FASHION ETHICS

Fashion Ethics provides a comprehensive overview of the ethical issues in the fashion
industry, from collection design concept to upcycling and closed loop production.
This book answers an urgent need for a comprehensive understanding of the
fundamental ethics of the fashion industry.
Sue Thomas goes beyond the usual contentious issues of environmental impact
and human rights, taking the reader deeper into the endemic issues including
sizeism, ageism, animal rights, and the lack of diversity in models and in the media.
The book lays out the significant ethical issues within the fashion supply chain by
mapping the lifecycle of a garment and exploring key topics such as deep ecology,
cultural copyright speciesism, the role of the customer, and technology in future
ethics. It also features current international industry information and industry-
relevant case studies from brands, media and mobile technology, and NGOs
including Oxfam (UK), Redress (Hong Kong), Nimany (US), Labor Link (US),
People Tree (UK), and Peppermint (Australia).
Fashion Ethics provides much-needed information for fashion students, industry
professionals, and customers.

Sue Thomas is Assistant Professor of Fashion at Heriot-Watt University, UK.

Having taught in the UK and Aotearoa, New Zealand, it was in Australia that she
began teaching fashion design for sustainability. A public speaker and broadcaster,
she champions ethics and sustainability. She contributed a chapter on faith in
design in The Routledge Handbook of Sustainability and Fashion (2014).
‘In Fashion Ethics, Sue Thomas uses her commanding knowledge of the fashion
industry and engaging writing style to guide readers through a breadth of uncom-
fortable ethical issues that demand reflection and consideration. Thomas advocates
for shared responsibility and collaboration to “dream big” about how to integrate
compassion for all stakeholders into the industry – and then for making the choices
necessary to secure the future of the fashion industry and the planet. A must-read for
every first year fashion student and for any industry professional whose work inter-
sects with the design, production, marketing, wear, or disposal and reincarnation
stages of the product lifecycle.’
Marsha Dickson, Department of Fashion and Apparel Studies,
University of Delaware, USA

‘In this informative and topical text, Thomas introduces the reader to a wide range
of subjects and debates concerned with ethics, and the production and consump-
tion of fashion products. In the chapters we explore themes that have been (and
perhaps still remain) largely “invisible” to the fashion system – from ageism, size-
ism, and racism, to concerns for environmental impacts and intellectual copyright.
Throughout the text Thomas challenges designers, retailers and consumers to
consider what it is to be ethical, and how this should/could be demonstrated in the
way that we make, sell and use clothes. Fashion Ethics has to be a must-read for all
burgeoning fashion students and consumers.’
Alison Gwilt, Reader in Fashion Design and Sustainability,
Sheffield Hallam University, UK

‘Thomas breaks new ground by examining the fashion value chain through a lens
of ethics. Fashion Ethics provides a comprehensive view of the fashion landscape,
from industry stakeholders to the end user, and points to both a radically altered
global fashion system and new research areas for fashion studies for years to come.’
Timo Rissanen, Assistant Professor of Fashion Design and Sustainability,
Parsons School of Design, New York
FASHION ETHICS

Sue Thomas
First published 2018
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
and by Routledge
711 Third Avenue, New York, NY 10017
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2018 Sue Thomas
The right of Sue Thomas to be identified as author of this work has been asserted
by her in accordance with sections 77 and 78 of the Copyright, Designs and
Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or
utilised in any form or by any electronic, mechanical, or other means, now
known or hereafter invented, including photocopying and recording, or in any
information storage or retrieval system, without permission in writing from the
publishers.
Trademark notice: Product or corporate names may be trademarks or registered
trademarks, and are used only for identification and explanation without intent to
infringe.
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging-in-Publication Data
Names: Thomas, Sue (Fashion authority)
Title: Fashion ethics / Sue Thomas.
Description: London ; New York : Routledge, 2018. | Includes bibliographical
references and index.
Identifiers: LCCN 2017010651 | ISBN 9780415531047 (hbk) |
ISBN 9780415531054 (pbk) | ISBN 9781315109367 (ebk)
Subjects: LCSH: Fashion design--Moral and ethical aspects. | Fashion
merchandising--Moral and ethical aspects.
Classification: LCC TT497 .T455 2018 | DDC 746.9/2--dc23
LC record available at https://lccn.loc.gov/2017010651

ISBN: 978-0-415-53104-7 (hbk)

ISBN: 978-0-415-53105-4 (pbk)
ISBN: 978-1-315-10936-7 (ebk)

Typeset in Bembo
by Taylor & Francis Books
CONTENTS

List of illustrations vi
Acknowledgements viii

1 Introduction 1
2 Design, ethics and the designer 15
3 Production 42
4 Marketing 68
5 Wear 94
6 Disposal and reincarnation 117
7 Future ethics 139
8 Conclusion 166

