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Magistrsko delo proučuje razvoj mode skozi 20. stoletje, kako se je transformirala tradicionalna moda skozi potrošništvo do hitre mode. Pri tem je pomemben vpliv zgodovine, saj ta vpliva na razvoj mode skozi čas. Na razvoj mode vplivajo tudi kulturne razlike, ki so pripomogle k vse večjemu razvoju različnih modnih stilov. Cilj magistrskega dela je bil izvedeti, kako je prišlo do produkcije mode, kjer sedaj prevladuje količina in ne več kakovost oblačil, kakšen vpliv ima hitra moda na družbo, ali modna industrija še vedno proizvaja nove proizvode kljub njihovi prenasičenosti in ali obstaja kakšna alternativa hitri modi. S kvalitativno metodologijo sem prek analize intervjujev in proučene teorije odgovorila na zastavljena raziskovalna vprašanja: kakšen je vpliv hitre mode na družbo (okolje, industrijo, posameznika), ali je v razvoju mode skozi desetletja prišlo do spremembe pri produkciji mode, zakaj modna industrija kljub veliki količini odpadnega tekstila še vedno proizvaja nove proizvode in ali je trajnostna moda nov izraz, ki je pomemben za modno industrijo in spremembo hitre mode. Moda je bila od nekdaj velik del našega življenja, zaznamovala je številne spremembe v družbi. S tem enačimo tudi razvoj hitre mode, saj je ta odgovor na trenutno družbeno situacijo. Moda se je skozi 20. stoletje močno razvila, kjer je danes v ospredju hitra moda, kateri iščemo alternativo zaradi vse večjih negativnih posledic. Master's thesis examines the development of fashion through the 20th century, how traditional fashion has been transformed through consumerism to fast fashion and its development. The influence of history is important here, as it has influence on the development of fashion over time. The development is also influenced by cultural differences, which have strongly influenced the development of fashion as such and contributed to the growing development of various fashion styles. The aim of the master’s thesis is to find out how fashion production came about, where now prevails quantity and no longer quality of the clothes, what kind of impact fast fashion has on society, does fashion industry still produces new products and whether there is any alternative to fast fashion. With the qualitative methodology, I will answer the research questions through the analysis of interviews and the studied theory: what kind of impact fast fashion has on society, has there been a change in fashion production over the decades, why the fashion industry still produces new products despite the large amount of textile waste products and whether sustainable fashion is a new term that is important for the fashion industry and the change of fast fashion. Fashion as a big part of our lives has marked many changes in our society which coincides with the development of fast fashion, as the answer to the current social situation. Today fast fashion is at the forefront, due to the growing negative consequences we should look for an alternative solution.

Na modre kavbojke je treba gledati kot na prvi kos oblačila v celotni zgodovini mode in oblačenja, ki je izenačil spolne in statusne razlike, vidne v takratni družbi. Iz načina oblačenja se je dalo razbrati, kdo spada v kateri socialni razred, kavbojke pa so to razliko zakrile in celo odpravile. V magistrskem delu se sprehodim skozi zgodovino, od rojstva tega čudežnega kosa in do danes, ko se v garderobi vsakega posameznika zagotovo najde vsaj en kos jeansa. Glavni cilji so ugotoviti, kakšen je pomen kavbojk danes, kakšen vpliv imajo na to hitra moda, mediji in družbena omrežja ter kakšne so prakse nošnje. V navezavi na to so zastavljena tudi vsa raziskovalna vprašanja. V empiričnem delu sem se osredotočila na kvalitativno raziskavo, v okviru katere sem opravila intervjuje z devetimi osebami ter naredila analizo medijskih objav dveh najpopularnejših ženskih revij v Sloveniji. Spomin intervjuvancev na prve kavbojke je še vedno zelo živ, saj so se do nakupa prvih zahodnih kavbojk soočali z zahtevnimi razmerami socialističnega režima v bivši Jugoslaviji. Da pa so prišle do te točke popularnosti, so prehodile dolgo pot. Uspeh gre v veliki meri pripisati hitri modi in medijem, brez katerih kavbojke ne bi dosegle takšnega statusa v družbi, kot ga imajo danes. Različna obdobja so kavbojke zaznamovala z množico različnih pomenov, danes pa so glavni tvorec le-teh mediji. Postale so brezčasen kos oblačila, ki se ga da kombinirati za vsako priložnost. Iz oblačila za navadnega delavca na ameriških farmah in oblačila kontrakulturnih skupin so postale elegantno oblačilo ali pa le varna izbira za vsakega posameznika, ki v družbi ne želi izstopati. Blue jeans are to be understood as the first item of clothing in the history of fashion which equalized sex and status differences present in society. A person's style had been a tell-tale sign of the social class they belonged to, but jeans have blurred those differences or, in some instances, eliminated them. This thesis takes a look at the history of jeans, from their humble beginnings to now, when every one of us owns at least a pair of them. The main objectives of the thesis are to assess the significance of jeans today, determine the influences of fast fashion, the media and social networks, and examine the practice of wearing jeans. All research questions have been designed in relation to those topics. The empirical part focuses on qualitative research, made up in part by the interviews carried out with nine participants, as well as the analysis of articles by two of the most popular women's magazines in Slovenia. The 'first jeans' memory is still fresh in the minds of interviewees, as up until the purchase of their first pair of 'Western' jeans, they had been facing the difficult circumstances of the socialist regime in former Yugoslavia. To achieve the level of popularity they now claim, jeans had to go through a lengthy process. Their success can be largely attributed to fast fashion and the media, without which jeans wouldn't have achieved the status they have in our society today. Different time periods assigned a plethora of meanings to jeans, while today, those meanings are, by and large, created by mass media. Jeans have become a timeless piece of clothing, the perfect item to combine with for any occasion. From their beginnings as the symbol of workers on American farms and the trademark of counterculture groups, jeans are now seen as an elegant item of clothing or a safe choice for anyone who doesn't want to stand out.

