciència cap a una consumició més responsable. Per a això, aquesta companyia elaborarà roba amb els materials d'origen reciclat que es troben en la mar.

Springer Series in Design and Innovation (SSDI), ISSN 2661-8184, vol. 25, Fashion is a waste industry, but it is in a phase of change and transition to sustainability, including consciousness around the excessive use of natural resources to produce inputs for clothing and accessories. In this article, we focus on the problem of waste and sustainable innovations for the fashion industry, adopting ethical and linear solutions to the principles of a circular economy that abandons the current production process of extraction, production and disposal, consuming finite resources already in Imminent risk of raw materials, a fact that came to light during the Covid-19 pandemic. The circular economy is the process that may assist in this transition, the method consists of the circularity of the products, the reuse and proper management of waste generated during each stage of development of a product. The buttons are essential items for clothing, an ancient invention that maintains its function and form to this day. The only change in the production of this accessory was the material employed in production, if in the early days the materials were natural; Currently plastic is the main raw material. Its impact on the environment is ignored, despite the amount existing in relation to each piece of clothing that is discarded incorrectly in urban waste containers. In this article, the problem was addressed around current materials and proposed the development of biodegradable buttons from eating waste. The study was based on the foundations of the circular economy and the design thinking methodology for new product development, rapid prototyping was used as a means of materializing research, resulting in an experimental product., (undefined)

Dans l’introduction de cette thématique consacrée aux liens entre mode et moralité, un bilan historiographique est dressé dans une optique transhistorique et chrono-thématique, allant de l’Antiquité gréco-romaine à nos jours. La lecture attentive de la réception critique des usages vestimentaires témoigne de l’émergence d’une rhétorique dépréciative qui se situe au cœur des pamphlets, satires et autres lois somptuaires. Ces écrits et les images qui les accompagnent s’appuient sur différentes règles morales qui sont imposées par la religion, la politique et l’économie, afin de maîtriser la mode et ses excès. La diversité des exemples et des contextes historiques qui sont présentés et analysés dessine en creux une série de constances sociales, dans le rapport de l’individu à la société, à travers son apparence distinctive et mimétique. Ce travail de synthèse entend souligner l’importance de ces principes moraux dans l’évolution de la mode, jusqu’aux dernières expressions d’une mode soutenable et inclusive. In the introduction to this thematic devoted to the links between fashion and morality, a historiographic assessment is drawn up in a transhistorical and chrono-thematical perspective, from Greco-Roman antiquity to the present day. The careful reading of the critical reception of clothing practices shows the emergence of a depreciative rhetoric at the heart of pamphlets, satyrs, and other sumptuary laws. These writings and the images that accompany them are based on different moral rules that are imposed by religion, politics, and economics, in order to control fashion and its excesses. The diversity of examples and historical contexts introduced and analyzed reveals a series of social constants, in the relationship of the individual to society, through distinctive and mimetic appearance. This synthesis work intends to underline the importance of these moral principles in the evolution of fashion, until the last expressions of a sustainable and inclusive fashion.