References 179
Index 192
ILLUSTRATIONS

Figures
1.1 Rana Plaza disaster, 2013 2
2.1 The fashion design/production loop 16
2.2 Design-to-production flow chart 20
2.3 Copyright infringement images 23
2.4 Inuit women sewing traditional clothing 25
2.5 Artist Amy Johnson (Jirwulurr) with luggage featuring her
artwork 26
2.6 Behnoud for NIMANY 29
2.7 NASA image of the Aral Sea 32
3.1 New York Shirtwaist Factory fire, 1911 51
3.2 Safia Minney of People Tree talking with their workers 58
3.3 Primark being protested by War on Want 62
4.1 Alexis Bittar campaign featuring Iris Apfel and Tavi Gevinson,
spring 2015 74
4.2 M&S Leading Ladies campaign, 2013 75
4.3 Robyn Lawley on the cover of ELLE France, 8 April 2011 78
5.1 Norwegian sweater from Annemor Sundbo’s Treasures from a
Ragpile collection from Torridal Tweed, white wool darning
by Celia Pym, 2010 99
5.2 Local Wisdom project 100
5.3 Canadian research student Josh Le, University of Alberta, who
wore the same jeans for 15 months without washing them,
2011 104
 List of illustrations vii

6.1 The Clothing Exchange at the Rose Street Artists Markets,

Melbourne 126
6.2 Joanna Lumley at M&S sorting facility 129
7.1 Lawyers for Animals homepage 144
7.2 Shirley Manson of Garbage in a PETA campaign 154
7.3 Higg Index landing page 157
7.4 Labor Link – Good World Solutions 159
8.1 Acre ethical jobs page 168

Table
3.1 ILO list of ratifications 48
ACKNOWLEDGEMENTS

I would like to thank Sheni Kruger, Natalie Foster, Fiona Hudson, Jaya Dalal and
all the other folks at Routledge, Elana Steinberg my editor for adroit editing
(skilled in writing triage) and wry sense of humour, Lorna Hendry for the speedy
diagrams, and Paul (Sherlock) Brotherston for tracking down the images.
For all the industry professionals, and non-government organisations who (on
trust) generously gave time to share their practice to contribute a case study – I am
in awe and very grateful.
After all this time researching and writing I would like to acknowledge dear
friends Jan McIllree and Shazia Bano, Liliana Pomazan and Brian De Silva for
friendship, encouragement, patience, sanity and laughter, and Earl Grey tea when
needed. In addition I would like to extend love and thanks to my Aussie cousins
Sue, Curtis and Lisa in Melbourne.
To lovely friends near and far; scattered over England, Aotearoa New Zealand and
Australia, thank you for your tolerance, patience and love. I might visit you now!
I would like to acknowledge my colleagues and students at Heriot-Watt University,
Galashiels for their patience as I worked to finish the book.
In addition, I would like to thank fashion students (far, near, past and present)
for asking tricky questions; don’t stop!
To my superb family, my sisters Sal (Sarah), Jules (Julia), my brother Guy, and
my late parents Elvyn and Douglas Thomas, I would like to thank them for their
love, support, trust and extreme patience.
1
INTRODUCTION

Introduction
In November of 2014, Kyla Bills, a student at NYU wrote in a New York University
Local blog:

It’s easy to buy a $2 shirt from Forever 21, but when you think about the
chain that takes place to create this $2 shirt it becomes a lot harder to rationalize
your purchase. Of course, we’re broke college students and buying clothes is
expensive – buying ethically is often even more expensive. There is a certain
amount of privilege needed to be able to think about the ethics of what we’re
buying and not just the cost, it’s a privilege that not everyone has.
(Bills, 2014)

Bills writes of the ‘privilege’ of thinking about the ‘ethics of what we’re buying’. But it’s
a wasted privilege if we don’t broaden and share the concern. She touches upon one of
several fashion industry conundrums, that of ethics and the $2 shirt; or more specifically,
ethics and fast fashion. The genesis of this book lies in the recognition of the importance
of ethics in response to sustainability, but also in the historic and the current lack of
clarity and depth in both writing and thinking around the subject. Ethics in the fashion
and textiles industries merit communicated deeper thinking and writing for guidance,
challenge and inspiration. Creative thinking, innovative analysis, leadership in empathy
and futuring are required to make this happen. How the industry and its stakeholders
respond now and continue to address ethics will define the future of fashion.

Looking away
The future is determined every time we make a personal or professional choice.
Working as a fashion designer means having a sense, an insight of what will be
2 Introduction

needed in the future; that is, what will be desired by the client, the customer and
the public. This futuring, this prescience may not be about clothing alone, but
aspects of how people will want to live; their relationships, hobbies, responsibilities,
living arrangements, faiths and politics. Yet even with this foreknowledge, many
companies have missed the signs, the anomalies, and definitely have not joined the
dots. There is an unstoppable change happening but it’s not in the fashion industry
alone. In 2015, Naomi Klein (2015, p. 3) wrote about both the present and the
future thus: ‘A great many of us are in climate change denial. We look for a split
second and then look away. Or we look but then turn it into a joke (“more signs
of the Apocalypse”). Which is another way of looking away.’ It’s not just about
climate change: there is infinitely more to consider. Are both the fashion industry
and its customers looking away? Are we thinking of either/both the present, or the
future in a different and useful way? Try Googling ‘Rana Plaza’ under Images. Look
beyond the stark, devastating image in Figure 1.1. But linger too long examining
the tragic, desperate pictures: you will be upset, you may weep, whether you work
in the industry or not. Graphic representations such as these of the effect of our
purchasing, add stress to the reality and responsibilities of life and fashion, in both
the present and future.
Globally people are under pressure from the climate, short-term economics, the
growing population, economic migration and wasteful practice. With problems on a
number of fronts, fresh thinking and planning are needed. No more ‘looking away’
from climate change, no more looking away from economic distress, no more
averted gaze from the impact and responsibility of the fashion industry. The time