Diplomsko delo se ukvarja z obravnavo transformacije modne industrije, za katero je značilno pospešeno spreminjanje in menjavanje modnih trendov. V nalogi predpostavljam, da mediatizacija in digitalna doba igrata pomembno vlogo v uspehu in vseprisotnosti hitre mode, saj se je z vseobsegajočo informacijsko tehnologijo izjemno pospešil potek distribucije mode in modnih trendov. Sprva bom obravnavala modo kot estetski fenomen, nato bom modo kot sistem proizvodnje in distribucije umestila v čas in prostor. Izpostavila bom različne teorije distribucije mode, saj je le-ta velikega pomena tudi za pospeševanje trendov v modi. Mojo predpostavko, da k temu pomembno prispeva mediatizacija, bom skozi literaturo in raziskave ključnih avtorjev poskušala potrditi, izpostavila pa bom tudi psihološki vidik potrošniškega vedenja v hitri modi in užitek, ki ga potrošniku prinaša hitra moda. Kljub temu, da se mnogi potrošniki zavedajo negativnih ekoloških in humanitarnih posledic, ki jih prinaša industrija hitre mode, se še vedno odločajo za nakup velik razlog za to je cenovna ugodnost in dostopnost, prav tako pa v nalogi ugotovim, da je eden izmed razlogov zabava in užitek v nakupih hitre mode, saj ti ne zahtevajo velike zavezanosti ali tveganja. Kot pozitivno posledico hitre mode izpostavim dostopnost le-te vsem družbenim razredom, vendar pa ob tem postavljam vprašanje, ali je takšno brisanje razrednih razlik zgolj navidezno. This thesis deals with the transformation of the fashion industry, which is characterized by accelerated changing of fashion trends. In my thesis, I assume that mediatization and the digital age play an important role in the success and ubiquity of fast fashion, as comprehensive information technology has greatly accelerated the distribution of fashion and fashion trends. Firstly, I will look at fashion from an aesthetic standpoint, then I will place fashion as a system of production and distribution in time and space. I will highlight various theories of fashion distribution, as they are also of great importance for promoting fashion trends. I will try to confirm my assumption that mediatization contributes significantly to this through the literature and research of key authors, and I will also highlight the psychological aspect of consumer behavior in fast fashion and the hedonic pleasure fast fashion brings to the consumer. Despite the fact that many consumers are aware of the negative ecological and humanitarian consequences of the fast fashion industry, they still choose to consume it a big reason for this is the affordability and accessibility, but also, one of the findings of this thesis is that fun and enjoyment play a big role in fast fashion purchase decisions as these do not require much commitment or risk. As a positive consequence of fast fashion, I point out its accessibility to all social classes, but at the same time I pose the question whether such erasure of class differences could be only superficial and surface-level.

