Conscious Fashion Culture

Abstract

By its very nature, fashion consumption assumes a diverse and updated relevance in light of social, cultural, and economic transformations. The global fashion industry is undergoing a paradigm shift driven by rapid technological advances (Bertola & Teunissen, 2018; Lee, 2022), increased awareness of environmental sustainability (Heim & Hopper, 2022; Mishra et al., 2020), and the changing values of individuals (Bürklin, 2018; Camacho-Otero et al., 2020; Domingos et al., 2022). These transformations are forcing creative, production, distribution and communication systems and, not least, the “end consumer” to critically reflect on the role and impacts of the fashion system (Luchs et al., 2015). Digital technologies, for example, have revolutionized how fashion is produced, distributed, and consumed. Digital platforms enable unprecedented levels of interaction between brands and consumers, fostering new forms of engagement and co-creation (Gielens & Steenkamp, 2019). These are widespread, ubiquitous platforms that expand and fragment the fashion narrative (Sadler, 2021), creating a more interconnected, immediate ecosystem within which to experiment with new systems of relationship and mediation. In addition, the growing recognition of the fashion industry’s environmental and social impact has catalyzed a movement toward more sustainable practice. On the one hand, the fast fashion model, characterized by rapid production cycles and disposable garments, is being challenged by consumers and activists calling for greater accountability and transparency (Mazzarella et al., 2019). Conversely, sustainable fashion emphasizes ethical production, resource efficiency and circularity, seeking to minimize negative impacts and promote long-term well-being (Centobelli et al., 2022). Finally, European legislation has been proactive in promoting sustainability within the textile and fashion industries through several key legislative initiatives and strategies aimed at reducing the environmental and social impacts of textile production and consumption (European Commission, 2022; Regulation (EU) 2024/1781 of the European Parliament and of the Council of 13 June 2024 Establishing a Framework for the Setting of Ecodesign Requirements for Sustainable Products, Amending Directive (EU) 2020/1828 and Regulation (EU) 2023/1542 and Repealing Directive 2009/125/ECText with EEA Relevance., 2024).   The term “consumption” is inherently multivalent and nuanced. Its very etymology encompasses several facets: consumption means “transformation” of natural resources into fungible goods, but also of signs and symbols into systems of meaning and value. This dual nature of consumption underscores its complexity. On the one hand, it involves converting resources into products that satisfy human needs and desires (Boivin, 2008). On the other hand, it involves the symbolic process of attributing meanings to these products that resonate within cultural and social contexts (Davis, 1992). This duality is particularly evident in fashion, where clothing has both functional and self-expression purposes. Consumption also means “destruction”, that is, the reduction to nothingness of tangible or intangible elements, in turn rendering them unusable through the very act of use. This aspect of consumption highlights the inherent tension between use and waste. Every act of consumption carries with it a potential for depletion and degradation, whether physical goods or intangible experiences. In fashion, this is manifested in the life cycle of clothing, from creation and use to eventual disposal (Shirvanimoghaddam et al., 2020). The environmental cost of producing and discarding garments is significant and prompts a critical examination of consumption practices and their sustainability. Obviously, in its most common meaning, consumption stands for “use” or “utilization”, which consists of the activity of making use of a tangible or intangible item but also, in a broader sense, in the act of enjoying services, experiences or activities that do not involve transformation or destruction. This broader interpretation of consumption emphasizes the experiential dimension, where value derives from enjoyment and engagement with fashion as a social and cultural phenomenon (Woodward, 2007). Fashion consumption thus encompasses a wide range of activities, from the purchase and use of clothing to its enjoyment in cultural terms to the experience provided by virtual worlds.   The fashion system has always intertwined its practices and processes with this multivalent universe that constitutes the landscape of the consumption system of both the creative, material and human resources along the entire fashion supply chain and the fashion object itself, its images and projections. The interaction between creation and consumption is a distinctive feature of the fashion industry. Designers and brands create products that are functional and charged with symbolic meanings, anticipating how consumers will interpret and interact with them. This relationship extends throughout the supply chain, influencing decisions about material sourcing, production processes, communication strategies, and retail experiences. In the current digital and sustainable transformation context, this intertwining opens up broad areas for thinking about consumption practices, processes and impacts with a more critical and responsible approach (Colombi & D’Itria, 2023). Digital technologies have expanded the possibilities for creating, sharing and experiencing fashion. Virtual and augmented reality, for example, offer consumers new ways to interact with fashion products and brands, blurring the boundaries between the physical and digital worlds (Zarantonello & Schmitt, 2022). These innovations enable more personalized and immersive experiences, fostering deeper connections between consumers and fashion. On the one hand, focusing on more sustainable forms of natural resource use promotes new business models and circular forms of production, which involve reducing, recovering, and reusing finished products and their waste. Circular fashion models aim to extend the life cycle of garments, reducing the need for new resources and minimizing waste. Practices such as upcycling, recycling, and using sustainable materials are integral to this approach (de Aguiar Hugo et al., 2021). By designing long-lasting products and encouraging practices such as repair and resale, the fashion industry can reduce its environmental footprint and promote a more sustainable consumption pattern. On the other hand, new forms of collaborative consumption are emerging, aimed at extending the life cycle of products through the adoption of curation practices, re-signification and rethinking. These practices promote more active and conscious consumer participation, emphasizing the shift from passive consumption to an engaged and responsible use of fashion (McNeill & Venter, 2019). Collaborative consumption models, such as clothing rental services, fashion exchanges, and peer-to-peer resale platforms, encourage consumers to share and reuse clothing, reducing demand for new products (Arrigo, 2021). These models not only promote sustainability but also create communities of individuals who share values and practices. The third issue of Fashion Highlight investigates the dynamics, practices, and impacts of fashion consumption in the light of the transformations taking place, questioning the role and potential that fashion industries, creative communities, consumers and education can express. The issue comprehensively covers the different declinations of contemporary fashion consumption, highlighting the trajectories that shape practices, processes and methods within the context of the - long and complex - fashion value chain. The contributions cover three relevant and promising macro-areas to understand the state of the art of fashion design, manufacturing and consumption and to get a preview of the near future: “Consumed fashion”, with a focus on the economic-productive dimension of fashion within a context for which digital and sustainable transformation is crucial, with necessary implications in terms of reconfiguring and updating processes and competences; “Consumer communities”, through the investigation of new and contemporary orientations towards more responsible and sustainable consumption practices; “Consumer culture”, concerning the dynamics, approaches and practices through which fashion is narrated, conveyed, and experienced.   The first section, “Consumed Fashion”, brings together articles that critically explore the trajectories within which fashion manufacturing systems are evolving, highlighting both the criticalities and impacts of a socio-economic system dominated by hyper-production and hyper-consumption, and outlining and experimenting with new and more responsible approaches to design and manufacturing. Likewise, the selected articles highlight transformational dynamics involving the fashion “know-how”, delving into the implications needed to reconfigure and update processes and skills and emphasizing the need for continuous evolution in how fashion is understood and practiced. These dynamics require a shift in the sector’s knowledge base, leading to a re-examination of traditional practices and the development of new sustainable approaches that respond to contemporary transformations.   Jacopo Battisti and Alessandro Spennato critically examine the profound impact of fast fashion on individuals and societies in the context of globalization and consumer capitalism. The study explores how the industry’s rapid replication of trends and profit motivations have transformed clothing consumption, leading to hyper-consumption and disposability, with negative impacts in terms of economic dependency and inequalities to the detriment of low labour-cost countries. The paper underscores the need to address these systemic injustice