FIGURE 1.1 Rana Plaza disaster, 2013. Courtesy of Creative Commons/Flickr.com

 Introduction 3

has come for risk analysis, scenario building, and overall, for reflecting. Kate
Fletcher (2008, p. xii) wrote that, ‘Business as usual, more to the point, fashion as
usual, is not an option.’ We simply cannot carry on, carrying on. It’s time for
tough self-scrutiny. Where is the holistic thinking, and where is the long-term
planning, risk analysis and responsibility? Now, we need to face up to a reality; these
perspectives and events are not coincidental. It is not a case for over-dramatics, but a
necessity for being pragmatic; we need to catalyse a vision and start looking clearly.
There is a palpable absence of a generous and inclusive future perspective for the
fashion industry and one of the core concerns is the industry’s lack of ongoing
holistic ethical analyses. Specifically, where are the guides for personal, professional
and corporate ethics in the fashion industry? This is not about compliance. It is
time for the industry to integrate ethics in design, business practice, mission state-
ments and branding. There are some labels, companies and organisations working
to improve their ethics; by long-term planning, through listening to the diverse
voices in the supply chain and mapping the second, third and fourth ‘lives’ of their
product after first disposal. However, they are at odds with many of the current
strategies, practices and institutionalised ‘forward’ planning within the industry.

This book
Consequently, this book has been written to address the need for conscious ethical
analysis throughout the lifecycle and supply chain. To undertake this task, a holistic
and inclusive approach is required to guide decision-making; thus encouraging a
broader perspective: to include all aspects of the garment lifecycle; from design
concept to upcycling; pursuing the manufacture and logistics wherever they may
lead. Close analysis will lead perhaps unexpectedly for some, not to expanded
notions of sustainability, but to the new subject of Fashion Ethics. Talking about
the ‘ethical problems of the fashion industry’, most people quickly grasp the topic
of conversation, but make the assumption that the dialogue is specific to human
rights or workers’ rights. The more informed might perceive environmental
impact as part of the topic. But rarely do observers, customers, media, or even
industry professionals stand back, and ‘gaze’ on the entire supply chain or
garment lifecycle to consider the other aspects that may be part of fashion ethics.
As Bills observed;

While the mass anger over the women’s working conditions is justified, it also
begs one crucial question: where do people think their clothes come from? In
a world dominated by the influence of fast fashion, ethical consumption is
pretty hard to come by.
(Bills, 2014)

Time for a paradigm shift? For support and incentive, this book is required reading
by fashion practitioners wherever they work in the supply chain, even if they are
involved with accreditation and compliance. These are notionally similar but deal
4 Introduction

with quality assurance over ethics per se. This book has been written to enable
industry professionals, customers, media and students alike to identify and organise
ethical issues in the way they occur within the industry.
Links and synergies will be established throughout the chapters between
ethical decision-making and key issues. These links may not previously have
occurred in discussions around ethics and the fashion industry. New connections
will be identified beyond human and animal rights to sentient rights. In addition,
we pay close attention to the post-purchase environmental impact of laundering,
and how the designer and other industry professionals can help mitigate the
negative aspects involved. Currently, there is little writing that gathers together
the breadth of – and links between – the issues to be covered here. There are
corporate social responsibility (CSR) reports, but these tend to be by necessity,
singularly focused and specific to particular companies. Equally there are reports
and websites surrounding the major and minor ethical issues, but previously they have
not been assembled; their synergies identified and explored. There has been no orga-
nised domain for this debate. Instead, it has been a series of ‘one issue only’ discussions
(for example, water contamination, organic cotton, sizeism in design), which were
then transformed into policy, or an area of compliance for subcontractors. So it is
useful to pursue this line of thought to better understand the paradigm or status
quo of the industry.
The core premise of the book is that all of these issues are linked, they are holistic,
and are called ‘ethics.’ The intention is for this book to be read as a primer before
and beyond compliance, to better understand the current and future ethical choices and
responsibilities the industry faces. Compliance protocols and requirements have
worked in part, within the industry, but they can tend toward a ‘tick list’, rather
than a collaboration revised by all contributors. Rarely included are ethical con-
siderations or deeper thinking, and these will be explored to better understand the
roles of the designer and design team in making ethical choices. This will be
investigated in some detail in Chapter 2, ‘Design, ethics and the designer’ by
employing a holistic analysis from the start to the finish of the first life of a garment.
As such, this book is written on the understanding that several lives are being
considered for the garment. For example, the possible ‘lives of garments’ and ways
of adding them are discussed in Chapter 6, ‘Disposal and reincarnation’. This is
done to better grasp concepts and methods of building in, or extending longevity
in garments. The role of the customer is discussed in this book – not a usual
inclusion in the supply chain protocol but responsibilities and choices are shared. It
should be noted at this point, that the term ‘customer’ is used here, which may
sound dated, but it is employed purposefully, in that consumers more readily reference
a form of gluttony, or gorging on food. This evokes uncomfortable but clear parallels
between fast food and fast fashion. Thus, it is the ‘ethical customer’ rather than the
‘irresponsible consumer’ who is addressed.
Ethics are bigger as a definition and an actuality than other terms. They embrace
issues that reveal the proximity of customers, media and industry professionals; all
garment lifecycle participants. Of deeper significance, ethics include the role and
 Introduction 5

impact of these industries on the current and future inhabitants of the planet. As
Peter Singer (1994, p. 279) observes:

We have to take the first step. We must reinstate the idea of living an ethical
life as a realistic and viable alternative to the present dominance of materialist
self-interest … the ethical attitude will spread, and the conflict between ethics
and self-interest will have been shown to be overcome, not by abstract rea-
soning alone, but by adopting the ethical life as a practical way of living and
showing that it works, psychologically, socially, and ecologically.