Potrošnja v družbi visoke moderne predstavlja sredstvo, ki nam pomaga oblikovati naše družbene in lastne identitete in stoji za vzpostavljanje razlik do drugih. Med vsemi ustanovami sodobnega potrošništva prav moda predstavlja najpomembnejšo, saj skozi njo iščemo izkušnje, ki si jih ustvarimo s sanjarjenjem in fantaziranjem. Kljub temu, da se sooča z velikimi ekološkimi in socialnimi izzivi, hitra moda učinkovito zadovoljuje potrebo sodobnega posameznika po nakupovanju novosti. Kot poskus rešitve se skuša uveljaviti »trajnostna moda«, ki v modno industrijo vključuje koncepte ekološke in socialne odgovornosti. Na podlagi teoretskih izhodišč in s pomočjo kvalitativne analize, magistrsko delo odgovarja na raziskovalna vprašanja o tem, kaj preprečuje sistemu mode, da bi bil trajnejši, katere strategije trajnostne mode imajo potencial, da bi lahko nadomestile hitro modo, in v kolikšni meri smo potrošniki oblačil refleksivni v svojih nakupih. Analiza fokusne skupine s sedmimi mladimi sogovorniki in treh globinskih polstrukturiranih intervjujev s predstavnicami trajnostnih modnih praks nam je pokazala, da smo kot potrošniki do neke mere vseeno refleksivni pri svojih nakupih. Prav mladi so tisti, ki se pogosteje odločajo za prakse trajnostne mode in opravljajo zavednejše nakupe. Želijo si več priročnih rešitev za posluževanje trajnostnih modnih praks. Kljub temu, da so take prakse dobra rešitev na osebni ravni, pa bi bilo za učinkovito zaprtje zanke v modni industriji potrebno sledenje krožni ekonomiji na kolektivni ravni. Cilj naloge je pridobitev smernic trenda trajnostne mode, prav tako pa sem v delu želela nakazati vsaj delne rešitve oziroma usmeritve, kako modo v prihodnosti narediti trajnejšo. Consumption in a society of late modernity helps to form our social and personal identities as well as differentiate ourselves from others. Among all of the institutions of contemporary consumerism, fashion is the most important because through it we seek experiences which we fantasize and daydream about. Despite facing enormous ecological and social challenges, fast fashion effectively satisfies the desire of consumers to buy new goods more efficiently. As an attempt to make the fashion industry more in line with ecological and social responsibility sustainable fashion is being implemented. Based on theoretical and empirical data, this master's thesis answers questions about what prevents the fashion industry from being more sustainable, which strategies of sustainable fashion have the potential to substitute fast fashion, and how much are fashion consumers reflective in their purchases. An analysis of a focus group with seven young adult participants and three half-structured in-depth interviews with sustainable fashion representatives, shows us that as consumers, we are at some level already reflective in our shopping habits, and that young adults are more inclined to participate in sustainable fashion practices. The participants expressed their desire for more useful solutions for sustainable fashion. Even though practices of sustainable fashion can be an effective solution on a personal level, successfully closing the loop in fashion production would need to follow a circular economy model on a collective level. The aim of this thesis is to outline the trends in the sustainable fashion industry, and to suggest how fashion could become more sustainable in the future.

Hitra moda postaja vse bolj aktualna tema tudi v svetu mladih, še posebno ker so mladi vse bolj ozaveščeni o negativnih vplivih modne in tekstilne industrije. Hitra moda se nanaša na poceni in hitro dostopna oblačila, ki posnemajo trenutne modne trende. Z magistrskim delom smo želeli izvedeti, kako dobro osnovnošolci poznajo lastnosti hitre mode, prav tako smo želeli ugotoviti, kako se osnovnošolci vedejo kot potrošniki pri nakupu oblačil analizirati smo želeli njihove nakupne navade, ugotoviti, kaj storijo z oblačili, ki jih ne potrebujejo več, in oceniti njihov odnos do oblačil iz druge roke. Raziskava, ki smo jo izvedli, je bila kvantitativna in kavzalno neeksperimentalna. V raziskavo je bilo vključenih 258 osnovnošolcev iz 6., 7., 8. in 9. razreda. Rezultati so pokazali, da devetošolci bolje prepoznajo značilnosti hitre mode od mlajših razredov, pri čemer so se bolje izkazala dekleta kot fantje. Za nakup oblačil se osnovnošolci odločajo predvsem, ko so stara premajhna ali ko potrebujejo oblačila, primerna letnemu času najpogosteje nakupujejo na tri ali štiri mesece v nakupovalnih centrih oziroma velikih trgovinah na drobno, kot sta H&M in Zara, ter pri tem kupijo tri ali štiri izdelke. Ko mladi oblačil ne potrebujejo več, jih najpogosteje podarijo sorodniku ali prijatelju. Dekleta oddajo več oblačil kot fantje. Večina osnovnošolcev je nezaupljiva do nošenja oziroma nakupa oblačil iz druge roke v trgovinah s tovrstnimi oblačili. Pridobljeni rezultati lahko pripomorejo k lažjemu razumevanju mladostnika kot potrošnika, še posebno pri nakupovanju oblačil, ki so eden najpomembnejših dejavnikov pri iskanju lastne identitete mladostnika. Fast fashion is becoming an increasingly popular topic among young people, mainly because young people are becoming increasingly aware of the negative effects of the fashion and textile industry. Fast fashion is understood to be cheap and easily accessible clothing that imitates current fashion trends. With the master thesis we wanted to find out how well primary school students know the characteristics of fast fashion, we also wanted to find out how primary school students behave like consumers when buying clothes we wanted to analyse their shopping habits, find out what they do with clothes that are no longer needed and evaluate their attitude towards second-hand clothes. The research we conducted was quantitative and causally non-experimental. The study involved 258 primary school students in grades 6, 7, 8 and 9. The results showed that the ninth-graders were more aware of the characteristics of fast fashion than the younger classes, with girls performing better than boys. Primary school students choose to buy clothes mainly when they are too small or when they need seasonal clothing most often they spend every three or four months shopping in malls or large retail outlets such as H&M and Zara and buy three or four products. When young people no longer need clothes, they are usually given away to a relative or friend. Girls cast more clothes than boys. Most primary school students are more suspicious of wearing or buying second-hand clothes in clothing stores. The results obtained can help to better understand the young person as a consumer, especially when buying clothes, which is one of the most important factors in the young person's search for his or her own identity.

