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Fashion, with its intimate connection to the logic of capitalism, has the ability to absorb all resistance into itself. Fashion makes fashionable what was once subversive. What therefore can we make of contemporary ‘alternate practices in fashion design’: textiles grown from fermented tea, garments that transform into portable habitats, or manuals that teach users how to hack mass-produced garments? Such practices would seem to be speculative at best, operating on the margins of a fashion system that will attempt to feed on their critical content for reinvention as a new trend. In this chapter we argue two points. First, we propose that speculative practices can be seen as part of a lineage of critical practitioners whose work developed in opposition to the dominant fashion culture. Second we argue that although fashion operates largely through absorbing its own criticism, profound change in fashion is also driven by clothing design on the margins. Through an analysis of the work of nineteenth, twentieth and twenty-first century designers and artists whose practices have hovered uneasily on the margins of fashion, this chapter will explore how critical practice may un-design and re-design fashion.

In the South Asian Region, the Sri Lankan apparel industry is transitioning from apparel assembly to providing higher value-added product and services. Fashion designers are key actors in this transition. The purpose of this article is to examine the evolving role of the fashion designer in the Sri Lankan apparel industry.The study adopts a qualitative approach through semi-structured interviews conducted with twenty-eight fashion and product development professionals in the Sri Lankan apparel industry. Based on an inductive thematic analysis, the study finds that the Sri Lankan designers take a multidisciplinary approach to their design practice, integrating the key functions of fashion design, product development and manufacturing capabilities, in alignment with the functional and strategic ambitions of the apparel companies. Their approach to design through technical skills extends the conceptual approach of brand designers in fashion design practice. However, the fashion knowledge of Sri Lankan designers varies significantly depending on their familiarity with Western brands and retailers as well as Western consumer culture and lifestyle.

This article traces several interwoven traditions of considering waste and its materiality within fashion practice. Waste in fashion is commonly considered a problem to be solved, whether through reduced consumption, improved production processes, or recycling and upcycling practices. While the pragmatic and effective “waste management” approaches are key to developing a sustainable fashion industry they can also distance and obscure the materiality of waste, and in doing so overlook the potency and poignancy that waste can have. As a counter-approach to the problems of waste, this article explores a poetic element that relates to an aesthetic of the worn and wasted, and a fashion practice that elevates rather than disguises waste. This is discussed through a case study of experimental fashion label Maison Briz Vegas, reflecting on time, place and waste.

Since the 2000s activewear has grown as a fashion category, and the tropes of gym wear – leggings, leotards and block colours – have become fashionable attire for both men and women outside the gym. This article examines the rise of activewear in the context of an on-going dialogue between fashion and sport since the beginning of the twentieth century. Through an analysis of the Australian activewear label, Lorna Jane, we consider the fashionable female body as both the object and subject of a consumer culture that increasingly overlays leisure with fashion. Activewear can be seen as the embodiment of an active and fashionable lifestyle that is achieved through a regime of self-discipline, and that symbolizes the pleasure in attaining and displaying the healthy and fit body.

Waste is intrinsic to the fashion system. Fashion is predicated on built-in obsolescence, and as such outmoded garments are rapidly discarded to charity shops or landfill. However, the story of fashion is also one of abundance and extravagance in design ideas. Every season there are new design details – prints, embroidery, embellishments, shapes and textures. This excess of ideas is in itself another form of waste, albeit one that is culturally nourishing. The grave of a fashion garment may also be the grave of a season’s research and creativity. This paper compares the tangible waste of the industry with its intangible waste, namely fashion’s creativity and cultural excess. Fashion’s excess and abundance of trends and ideas makes any move to curb the environmental impact difficult. For all practitioners of fashion – whether designers or consumers – the waste and excess inherent in the fashion system is a difficult ethical terrain to negotiate. However, inverting the wasteful phases of the production cycle can help reframe waste from pollution to a source of nourishment for future practice. While creative excesses of designers may be ‘wasted’ after a season, fashion styles and tropes are recycled and reinvented, with the once passé styles and design ideas from previous years revalorized and returned into the fashion system. Similarly, material garments acquire new value through entering or re-entering the second hand or vintage markets. Design processes can utilise pre or post-consumer textile waste, or eliminate waste through design. In these processes, waste becomes the primary source of nourishment for future fashion cycles.