This book is a ‘first step’; that is to say, starting a discourse providing new and
alternative perspectives. It establishes links to as yet un-associated topics, which are
underpinned by their need for an ethical response. By writing the book it is
intended to clarify that the terms ethics and ethically made are being used vaguely and
inaccurately within the fashion industry, with little thought or understanding of their
fundamental meanings. A dictionary definition is of use to start the narrative: ‘ethics
[definition] 1 the science of morals in human conduct; moral philosophy. 2a moral
principles, rules of conduct … ethical [definition] 1 relating to morals, esp. as
concerning human conduct. 2 morally correct; honourable’ (Thompson, 1995).
So, it would appear that we are actually grappling with ‘moral principles, rules of
conduct’ and the ‘morally correct; honourable’. Ethics can be applied in most
situations where choices are made. They can provide insights for establishing protocols
and strategies for behaving honourably with others in mind. Continuing the dis-
cussion of ethics, it would be useful to know what they aren’t; ‘Situational ethics
or … situation ethics teaches that ethical decisions should follow flexible guidelines
rather than absolute rules, and be taken on a case by case basis’ (BBC, 2014).
Arguably, it is possible to use both universal and situation ethics within the supply
chain. This is because the intention is to find the most inclusive and kindest
methodology/practice, which respects the person, and the planet and its current
and future inhabitants. Due to the global nature of the industry and the diversity of
the peoples and cultures, it may mean the ethics have to be reconsidered in a cultural
relativism framework to suit the respective cultures and expectations for as many of
the stakeholders as possible. Are the ethics perhaps contextual? Should they be
goals to empower workers as opposed to endangering them? Individuals, families,
societies, religions and countries all have a sense of what is ethical. It refers to what
is right, just, good, kind and fair for others and us. In fact, it is the acknowl-
edgement of the lack of separation (our ‘interbeing’) between us, and the other
person, sentient being, and planet that makes ethics easier to comprehend. It is that
desire to help; an empathy, an altruism; to contribute, to give to the other, her or
his due. Pursuing that argument, if we expect ethical behaviour towards ourselves,
consequently, we must behave ethically towards others. It is possible for this to
occur on a global scale. For example, respect for humanity in response to the
destruction and losses of World War II saw the Universal Declaration of Human
Rights (UN) come into being in 1948.
6 Introduction

Location of ethics
Similarly it is possible to ask ‘do ethics have a location?’, or ‘where are they?’; either
in an entity for example, a company, or located in a culture, or an individual.
Companies often maintain written or unstated policies regarding the key ethical
issues; for example, environmental impact, sweatshop labour, disposal of waste,
fabric selection, or it may be unspoken (or unconsidered). An ethical policy may
also be perceived as too difficult or too complicated to consider. With a fast
moving industry and large and small companies sourcing offshore, it’s not good
business to overlook ethics. As fashion industry professionals, customers or general
stakeholders, ethics are key for the continuing equilibrium of the company,
professional practice, our lives and the future of our planet.
So when industry professionals claim their clothes are ‘ethically manufactured’,
what do they mean? What information enables them to make that claim? The
industry is hugely vulnerable because of the many areas (first, second and third tier
suppliers over several continents for the same range) which can and do go wrong.
The global nature of the supply chain amplifies (and sometimes escalates) small
mistakes providing the possibility of both literal and media fomented disasters.
Simply put, the question is: Could fashion ethics be a method of risk analysis,
or trouble shooting in the short term? The answer is ‘yes’ in the short term, but
negative in the long term: they will be subsumed into practice, manufacture,
consumption and reuse. It could be argued that fashion ethics are an insurance
against these disasters. This may be true in part, but a strategy focussing on
compliance only will undermine the eventual outcome and also hinder futuring
the industry.
Ultimately, in mapping the integration of ethics, the responsibility comes back
to the individual and their role. Because, first, it’s one’s own ethical choices that
can be monitored and analysed. How to describe the effect of ethical choices? ‘The
Domino Effect’ may be a simplistic analogy to describe the outcome of ethical
choices, but it is a quick way to illustrate the ‘knock-on’ effect of unethical choices
throughout the garment lifecycle and supply chain. Obviously, the preferable
option is an ethical Domino Effect; that ‘knocks-on’ in a positive direction. Profes-
sional choices that enable original design utilise non- or less harmful environmental
impact textiles, uphold human and other sentient rights, endorse positive images of
humanity, restore community and the environment, are preferable. Not only is this
possible for a responsible ethical designer, but for any member of the supply chain
or garment lifecycle.