Uvod: Dostop in ravnanje z oblačili se v zadnjih dvajsetih letih precej spremenil. Hitra moda kupcem na tedenski ravni ponuja nove modne kose po nizkih cenah, a po drugi strani resno ogroža okolje in zdravje ljudi. Oblačila hitre mode zaradi intenzivnega razvoja lastne identitete, socializacije in nizke cene pogosto nakupujejo predvsem mladostniki. Namen: Namen magistrskega dela je raziskati nakupovalne navade in poznavanje problematike hitre mode med mladostniki, opisno opredeliti njihov odnos do rabljenih oblačil in zajeti izkušnje ob uporabi rabljenih oblačil. Metode dela: Magistrsko delo temelji na deskriptivni metodi. Za uvod in teoretičen del smo opravili pregled literature, kjer smo za nabor uporabili spletna orodja relevantnih bibliografskih baz. V empiričnem delu smo uporabili kvalitativno metodo raziskovanja, osnovano na polstrukturiranem intervjuju. Intervjuvali smo 9 posameznikov starih med 17 in 25 let, ki predstavljajo specifičen vzorec populacije. Pridobljene podatke smo analizirali v skladu s koncepti in postopki kvalitativne analize vsebine. Rezultati: Sodelujoči oblačila pridobivajo z nakupovanjem novih ali rabljenih oblačil ter z izmenjavo, izposojo in predajo rabljenih oblačil ali pa si jih izdelajo sami. Ko jim oblačila odslužijo, skušajo z njimi ravnati kar se da trajnostno, kljub temu pa jih odlagajo neločeno od ostalih odpadkov. Ponovne uporabe ali podarjanja se poslužujejo med sorojenci pa tudi med prijatelji. Zavedajo se nekaterih negativnih učinkov hitre mode in do delavcev v tej industriji čutijo družbeno odgovornost. Pri poseganju po alternativnih oblačilih (rabljena, izposojena ali izmenjana) se čutijo nemočne, saj jih modna in poceni ponudba potiskata v nenehno zadovoljevanje potrebe po novih oblačilih hitre mode. Do rabljenih oblačil imajo predsodke takrat, ko ne poznajo prejšnjih uporabnikov, izposoja pa jim je blizu predvsem za občasne, svečane priložnosti. Razprava in sklep: Rezultati v primerjavi s slovenskimi in tujimi študijami v družbah s podobno družbeno-politično ureditvijo kažejo na precej univerzalen pojav nakupovalnih navad oblačil in izkušenj z rabljenimi oblačili. Prednost študije je v zajemu širokega spektra zdravstveno-socialnih vidikov hitre mode skozi zavedanje, znanje in prepričanje posameznih slovenskih mladostnikov. Študija dodatno izpostavlja predvsem nemoč in občutek nesmisla, ki ju posamezniki lahko doživljajo ob zavedanju problematike pa vendar pri tem ostajajo skorajda brez možnosti izbire alternative hitri modi. Ob koncu študija podaja tudi nekaj predlogov za opolnomočenje širše družbe na različnih nivojih. Introduction: Access to and handling clothing has changed significantly over the last two decades. Fast fashion offers new fashion pieces to customers weekly at low prices, but on the other hand, it seriously threatens the environment and human health. Due to the intensive development of one's own identity, socialization, and low prices, fast fashion clothes are often bought mainly by adolescents. Purpose: The purpose of the master's thesis is to investigate adolescent's clothing shopping habits and their knowledge of the fast fashion problematic, to descriptively define their attitudes towards used clothing, and to cover their experiences of using used (secondhand) clothes. Methods: The master's thesis is based on the descriptive method. For the introduction and the theoretical part, we conducted a literature review, using online tools of relevant bibliographic databases. In the empirical part, we used a qualitative research method based on a semi-structured interview. We interviewed 9 adolescents aged between 17 and 25 years, who are representing a specific population sample. We analyzed the obtained data by following the concepts and procedures of qualitative content analysis. Results: Participants acquire clothing by purchasing new or used clothing and by exchanging, renting, and handing overused clothing, or sewing it themselves. When their clothes serve them off, before tossing it in textile waste bins or mixed municipal waste, they try to get rid of them in a sustainable way, where reuse or donation is most present. They are aware of the negative