This research aims to understand the attitude-behavior gap in sustainable fashion consumption among Spanish consumers, that is, revealing the reasons behind the conundrum between positive attitude and apparent lack of corresponding behavior. In doing so, this research has, on the one hand, approached holistically sustainable fashion consumption by not only considering the acquisition of sustainable fashion products, but also the engagement in new circular models, specifically Collaborative Fashion Consumption, and the participation in the Slow Fashion philosophy. On the other hand, it has as well approached holistically the attitude-behavior gap by analyzing not only the influence of psychological traits, but also products attributes and situational variables. Methodologically, this thesis implemented a mixed-method approach combining qualitative and quantitative techniques. The research was undertaken in three phases. Phase one consisted of a systematic literature review of studies regarding the attitude-behavior gap in sustainable fashion consumption. It served to map past and current trends and delineate the research gap. The second phase was carried out by three focus groups (n=23) combining already sustainable fashion consumers and average consumers, ranging from different ages in order to understand the differences between both kinds of consumers and among generations. Focus-groups data was analyzed through Content Analysis and Means-Ends Chain Analysis, which served to reveal the underlying link between product attributes and consumers' personal values. The last phase consisted of an online survey (n=1,063) to triangulate the data collected in the previous phase and acquire representativeness through a larger sample. In order to reveal the drivers and barriers contributing to the attitudebehavior gap, the data was analyzed through descriptive statistics, Structural Equation Modelling (SEM) under the premises of the Theory of Reasoned Action, Choice-Based Conjoint Analysis and Cluster Analysis. Through the Choice-Based Conjoint Analysis, it was possible to understand which attributes are more viii important for Spanish consumers in the fashion purchase decision-making, while the Cluster Analysis served to identify and profile four different types of consumers. The output of this thesis assists in filling in the research gap on understanding sustainable fashion consumption and consumers. Precisely the attitude-behavior gap, by considering not only psychological variables, such as attitudes or values, but also external factors (product attributes and situational variables), and by using applied research (choice-based conjoint analysis) with actual market parameters which offers a better approximation of consumer behavior in the under-researched market of Spanish consumers. Esta investigación tiene como objetivo comprender las razones que motivan la brecha existente entre la actitud favorable hacia la moda sostenible y la falta de comportamiento correspondiente por parte del consumidor en España. Para ello, esta investigación ha abordado de manera holística, por un lado, el consumo de moda sostenible, considerando no solo la adquisición de productos de moda sostenible, sino también la apuesta por parte de los consumidores por nuevos modelos circulares, concretamente el Consumo Colaborativo de Moda, y la participación en la filosofía Slow Fashion. Por otro lado, también se ha abordado de forma holística la brecha actitud-comportamiento al analizar, no solo la influencia de rasgos psicológicos del consumidor, sino también de atributos de los productos y variables situacionales. Metodológicamente esta tesis adopta un enfoque mixto en el que se combinan técnicas de investigación cualitativas y cuantitativas. La investigación se llevó a cabo en tres fases. La primera fase consistió en una revisión sistemática de la literatura concerniente a la brecha actitud-comportamiento en el consumo de moda sostenible. La segunda fase se llevó a cabo a través de tres grupos focales (n=23) en los que participaron consumidores de moda sostenible y consumidores comunes de diferentes edades con el objetivo de comprender las diferencias entre ambos tipos de consumidores y entre generaciones. Los resultados se analizaron a través de Análisis de Contenido y Means-Ends Chain Analysis, lo que sirvió para revelar el vínculo subyacente entre los atributos de los productos y los valores personales de los consumidores. La última fase consistió en una encuesta online (n=1'063) con el objetivo de triangular los datos recogidos en la fase anterior y adquirir representatividad. Para determinar las motivaciones y las barreras que contribuyen a la brecha entre actitud-comportamiento del consumidor, el análisis de datos se llevó a cabo a través de estadística descriptiva, Structural Equation Modeling (SEM) bajo las premisas de la Teoría de la Acción Razonada, Choice-Based Conjoint Analysis y Cluster Analysis. Los resultados del Choice-Based Conjoint Analysis revelaron qué atributos son más importantes para los consumidores españoles en la toma de decisiones de compra de x moda, mientras que el Cluster Analysis sirvió para identificar y perfilar cuatro tipos diferentes de consumidores. El resultado de esta tesis contribuye a la comprensión de la brecha entre la actitud y el comportamiento y del consumo y los consumidores de moda sostenible en España. Especialmente, mediante el uso de investigación aplicada (Choice-Based Conjoint Analysis) con parámetros reales de mercado, ofrece una mejor aproximación al comportamiento real de los consumidores en el marco, poco investigado, del mercado de la moda en España.