It’s not about sustainability

Often the words ethics and sustainability are used in reference to the same garments
or company, as if they meant the same thing. But they don’t. A garment can be
ethical yet not sustainable, and vice versa. In general usage sustainability means to
continue or preserve something. Yet, sometimes it is used in the fashion field meaning
 Introduction 7

to sustain: as in, perpetuating the industry, as it is now, faults and all. Most often,
however, the terms sustainable, and sustainability are used specifically with reference
to sustaining the planet, and its resources for its inhabitants and cultures, without,
by our use, making it unliveable for future generations (The Brundtland Report,
1987, The Rio Summit, 1992, Rio+20, 2012). Sustainability and ethics are often
swept into the same pile of concerns, or difficult issues with human rights, social
justice and ‘the environment’. In reality, ethics are the structure on which
sustainability is built.
There are examples of companies greening their methodologies to save fuel and
waste. But this could be seen to be a financial strategy, not to be intentionally
ethical, or to contribute to the future of the planet. Thus, it is possible to enquire if
it is the intention, or the outcome that is ethical. Therefore, it is feasible to question if
ethics are a form of risk analysis. Because awareness of ethics is an advantage,
whether the ethics are those of the individual designer, or other fashion industry
professional, the company, the customer, or the culture of the country of manu-
facture. Throughout the book these questions will be broached to enable the
reader to arrive at some answers, and perhaps even more questions.
Recently, there have been several books written on fashion and sustainability
starting with Kate Fletcher’s key text Sustainable Fashion and Textiles – Design Jour-
neys (2008). But there is very little writing on fashion ethics in the supply chain.
Since 2008, there have been both positive and negative developments within the
industry. There has been a greater acceptance of climate change, the developed
world being principally responsible. The Living Wage campaign has gathered traction,
yet the Rana Plaza Disaster still occurred in 2013. Even though there have been
court cases pursued against individuals and sentencing, the industry proper, and
customers, bear some culpability for enabling such unethical practices to exist in
their demand for inexpensive clothing (Bills, 2014). Through degrees of separation
(from the impact of purchases), the purchasing public may not be familiar with the
workings of the industry in this regard; nonetheless, customers have to think about
alternative ways of interacting with clothes from point of purchase to care and
maintenance of the garment. This will be discussed broadly in Chapter 6, ‘Disposal
and reincarnation’.
To enable mapping of ethical inclusion, the book’s layout will follow the life-
cycle of the garment, and its journey along the supply chain. From the designer’s
studio and technical packs, to the sourcing manager’s iPad, to landfill, waterways
and shipping container, and ideally, to a second or third life with a customer. This
book is written to help fellow participants in the supply chain, whether stake-
holders in the industry, or people studying, researching, writing, buying, wearing,
laundering, upcycling or disposing. Its purpose is to bring ethical issues into close-up
for each conscious decision, for every fashion supply chain professional, beginning
with design. More and more the industry is called upon to both progress and
respond to customers and peak bodies expectations, and to self-identify sustainability
goals; therefore ethics are a crucial area of knowledge. An additional intention is to
support the innate curiosity of many industry professionals, media and customers.
8 Introduction

In so doing, the research will outline and provide the key areas of debate and
present examples, and case studies of innovative solutions, or perspectives on the
narrative topics.

Themes
The themes that thread through the book are of challenging the norms, and
encouraging holistic, inclusive solutions; enabling development of generosity and
kindness in the perception of stakeholders; and providing a voice to all supply
chain participants. The purpose of the concept being to facilitate sharing, colla-
boration and connectivity for individuals and corporations, whilst supporting
reflection on behaviour, responsibilities and choices. Thus solutions will not be
one-sided, nor two-sided just for the shareholders and the customers, but holistic
with benefits for a variety of stakeholders. Furthermore there is a recurring theme
of futuring as the basis for risk analysis and problem-solving. That is to say, taking
the holistic futuring information relating to culture and market aspirations and
looking beyond style ideas. In the future, as more information becomes available
about the planet and our role in its support, the market hopes and aspirations will
be changed or aided or challenged by developments in technology and science. To
be ethical is an end in itself but for an industry with an incentive to achieve profit,
there is a recurring rationale for ethical behaviour: to avoid brand damage. The
symbiotic nature of fashion and the media in all its forms, means mistakes, accidents,
misunderstandings and unethical behaviour all become brand damage. Whether by
doing the honourable thing or making the socially responsible choice, brand
protection ethics can make a better difference. Throughout the book, there is an
underlying campaign for change, or specifically, for improvement for all the
stakeholders and an alternative paradigm.