effects of fast fashion and, above all, they feel a social responsibility for the employees of this industry. They feel helpless when engaging in alternative clothing practices (used, borrowed, or exchanged), as both the tempting offer and society are pushing them to constantly satisfy the need for new fast fashion clothing. They feel prejudiced towards used clothes when they do not know the previous users, and the clothing rental is close to them especially for rare and festive occasions. Discussion and conclusion: The results of the study in comparison with other Slovenian and foreign studies with a similar socio-political system indicate a fairly universal phenomenon of clothing shopping habits and experiences with used clothing. The advantage of the study is in capturing a wide range of health and societal aspects of fast fashion through the awareness, knowledge, and beliefs of individual Slovenian adolescents. The study additionally highlights the helplessness and sense of nonsense individuals may experience when being aware of the fast fashion problematics but at the same time remaining almost without any other alternative to fast fashion to choose from. In the end, the study also makes some suggestions for empowering the wider society in knowledge and action against fast fashion problematic.

Globalizacija je močno spremenila naše vsakdanje življenje in zaznavanje sveta. Z njenim prihodom so se zmanjšale tako prostorske kot časovne razsežnosti, njene posledice pa se kažejo praktično na vseh področjih. Ena izmed njih je tudi potrošna kultura. Industrializacija je omogočila povečano proizvodnjo, povečala se je ponudba, posledično pa tudi potrošnja. Potrošniki so se iz tradicionalnih spremenili v sodobne in nakupovanje je postalo del kulture. Nov način potrošnih praks se med drugim odseva tudi v modni industriji, ki se je prilagodila današnjim trendom in potrošnikom na trgu ponudila hitro modo, ki je v zadnjih letih postala najbolj priznan poslovni model v modni industriji, ki potrošnikom ponuja modne kose oblačil po cenovno zelo ugodni ceni. K uresničitvi tega koncepta je veliko pripomogla globalizacija s seljenjem tekstilne industrije v države tretjega sveta, kjer delavci proizvajajo iste produkte za veliko nižjo plačo, korporacije pa si na ta račun polnijo žepe in kupcem z nizko ceno ugodijo, to pa se jim splača, saj zato nakupujejo veliko več kot prej. Hitra moda je močno vplivala na proizvodnjo oblačil in na nakupovalne navade potrošnikov, kar pomeni veliko negativnih posledic tako na okolje kot na življenje in zdravje ljudi. Gre za uničujoč sistem, ki je v devetdesetih letih pogubil tudi večino slovenskih tekstilnih tovarn. Globalization has significantly altered our daily lives and perception of the world. Its arrival has reduced spatial as well as temporal dimensions and its consequences are manifesting practically in all areas. One of them is also the consumer culture. Industrialization has allowed increased production the offer has increased and consequently the consumption. Consumers have changed from traditional ones to modern consumers and purchasing has become a part of culture. The new way of consumer practices is also reflecting in the fashion industry, which has adapted to contemporary trends and has offered consumers fast fashion, which has in recent years become the most recognized business model in the fashion industry. It offers consumers fashion pieces of clothes for a very affordable price. The realisation of this concept was heavily influenced by globalization with the transfer of the garment industry to third world countries, where employees produce the same products for a significantly lower wage. This way, corporations make a lot of profit and on the other hand satisfy consumers with a low price, which consequently makes them buy even more than before. Fast fashion has significantly influenced the production of clothes and the purchasing habits of consumers, which caused a lot of negative consequences for the environment, life and health of people. It is a system that destroys everything in front of it and has caused the collapse of the majority of Slovenian garment companies in the nineties.