Increased innovation in Indonesia has recently encouraged an increase in sustainable fashion in the era of society 5.0 where human and technology synergies can be realized so that society is more prosperous. In addition to innovation, there is consumer behavior, namely mass consumption needs to be reduced so that the production of products in the fashion world can have a long and sustainable life. The research was conducted from January to July 2020 at the Jakarta Arts Institute FSR, Central Jakarta City. The study population was 185 IKJ FSR Product Design students. Sampling in this study used the simple random sampling technique by lottery, while the sample size was 127 using the Slovin formula. The research scoring technique was carried out by determining the score through various questions asked of the respondents by determining the score according to the Likert scale. Methods of data analysis in this study using multiple regression analysis methods with the help of SPSS version 25.0. The findings of this research are (1) Direct influence of process innovation in fashion on sustainable fashion, (2) Direct influence of consumer behavior on sustainable fashion, (3) Direct influence of process innovation in fashion on consumer behavior.

Following food, mobility, and household-energy use, the consumption of textiles and fashion in Europe has been identified as the fourth highest environmental pressure category in terms of use of primary resources. Slow fashion advocates argue that it is necessary to reevaluate our relationship with clothes and to reduce overall fashion consumption in affluent countries. This article examines a relatively new practice of voluntary reduction of apparel consumption through the lens of three popular online minimalist fashion challenges that encourage participants to use a limited number of clothes, shoes, and accessories over a certain period. It explores how the initiators of the challenges frame the reasons that lead to downsizing, the benefits from undertaking the challenge and the idea of “good life” as the result of living with less. The findings indicate that rationales for voluntary reduction of apparel consumption are more focused on individual wellbeing than on altruistic concerns. The analysis also suggests that in defining an upper limit in apparel consumption (how many garments a wardrobe should contain), numerical indicators serve as a benchmark rather than a goal.

Many fashion designers have pursued the principle of sustainability to provide clothes that meet consumer’s needs and aim to make the major benefits of clothing product and change the wearer’s practices in ways to wear and improve the pattern of rapid consumption of less consumption. Transformable clothing is one of the applications of sustainability in fashion design, which can be comfortably worn in multiple ways. It can be transformed into another shape and able to transform back to the original shape by altering its components. The standards of convertible fashion design are flexibility, mobility and adaptability. The standards of transformable clothes are flexibility, mobility and adaptability. Using the modular design system as one of the types of transformable clothes, more than one dress style can be obtained for one clothing product using modules that can be added or removed to the clothing design and inspired by the abstract geometric thought of Mondrian.The present research aims to create fashion designs for women in the age group (18-25 years) inspired by the abstract geometric thought of the artist Mondrian with a new vision as an application of the theory of sustainability using the modular design system, which can be obtained from more than one style to wear for basic design using remove and/or add modular units, and implement them with appropriate implementation techniques.The findings indicate that modular design allows wearers customize the garment into any possible combinations by modifying the modules, so various styles are created from the main design, thus the researchers created three proposed designs. Each design consists of the main design and numbers of modules which can be remove and/or added by using appropriate fasteners.

The world is emerging to achieve sustainability in all area, so caring for the environment has become an urgent necessity, where industrial progress had a negative effect on the environment of air, water and land pollution. This has caused an imbalance in the ecosystem,. The concept of product design has been developed to adapt to the environment and work not to harm it such as (recycling-reuse-alternative energy-use of environmentally friendly materials-use of modern technologies that do not harm the environment). The problem of this research is the negative environmental impact from the clothing industry as a result of the use of non-environmental materials, and the possibility of reducing this pollution. The importance of research is to keep up with the progress in conservation of the environment and access to green products. The research aims to use environmentally friendly materials to reduce environmental hazards and obtain sustainable clothing, beside that, opening new markets and increasing competitive advantage in the field of clothing industry. The research follows the experimental approach, Where Ecotex tests were carried out on products made of traditional cotton and another of organic cotton. The results were statically analyzed and showed that there is a small different between the organic and non organic cotton. The dimensional stability test of organic and inorganic product was done; The results showed that the contraction rate of organic cotton is lower than that of organic cotton. also, the appearance and handle of the organic and inorganic product were evaluated. The results proved that organic cotton is better than inorganic cotton in terms of appearance and handle. and to preserve the environment and human from pollution.