Leadership
Sometimes it is easier to lead rather than follow. If a company is going to take the
ethical high ground, it makes sense to be a leader rather than a follower when
looking for improvement and an alternative paradigm. Customers, media and
stakeholders recall if companies were slow to acknowledge a problem, but they
also remember a leader. Outdoor clothing Patagonia has led with its Footprint
Chronicles started in 2007 (Patagonia, 2014a), which explains the company’s
ethical approach and methodology, educating its customer. As with any decision
an individual makes, there are conscious and unconscious contributing factors. As
both a methodology and a brand value, ethics can easily become the successful
norm or the ‘new normal’. Or as market leaders adopt them, other labels within
the market sector will also pursue ethical behaviours and establish guidelines
following the exemplar. The subject of this book is fashion ethics, so it is here
that all these factors come under close scrutiny. So where is ethical leadership
likely to be located?
 Introduction 9

Leadership location
Traditionally, design is the assumed location of innovation in the concept, fabrication,
silhouette, line and details of garments. But is that all? Is there more to the design
process? The imagination and problem-solving capabilities of a designer are not
confined to design practice. It is combined with the creativity of speculative
empathetic imagination; analysing the garment lifecycle and production supply
chain, which will likely arrive at ethical solutions. It should be noted that the
design studio is not the only locus of creativity and innovative problem-solving.
Innovation occurs in many areas, for example, in packaging and production tech-
niques. A designer works in future(s), forecasting interests, passions and beliefs of
clients and their cultures. Therein, the comprehension of the market and the customer
is both empathetic and foresighted. Design practice manifests the aesthetics of the
designer, the label, but also their assimilated ethics. As fashion is concerned with
the visibility of a label profile (in the printed, digital, and social media), customers
look for both aesthetics and, consciously (or subconsciously) for ethics. Any
designer, whether small in scale and independent, or an internationally renowned
couture house, has their ethics on display; and they are being closely scrutinised.
Changes are stirring in both the fashion industry and fashion education. There
has been a growing discourse among designers, stakeholders and students. Colleges
around the world have shown leadership and introduced sustainability into their
design courses and programmes addressing the environment and fast fashion.
Industry conferences examine compliance and the global supply chain. Non-
government organisations (NGOs), not for profit organisations, and charities
mount campaigns to stop the fur trade, use organic cotton, and eliminate child
trafficking. However, there is little discussion of the umbrella issue, specifically,
ethics as a whole. The discourse has been issue orientated, but as yet has not previously
contemplated the depth and variety of ethical issues apparent in a holistic reading
of the garment lifecycle and the supply chain loop; more specifically, in the Fashion
Design Production Loop: Version 2 (Thomas, 2011) (see Figure 2.1, p.16). Therein is
a constellation of issues, thirteen in number at the moment, but the evolving
nature of the debate implies there will be more.

Personal–professional mismatch
An incongruity between industry behaviour and the way many fashion practitioners
live their lives, and practice professionally has to be acknowledged. There exists a
tension, a paradox even, between our intent to be good, but also to do good in
our personal or professional lives. It can be described as cognitive dissonance; a term
describing the feeling that occurs when there is a mismatch with personal beliefs
and actions or in this case, ethics, which tell us how to behave and what to do, and
how we actually behave. For example, the dissonance can occur when sponsoring
children with a charity, yet working for a company that pays poor wages to
women workers in the same country (who could be sisters, mothers and aunts to
10 Introduction

those children). It is an instance when private and professional ethics are not in
synchronicity; much like a vegetarian designing fur coats.

The state of the industry

As fashion speeds up production, lessening lead times, and everyone with a mobile
phone is a potential citizen-journalist, the fashion industry is susceptible to scrutiny
more than ever. Industry disasters, workers’ protests, incidents of animal cruelty are
now on everyone’s Facebook and Twitter-feed long before the traditional print or
video media channels. The speed of communications is such that an image of a
runway show can be on the front page of print media within a couple of hours,
but on a blog, vlog, Instagram or Twitter-feed in seconds. There is acceleration of
consumption of imagery, product, but also industrial intelligence, and copyright,
both intellectual and cultural, which is discussed in the following chapter. This
appropriation of intellectual capital is happening across the developed and developing
world. But it’s somehow more disheartening in the realm of fashion, when there
are so many alternatives for innovative, thinking managers and designers with original,
creative, ethical ideas, precluding the need to copy.
Historically, the industry has been a source of infringements of law, both judicial
and humane. Principally, this involves human rights issues, whether pertaining to
children employed in the cotton mills of Victorian England or the human rights of
the immigrant women employed in the sweatshops of early twentieth-century
New York; where 146 women and girls died in the Triangle Shirtwaist Factory
Fire of 1911. Apart from location, not much has changed it seems; fast fashion
consumption and the predatory nature of the global pursuit of lower prices are
driving the fight to the bottom, where there are no winners.
Faced with historic and contemporary accidents, companies and labels have taken
action. Major fashion manufacturers have assumed sustainability, and claim to have
greened their supply chains. But what does this mean? Has legislation prevailed;
has ‘good’ conquered ‘evil’? The questions are not that naïve, nor some of the
answers simplistic. There are greenwash campaigns that would have the concerned
individual, or the ‘conscious shopper’ believe their claims. Focused scrutiny and a
healthy scepticism should be employed and maintained for the transition to an ethical
industry to progress and endure. The fashion industry is still full of pitfalls for the
customer, the worker and the designer. Tucked away in the rationale for ethics within
the supply chain is another reason – the under-discussed influence of legislation.
Extensive legislation exists regarding aspects of the industry and ethics: labour rights,
child labour, and environmental impact, trapping and farming of animals. There is
every indication these laws will become stricter rather than more lax. Only recently,
the Modern Slavery Act 2015, which relates to trafficking and slavery, became law in the
UK. These laws can be enacted in the country of design, or manufacture, or retailing.
Or they can be located in all three, and all be different. At the time of writing,
unfortunately, the laxity often lies in the observance and implementation of the laws,
combined with pockets of corruption, especially in overseas locales.
 Introduction 11