Doktorska disertacija obravnava problematiko marginaliziranosti koncepta družbene škode v okviru kriminološke vede. Posledica prevlade uveljavljenega kriminološkega diskurza, v katerem osrednje mesto zaseda pojem zločin, je zanikanje številnih aktivnosti in procesov, ki niso kriminalizirani, vendar imajo škodljive posledice za posameznike in družbo. Primer normalizirane, a škodljive prakse sodobne družbe je hitra moda, za katero so značilni kratki časi proizvodnje in distribucije oblačil (kot hiter odziv na povpraševanje) ter poudarek na modnosti proizvodov. Pojav hitre mode je obravnavan prek koncepta družbene škode, ki predstavlja alternativo pojmu zločina. S pojmom družbene škode je mogoče opozoriti na vrsto negativnih dogodkov, neenakosti in krivic, ki jih kazensko pravo ne zajema in ostajajo neopaženi ter v širši javnosti v kontekstu sodobnih družbeno-ekonomskih razmer dojeti in sprejeti kot normalni. V disertaciji je izpostavljen tudi pomen zemiologije, vede, v okviru katere osrednje mesto zavzema pojem družbene škode. Iskanje rešitev za zmanjšanje družbene škode, ki nastaja zaradi hitre mode, se opira na dve kriminološki teoriji, teorijo etiketiranja in teorijo reintegrativnega sramotenja. Cilj disertacije je odgovoriti na vprašanje, ali sta teoriji lahko podlaga za spremembo percepcije, ki jo imajo posamezniki glede normaliziranih praks sodobne družbe (kakršni sta potrošništvo in hitra moda), in bi lahko vplivali na zmanjšanje nastale družbene škode. V ta namen so izvedene kritična analiza omenjenih teorij ter zgodovinska in primerjalna analiza treh pojavov (zlorabe alkohola, drog in kajenja), ki so bili v določeni točki v času označeni kot škodljivi, pred tem pa dojeti kot družbeno sprejemljivi. Preučene so tudi možnosti, ki jih imajo za zmanjšanje škode zaradi hitre mode nekateri najpomembnejši akterji, vključeni v proizvodnjo in potrošnjo oblačil. The thesis addresses the marginalization of the concept of social harm within the field of criminology. The mainstream criminological discourse that focuses predominantly on the notion of crime leads to the denial of various activities and processes that aren't criminalized, but are nevertheless harmful for individuals and the society. An example of a normalized, yet harmful practice of contemporary society that is treated in detail in this thesis is fast fashion, characterized by short production and distribution cycles (as a quick response to consumer demand) and an emphasis on the fashionability of clothing. Fast fashion is analyzed through the lens of the concept of social harm, which serves as an alternative to the notion of crime. Using the concept of social harm makes it possible to draw attention to a series of negative events, inequalities and injustices, which criminal law does not address and which therefore remain unnoticed or are accepted as normal by the wider public. The thesis also emphasizes the importance of zemiology, a discipline that focuses on the concept of social harm. The exploration of ways to reduce social harm draws on two criminological theories, the theory of labelling and the reintegrative shaming theory. The thesis aims to answer the question whether these two theories can serve as a basis for changing the perception of individuals regarding the normalized practices of contemporary society (such as consumerism and fast fashion) that could thus play a role in the reduction of social harm. To this end, a critical analysis of the two theories was carried out along with a historical and comparative analysis of alcohol abuse, drug abuse and smoking, all three of which were considered socially acceptable, yet deemed harmful at a certain point in time. The role that key actors involved in the production and the consumption of clothing can play in reducing the harm caused by fast fashion is likewise analyzed.

V prvem delu teoretičnega dela diplomske naloge je predstavljena tradicionalna ilustracija, njena definicija ter njena zgodovina, poleg tega pa tudi njen razvoj vse do moderne ilustracije. Sledita digitalna ilustracija in kratka predstavitev štirih ilustratorjev ter njihovih del dveh digitalnih ilustratorjev ter dveh modnih ilustratork. Teoretični del se nadaljuje z modno industrijo, kjer je predstavljena problematika le-te v današnjem času. Dotakne se treh glavnih dejavnikov, in sicer hitre mode, onesnaževanja ter socialnih razmer delavcev. Teoretični del je zaključen s primeri poskusov reševanja omenjene problematike. Praktični del diplomske naloge zajema kolekcijo digitalnih ilustracij, ki so nastale v želji po večji ozaveščenosti ljudi o problemu modne industrije. Tema ilustracij je industrija, trpljenje, uničevanje našega planeta ter zatiskanje oči. V praktičnem delu sta predstavljena ideja in proces nastajanja ilustracij, ki se začne pri svinčniku in nadaljuje v računalniških programih, vključuje pa tudi tehnike kolažiranja. Ilustracije so na koncu predstavljene kot samostojna umetniška dela ter kot kolekcija digitalnih potiskov na majicah. The first part of the theoretical section of this thesis is an overview of traditional illustration, specifically its definition, history and development up until the modern illustration. Followed by this is an overview of digital illustration and a short introduction to four illustrators and their work – two digital illustrators and two fashion illustrators. Afterwards, the theoretical part continues with a commentary on fashion industry, specifically focusing on some of the current issues it presents to us. It touches upon three key factors, namely fast fashion, pollution and social status of the workers in fashion industry. The theoretical section concludes with case examples of attempts to solve some of these issues. The practical section consists of a collection of digital illustrations, created with a purpose to raise awareness about the problems created by the fashion industry. The subjects of these illustrations are heavy industry, suffering, deterioration of our planet and denial. The section continues with a presentation of ideation and creative process of production of these illustrations, starting from the pencil drawings, further developed with illustration software and collage techniques, Illustrations are presented as a standalone artwork as well as a collection of t-shirts with digital print.