Zero waste ali koncept brez odpadkov pomeni, da se vse ponovno uporabi in nič ni zavrženo. Zero waste pomeni izdelek ali proces, pri katerem ni odpadnega materiala ali pa je odpadek minimalen. V tekstilni in modni industriji je nastal kot odgovor na hitro modo, kjer nastaja veliko tekstilnih odpadkov tako v samem procesu izdelave oblačil kot po končani uporabi, zato spodbuja oblikovalce, da čim bolj zmanjšajo ali celo odpravijo odpadke, ki nastanejo v tekstilni industriji, tako pred porabo izdelka kot po uporabi. Pri klasičnem krojenju je odpadek materiala vsaj 15 odstotkov zaradi oblike krojev, neujemanja vzorcev in same strukture materiala. Tehnike brez odpadkov vodijo k oblikovanju oblačil, ki se s prilagajanjem krojev na različne načine prilagajajo dimenzijam materiala. Namen diplomskega dela je bil izdelati oblačilo po principu zero waste. V teoretičnem delu smo predstavili značilnosti metode zero waste, ter oblikovalce, ki se ukvarjajo s tem konceptom. Metoda zero waste je tudi trajnostna metoda, zato smo predstavili tudi trajnostni razvoj izdelkov in pojave v modnem sistemu, kot so hitra, počasna in trajnostna moda. V eksperimentalnem delu je predstavljeno oblačilo ? tunika, izdelana po konceptu zero waste. S premišljeno umestitvijo kroja oblačila, modeliranja in premišljenih rezov lahko dosežemo obliko kroja, ki nudi maksimalen izkoristek materiala in v procesu izdelave ne tvori odpadka. Želeli smo dokazati, da modno oblikovanje brez odpadkov ustvarja nove priložnosti za modno oblikovanje, kar zahteva, da je izdelava krojev in krojne slike sestavni del procesa oblikovanja oblačila. Zero Waste concept means that everything is reused, and nothing is discarded. Zero Waste refers to a product or process that generates minimal or no waste materials. The concept was developed in response to fast fashion in the textile and fashion industry, where a lot of textile waste is generated both in the production of garments and in the post-consumer phase. Therefore, designers are encouraged to minimize or even eliminate waste generation in the textile industry. On average, at least 15 percent of all fabric used in traditional tailoring is wasted due to the shape of cuts, mismatched patterns, and the structure of the fabric itself. Waste-free techniques lead to garment design that adapts to the dimensions of the material in different ways by adjusting the cuts. The purpose of this thesis is to design a garment based on the principles of Zero Waste. In the theoretical part, the characteristics of the Zero Waste method are presented, as well as the designers who deal with this concept. Since the Zero Waste method is also a sustainable method, the sustainable development of products and phenomena in the fashion system will also be introduced, such as fast, slow and sustainable fashion. Through the accurate placement of the garment's pattern, modelling, and careful cutting, a shape can be achieved that provides maximum material utilization and eliminates waste in the manufacturing process. This thesis aims to prove that waste-free fashion design creates new opportunities for fashion design, which requires that pattern making, and pattern cutting be an integral part of the fashion design process.

Due to the careless use of natural resources, developments in technology, industrialization and population growth, environmental pollution and resource depletion are experienced in the world. The garment clothing and fashion industry has a significant impact on the rapid depletion of natural resources. The rapid change in fashion, especially in the garment clothing industry, negatively affects sustainability in the use of resources. Besides these; the careless use of large amounts of water and chemicals in production, and the release of waste to nature also harm the sustainability of life. These negative factors have started to increase consumption with environmental awareness, especially among consumers who care about nature. Conscious consumers' interest in nature has led to an increasing emphasis on sustainability in production and consumption by brands in ready-to-wear and other sectors. Especially in the Industry 4.0 process, the concept of sustainability has become one of the most important issues for global brands. The production of garment clothing products with natural fibres and materials is of great importance in terms of sustainability. These materials are compatible with nature and can be recycled. In apparel, due to long supply chains, energy and labour intensive production, ecological, economic and social sustainability studies are of high importance in the production and process management process. In the research, application examples of global brands in the ready-to-wear and fashion sector, based on sustainability studies, were examined. For example; Stella McCartney, one of the luxury fashion brands; uses organic cotton, eco-friendly fibre and recyclable polyester and cashmere for sustainability. While Mara Hoffman uses tencel fabric and organic cotton, Gucci has banned PVC in its products since 2015 and prefers to use a carbon zero footprint in its work. While DeFacto, one of the global ready-to-wear brands, implements many environmental projects related to PET bottles, water use and textile waste, global brands such as Nike, GAP, Levi's, C&A, Inditex group, Nude Jeans also carry out exemplary studies on sustainability. As can be seen from the global brand examples, brands, on sustainability; develop applicable strategies in the fields of development goals, management of production and operation processes, supply policies, waste management.