Media and NGOs

Moreover, the media has begun to look closer and follow the lead of NGOs,
charities and social media. For example, journalist Lucy Siegle published
her book To Die For – Is Fashion Wearing Out the World? in 2011 and writes
regularly for The Guardian around ethics and sustainability related to the fashion
industry. Recently, the popular fashion industry website Business of Fashion (BoF),
started a regular feature entitled Voices, looking at industry concerns. Guest
experts write for Op-Ed about a variety of hot button ethical issues; the fur
trade, labour communications, and fair trade labelling, among others. Likewise,
EcoTextile (UK) (MCL Global, 2016), an industry publication originally focused
on environmental textiles, has acknowledged the breadth connectivity by the
inclusion of labour rights coverage and CSR in their publication. Across the
media there is a developing critique of current structure, policies and practices of
the industry.
At this point it is useful to remember that often these ethical lapses are not just
randomly uncovered. The worst case scenario for major industry players is that
they can be a targeted part of a global media campaign organised by an NGO, or
charity. Not that a campaign is a negative prospect; it can be the opportunity to
work with the NGO and achieve their support. If the public discovers the mis-
demeanour from an external source, damage limitation is more difficult and harder
to manage. For example, the Greenpeace campaign, Toxic Threads: The Big Fashion
Stitch-Up (Greenpeace International, 2012b), focused specifically on the fashion
textiles industry in Asia and Mexico. The reports are well researched and presented,
and the video footage on YouTube (for example of dye waste in China) is extremely
disturbing. Indeed, their reports (available online: http://www.greenpeace.org/
international/en) of analyses of toxic chemical residues on childrenswear make
worrying reading for customers, but are catastrophic for the concerned major
brands. To wit, the repercussive exposure of A Little Story about the Monsters in Your
Closet (Greenpeace International, 2014a) in which Greenpeace bought garments
from around the world and analysed them for toxic chemical content and residues.
Consequently, investors are uneasy about this form of notoriety. There is a
growth of ethical investment both by individuals making ethically guided specific
share purchases, and also by large investment organisations with ethical provi-
sions. Even if ethics were not high on all investor priorities, they are not keen to
have the brands or companies in their portfolios ridiculed, and damaged by poor
ethics choices. Conversely, in the case of Marks & Spencer (M&S), ethics are
important to the brand evident in its Plan A initiative launched in 2007: ‘Plan A
proves that an effective business sustainable plan ultimately delivers value for
shareholders… Last financial year, it delivered a net benefit of £145 million’
(Abnett, 2015).
In addition, they were deemed the most ethical high street retailer according to
Ethical Consumer in 2014 (2015). M&S’ prescience has enabled the company to stay
ahead of many of the hazards that non-ethical behaviour and choices can expose.
12 Introduction

Brand loyalty
Paradoxically, with the exponential desire for product comes a growing concern
for the ethics of a product, but it is matched by the development of digital hand-
held technologies enabling customers globally to research, purchase or protest,
with a click. Working conditions are just one topic in a multilayer industry
scrutinised from many perspectives, and this is further exacerbated by the global
nature of the fashion business. A small company can now manufacture offshore,
which may be a negligible distance; a couple of hundred miles away or several
thousand, on a different continent, in a different time zone or calendar date.
Distance, whether physical or psychological, enables practice and standards to
change, to be forgotten, or misunderstood. Thus the labour laws or environ-
mental legislation can be infringed, animal rights ignored or intellectual copyright
flouted. But with the advancement of technology, be it applications for custo-
mers on smartphones, social media or onsite workers being surveyed on their
mobile devices (see Chapter 7, Case Study ‘Labor Link’), blatant lack of obser-
vance of sentient rights is no longer possible through the tyranny of distance. A
company’s ethics, or lack thereof, can’t be camouflaged or hidden. They will be
found out. The brand/label/company has to anticipate this and have in place
ethical behaviours to demonstrate, identify, or recommend them to their custo-
mers. Women comprise more than 50 per cent of the purchasing power in the
developed world, and they recommend labels, and companies to each other
(Popcorn and Marigold, 2000). Today, potential customers begin from the
standpoint of being ethically sensitive and aware; they are looking for labels and
companies that share their values. They ‘vote with their plastic’ to buy from
labels who share their ethics. Faced by the cynicism of the contemporary media
and culture in the developed world, they ‘vote’ for authenticity; and they are
loyal to companies who share and perpetuate their values. Ethics can become part
of the narrative of a company; the customer base learns and shares information
about their favourite brands whether they engage in community give-back and
collaboration with the Conservation International as per Starbucks (Starbucks, 2016),
or community engagement and development in the case of People Tree Clothing
(People Tree, 2016). Contemporary companies need to anticipate; be ahead of
the market, demographic and psychographic in this area. This is not a marketing
role, but for ethics to apply they must be systematic within a company’s infra-
structure. Having authentic ethics is a vital part of establishing brand loyalty, and
these need to be carefully considered, managed and communicated. If not many
things can go wrong within and without a fashion company. Who should be
taking notice? Is it the role of the Production Manager, the Director of Sourcing,
the Vice President for Sustainability, Head of the Legal Department, or Head of
Corporate Communications? The answer is neither black nor white; there are
grey areas and apportioned accountability, but everyone, from the designer to the
end user should be taking notice, and responsibility. But what would that
responsibility be?
 Introduction 13

What would I do?