Zgoščevanje modnih trendov in stroškovna učinkovitost modne industrije sta privedla do pojava hitre mode, ki je korenito spremenila tok tekstilne industrije in potrošnikove nakupovalne navade. Sčasoma je postalo povsem običajno, da se modne smernice bliskovito menjajo, ponudbe blagovnih znamk hitre mode pa so v najkrajšem možnem času osvežene ali zamenjane z novimi kolekcijami. Njena velika odzivnost na zahteve trga, učinkovitost in cenovna dostopnost so spodbudile impulzivno potrošnjo sodobnega kupca in ne nazadnje okrepile potrošništvo. Posledice agresivne modne industrije se kažejo v velikem zvečanju količine odpadnih oblačil in drugih odpadnih snovi ter v še večjem izkoriščanju naravnih in človeških virov, kar jo postavlja na mesto ene največjih onesnaževalk okolja. Ob drastičnem naraščanju negativnih posledic delovanja hitre mode se sodobna družba sooča z vpeljevanjem trajnostnih pristopov, ki med drugim zagovarjajo tudi načela počasne mode. Namen slednje sta celosten pristop in proizvodnja trajnostnih ter kakovostnih izdelkov. Trajnostna moda, ki je v skladu s trendom naraščanja potrošnikovega zanimanja za družbeno odgovornost, se zavzema za etičnost tekstilnih izdelkov in postaja dovzetnejša za pomisleke v zvezi z življenjskim ciklom oblačila in njegovo ekološko neoporečnostjo. Zavedanje pomembnosti zdravja in odgovornosti za prihodnost planeta Zemlje je privedlo do uresničevanja alternativne in trajnostne prakse tako znotraj delovanja različnih vrst industrije kot tudi v vsakdanjem življenju vsakogar izmed nas. V teoretičnem delu diplomskega dela so predstavljeni termini, povezani s trajnostjo tekstilne industrije, kot so hitra, počasna in trajnostna moda, zametki in način delovanja hitre mode, družbeni in okoljski vplivi ter posledice hitre mode, trajnostni pristopi v hitri modi in potrošna kultura sodobnih kupcev, ki poganjajo modno kolesje, kakršno poznamo danes. Za eksperimentalni del so bili izvedeni intervjuji s tremi slovenskimi poznavalkami modnega dogajanja doma in po svetu, ki so predstavile svoje videnje stanja tekstilne industrije in trajnostne mode, ter anketiranje med slovenskimi potrošniki, z vprašanjem o njihovem poznavanju terminov hitra, počasna in trajnostna moda. Večina anketirancev spada v generacijo Y (rojeno med letoma 1985 in 2000). Najpomembnejše ugotovitve diplomskega dela so, da sodobni potrošniki oblačila najpogosteje kupujejo v trgovinah z izdelki hitre mode, čeprav se zavedajo njihove slabe kakovosti ter negativnih posledic na okolje in družbo, a so oblačila trajnostnih blagovnih znamk zaradi visoke cene za večino potrošnikov nedostopna. Intervjuvane modne poznavalke menijo, da je pomanjkanje ozaveščenosti med sodobnimi potrošniki osrednji problem, ki omogoča obstoj in širitev fenomena hitre mode. The increased appearance of fashion trends and cost efficiency of the fashion industry led to the phenomenon of fast fashion which radically changed the current of textile industries and the consumer’s shopping habits. With time quick changes in fashion trends became completely usual and the offers of fast fashion’s trademarks change in the shortest time possible or are exchanged with new collections. Its fast responsiveness to the market’s demands, efficiency and affordability have stimulated the impulsive consumption of the modern buyer and have, all in all, strengthened materialism. The consequences of aggressive fashion industry are shown in huge quantities of waste clothes and other waste materials as well as in exploitation of natural and human resources, which places the fashion industry among the biggest environment pollutants. Alongside the drastic growth of fast fashion’s negative consequences, modern society also faces the introduction of sustainable approaches, which among other things defend the principles of slow fashion. The purpose of the latter is not to slow down the textile industry, but more wholesome emphasis on the production of sustainable and quality products. Sustainable fashion, which tries to move in accordance with the trends of the consumer’s interest in social responsibility, strives for the ethic of textile products and grows more susceptible to the doubts connected with the life cycle of clothes and their ecological irreproachableness. The realization of the importance of health and the individual’s responsibility for the future of the Earth led to the realization of alternative and sustainable practices inside of different industries as well as in everyday life of each of us. The theoretical part of the thesis presents notions connected with the sustainability of the textile industry, such as fast