Despite its substantial economic power, the textile industry currently faces environmental and social challenges, such as continuous extraction of natural resources, extensive water consumption and contamination, greenhouse gas emissions, increasing generation of waste, and inadequate working conditions. In this context, the literature indicates that Big Data contributes to solving these challenges, enabling the extraction of insights and the improvement of decision-making processes from the volume, variety and velocity of data. However, there is still a gap in the literature regarding the directions of how Big Data must be applied by an organization to achieve this goal. Therefore, this article aims to explore this gap, presenting an analysis regarding the nexus between Big Data and sustainability challenges of the textile industry. To this end, a set of 12 textile industry challenges were extracted from an assessment of 108 case studies. These challenges were categorized and contextualized according to Big Data dimensions, and a discussion of the applicability of Big Data to solving each challenge was presented. From this approach, this article contributes to the textile industry by presenting a categorization of sustainable challenges of the industry and also by providing directions regarding the resolution of such challenges from a data-driven perspective.

Cuando se piensa en las industrias que más generan niveles altos de contaminación y desperdicio de recursos ambientales, vienen a nuestra mente, sectores como el energético, de transporte e incluso el de alimentos. Sin embargo, según cifras de la ONU, la industria de la moda es la segunda más contaminante del mundo, esta industria que también ha sido reconocida por el alto riesgo a la salud que generan el uso de peligrosos químicos en sus procesos, necesita un cambio que le brinde una solución a estas problemáticas lo más pronto posible. Debido a esto, a lo largo de este documento, se encuentra un proyecto empresarial cuyo nombre se estableció como: “Eco Drip” el cual pretende comercializar prendas de vestir fabricadas a base de cáñamo de cannabis, fibra que entre muchos otros beneficios, necesita un 90% menos de agua que la utilizada para el algodón y tampoco requiere de pesticidas ni herbicidas en sus procesos, brindando así una alternativa que reduzca el gran impacto ambiental generado por la industria de la moda. El proyecto mencionado se justifica mediante un claro estudio de mercado y un previo análisis de su viabilidad financiera, teniendo como base un largo proceso de investigación, referenciando fuentes que darán respaldo a la idea de negocio. La importancia de la iniciativa en cuestión, radica en que este cambio en la materia prima de las telas, puede significar beneficios importantes tanto en lo ambiental, como en lo económico, no solo para este proyecto sino, también, para la industria de la moda en general. When we think of the industries that generate the highest levels of pollution and waste of environmental resources, fields such as energy, transportation and even food come to mind. However, according to UN figures, the fashion sector is the second most contaminating industry in the world. This industry, which has also been recognized for the high health risks generated by the use of dangerous chemicals in its processes, needs a change to provide a solution to these problems as soon as possible. Because of this, throughout this document, there is a business project whose name was established as: "Eco Drip" which aims to market clothing made from cannabis hemp, a fiber that among many other benefits, needs 90% less water than that used for cotton and does not require pesticides or herbicides in their processes, thus providing an alternative that reduces the huge environmental impact generated by the fashion industry. The aforementioned project is justified through a clear market study and a previous analysis of its financial viability, based on a long research process, referencing sources that will support the business idea. Administrador de empresas Pregrado