Observing and reflecting on industry disasters as a fashion professional, an
individual reviews her or his ethics and consequential behaviours. Questions
arise: What would I do/have done and How would I cope? In teasing out these
uncertainties sometimes the disparity between private and professional ethical
responses becomes clearer, more polarised and more confronting. Ultimately, it
is necessary to know and understand how each of us would enact our own
ethics, as a practising professional. Some readers may ask ‘Why bother?’ And
question the motivation to be ethical in itself. There are degrees of short-
and long-term responses to unethical practice or principles; fury, anger, accen-
tuated disquiet, rejection and indifference. Put simply, ethics are skills (personal
and professional) to enable the survival of the planet (and its inhabitants), and
the industry.

Motivations
Yet with the industry under pressure in so many areas, it is possible to be dispirited
and counter with a rhetorical ‘what can I do?’ Or say: ‘I’ll get to that later…’ or
push it aside entirely as someone else’s problem or responsibility; thus we are back
to look away (Klein, 2015). Were the planet’s future not big enough a reason for
action or change, by searching deeper into personal motivators it is feasible to ask
‘why be ethical?’ in any situation. So, it is crucial to know the drivers for ethical
intent and behaviour in a professional setting. Motivation to make ethical choices
could include; industry specific legislation, or state, national, or international
declarations. Some industry stakeholders are driven by the desire not to incur
expensive law suits. In the 1990s, after lengthy litigation regarding workers’ rights,
Nike settled by paying $US1.5m not to the plaintiff, one Marc Kasky, but as
agreed upon to the Fair Labor Association; an industry workers’ rights group
(Vladeck, 2004).
Whether motivated by a vision of brand leadership in ethics, or fear of litigation
or personal satori about the planet, change is available. There is an invaluable
opportunity for supply chain professionals to plot their ethical journeys, noting the
issues that demand attention and action. Thus they can follow on and consider
the outcomes and impacts, consequences and ramifications of action, and inaction.
Industry professionals – suppliers, dyers, wool growers, cotton farmers and coop-
eratives – are working towards providing more information, recognised accreditation,
and making informed ethical decisions easier for the designer, and ultimately, the
customer. Consider the issues in textiles, specifically cotton in regards to the seed
selection: genetically modified, or not, and the use of herbicides and pesticides;
furthermore, the short- and long-term effects of those choices on the worker,
worker’s family, the local wildlife and watertable. And this must be considered
before the cotton fibre has reached the cotton gin, or Première Vision as a dyed fabric
sample or the damage will have already been done.
14 Introduction

Brand damage
Confronted by unethical choices, it’s not a designer’s capability, or a grower’s, or
the customer’s ethics that are in question here, but a grasp of the impact of poor
choices that result in brand damage. Perhaps a slogan could be ‘damage the planet,
damage the brand’! Subsequently, there is a fundamental need for holistic analyses
of design practice and supply chain impacts on the brand. Of more concern in the
short term is the potential damage to the brand, company, and the individual
designer’s reputation. Fashion is an intensely competitive industry: any loss of
image (and thus market position), can be costly in sales, and extremely difficult to
retrieve or repair. It can take years, and a great deal of marketing energy and
expense to redeem a situation, if it were even possible. So, to understand the
potential motivators for ethical behaviour requires individuals, and organisations, to
review their protocols, establish goals, review methods and perspectives before
production is even considered. Thus solutions for the waste, intermittent observance
of human rights, exclusion of sections of potential customers, and the customer’s
waste of the garment’s end life, need to be stripped back in order to identify fashion
ethics. Undoubtedly this is a radically alternative prospect, for an industry that
currently promotes hedonism and waste; glories in images of homogenised youth
and narrow concepts of beauty; ignores endemic over-purchasing, wasteful laundering
and garment disposal. Fashion must drive the solution for it to take root – the industry
stakeholders have to engage and drive the paradigm shift, with support.

Conclusion
Realisation can move a paradigm, so the arguments and information need to be
mapped. Several times in this chapter, it has been mentioned that the book will
follow the garment lifecycle and fashion industry supply chain simultaneously.
Therefore, the following seven chapters will be: ‘Design, ethics and the designer’,
‘Production’, ‘Marketing’, ‘Wear’, ‘Disposal and reincarnation’, the penultimate
chapter ‘Future ethics’, and a conclusion. Throughout, the chapters include the
four phases: the Design Phase, the Production Phase, the Pre-Purchase Phase and
the Post-Purchase and Consumption Phase (Thomas, 2011).
This opening chapter gives the flavour of how the book will progress, both in
manner of delivery and content. There is more to come which will be infuriating
and chastening, but there will also be inspiration and hope. Do not be hesitant to
read further, either from curiosity or developing your professional knowledge and
understanding. The issues in this book are too important to put aside, or look away
from. Too many people are depending on you. So, faced with a big problem, or
several big problems, what is the best advice? Break the problem down into
workable pieces, solve it and move on to the next.
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