fashion, slow fashion and sustainable fashion, the beginnings and operation of fast fashion, the societal and environmental influences and the consequences of fast fashion as well as sustainable approaches to fast fashion and the consumer culture of modern buyers who are the driving force of fashion as we know it today. The experimental part of the thesis consists of a series of interviews with three Slovenian fashion and textile industry experts who presented their perception of the current state of the textile industry and sustainable fashion. Furthermore, the experimental part of the thesis consisted of a survey conducted among Slovenian consumers who were surveyed on their knowledge of the notions fast fashion, slow fashion and sustainable fashion. Most participants in the survey belong to Generation Y (born between 1985 and 2000). While analysing survey results we found out that modern consumers buy most of their clothes in fast fashion retailers despite being aware of the environmental impact of the textile and fashion industry and inadequate quality of the garments themselves. Most of the consumers find sustainable fashion brands too expensive while the fashion and textile industry experts we interviewed emphasized a distinctive lack of awareness regarding sustainable fashion in modern consumers as the main problem that enables the existence and expansion of the fast fashion phenomenon.

Hitra moda je v zadnjih nekaj letih doživela velik razcvet. S ponudbo oblačil po nizkih cenah in hitrem menjavanju trendov so ponudniki hitre mode dobili veliko pozornost odjemalcev, še posebej mladih žensk, ki so rade v trendu. Ker so uspeli skrajšati čas proizvodnje in dobave na minimum, lahko neprestano predstavljajo novosti na prodajnih policah, s čimer še bolj privabijo odjemalce. Porabnik namreč prav zaradi tega prodajalne obišče večkrat, da vidi, če je kaj novega na voljo. Prav tako zaradi nizkih cen odjemalec ne čuti nekega finančnega bremena ob nakupu tovrstnih oblačil, zaradi česar po nakupu ne čuti velike krivde. Nekateri pa ravno zaradi nizkih cen potrošijo preveč denarja in kupujejo impulzivno, kar pa vodi v negativne ponakupne posledice. Po drugi strani pa vse ni tako enostavno, kot se zdi. Ponudniki morajo biti ves čas v koraku s časom, da na policah predstavljajo le najnovejše trende, ki pa so lahko moderni zgolj malo časa. Prisiljeni so dobro spremljati povpraševanje in ob pravem času porabnikom ponuditi izdelek, ki si ga želijo. V ozadju vsega tega pa stoji mnnožična proizvodnja in maksimiranje dobička. Če želi ponudnik dati na trg nek izdelek po tako nizki ceni, mora dobavljati po zelo nizkih stroških, s čimer se proizvodnja seli v manj razvite države in se med drugim spodbuja nizko plačano delo. Poleg tega tudi kvaliteta izdelkov ni najboljša, saj so uporabljeni slabši materiali, da lahko proizvajajo s čim manjšimi stroški. Fast fashion has seen a big development in the past years. With a big supply of clothes fused with low prices and rapid trend changing the fast fashion suppliers managed to receive the attention of a big group of customers, especially in the form of young women, who like to follow trends. Because of a shortened production time and lowering the delivery time to a bare minimum, the suppliers can constantly present novelties which allow them even greater attention. It encourages consumers to stop by the shops nummerous times to check if they have anything new to offer. At the same time, as the result of such low prices, the consumer feels almost no financial burden when buying said products and thus bears a minimum feeling of guilt, which often arises after purchasing new things, especially the more expensive ones. But it can also be a double-edged sword: low prices can lead some costumers into a shopping spree and they end up spending far more money than intended, thus triggering negative shopping aftermath. Things are not so simple for the suppliers after all. They have to constantly evolve, improve and renew their supply, which has to follow latest trends, that will only apply for a short amount of time. The suppliers are thus forced to closely observe the demand and choose the right time to offer their new product to the customers. In the background of all these actions is mass production and revenue maximization. If the provider wishes to place his product for such a low price, he first needs to cut his expenses dramatically, and is thus forced to move the production to less developed countries, where labor is much cheaper. Of course, such actions take a toll on product quality, because of the cheaper materials for production.