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International Journal of Fashion Design, Technology and Education Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/tfdt20

Ethical fashion project: partnering with industry a

Belinda T. Orzada & Kelly Cobb

a

a

Fashion and Apparel Studies , University of Delaware , 211 Alision Hall West, Newark, DE, 19716, USA Published online: 28 Sep 2011.

To cite this article: Belinda T. Orzada & Kelly Cobb (2011) Ethical fashion project: partnering with industry, International Journal of Fashion Design, Technology and Education, 4:3, 173-185, DOI: 10.1080/17543266.2011.606233 To link to this article: http://dx.doi.org/10.1080/17543266.2011.606233

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International Journal of Fashion Design, Technology and Education Vol. 4, No. 3, November 2011, 173–185

Ethical fashion project: partnering with industry Belinda T. Orzada* and Kelly Cobb Fashion and Apparel Studies, University of Delaware, 211 Alision Hall West, Newark DE 19716, USA

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(Received 4 April 2011; final version received 12 July 2011) This article shares a platform of apparel design that considers ethical implications within the product development process, which were incorporated into a senior level apparel design course during Spring 2009 and expanded upon in Spring 2010. In a problem-based learning format, students were challenged to develop ethical fashions from design development through final fashion garment in collaboration with the Fair Labor Association (FLA), Gildan Activewear and El Instituto Politecnico Centroamericano (IPC) in Honduras. The project demonstrates a broad range of considerations that should go into designing and producing a garment that is defined as ‘ethical’, including choice of materials that benefit the environment, choice of suppliers with verifiable fair labour practices, and responsible interactions and exchanges between the buyers/designers and suppliers. Use of communication and apparel industry-specific technology was essential in this project with international partners. Keywords: ethical fashion; sustainable; socially responsible; problem-based learning

Introduction An ethical apparel business is critical to success in the industry today. Buying and sourcing of merchandise is a priority for companies interested in improving their socially responsible performance (Park and Lennon 2006). Defining sustainability within a firm, providing transparency of information about products and initiatives, and verification of labour practices and sustainable resources used are the key components to success in the apparel industry (Marquardt 2010). Translating an understanding of these issues to students in apparel programs is a new key for success in academia. ‘Companies that employ designers and other product-focused staff who have learned to integrate social and environmental considerations into their design decision-making can help to ensure that the garments carrying their logos are free of abuse, exploitation and environmental degradation at all stages of production’ (Dickson 2010). The apparel design classroom is by nature a problem-based, active learning environment. Apparel design curricula generally contain foundation courses in design and aesthetics, textiles and fashion history. Students in apparel design programs are expected to draw on this foundation, as their skill-based, consecutively sequenced patternmaking and illustration courses expand their experiences and expectations. Students are challenged to develop garment designs around an assigned theme or concept in many courses. However, this assignment may appear to be in

*Corresponding author. Email: [email protected] ISSN 1754-3266 print/ISSN 1754-3274 online Ó 2011 Taylor & Francis http://dx.doi.org/10.1080/17543266.2011.606233 http://www.tandfonline.com

isolation, and the apparel design student is unable make real-world connections. The primary purpose of this article is to emphasise the value in exposure of apparel design students to critical issues in a real-world apparel industry situation and, specifically, to share a platform of apparel design that considers ethical implications within the product development process. We believe it is critical that ethical thinking accompanies design thinking and have revised the course described here to reflect that philosophy. Problem-based learning (PBL) strategies provided a forum for a senior apparel design course focused on ethical issues affecting the industry and consideration of those issues in the design and development of ethical apparel. Problem-based learning PBL allows the instructor to construct a course using a problem as the stimulus for learning and a focus for student activity. The curriculum in this type, of course, is ‘centered upon key problems in professional practice’ (Boud and Feletti 1997, p. 2). As Chaharbaghi and Cox (1995) point out, ‘Problem-based learning enables the learners to experience knowledge and skills in the context of the real world where learning is not determined by a syllabus or an examination but by problems which need to be solved’ (p. 249). With roots in the medical classroom, use of PBL strategies has gradually expanded to other sciences and

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to the humanities (Rehm 1998). PBL has been summarised as student centred, integrated and collaborative learning. Teams of students typically use brainstorming methods to identify existing knowledge, and resources and information still needed to solve the problem. They, then, might individually research one aspect of the problem and later reassemble as a team to compare, discuss and analyse the new information to develop solutions to the problem. Instructors are facilitators and consultants in this process (Carpenter and Fairhurst 2005). In PBL courses, students acquire knowledge and skills, as they move through a staged sequence of problems (Boud and Feletti 1997). The process of solving a PBL problem allows students to develop skills in critical thinking, oral and visual communication, teamwork and problem-solving skills the apparel industry considers important (Carpenter and Fairhurst 2005). Ethical fashion What is ethical fashion? What does it mean for an apparel firm to conduct its business in a socially responsible manner or to be sustainable? Many apparel firms want to be described in this manner but do not really know what it means. Many do not understand that it should go far beyond incorporating organic cotton into a clothing line and become a business culture (University of Delaware Sustainable Apparel Initiative 2009). The terms ethical fashion, socially responsible apparel business and sustainable fashion have often been used interchangeably. As understanding of the issues has evolved, this overlap has contributed to some confusion in the industry (University of Delaware Sustainable Apparel Initiative 2009). For example, Park and Lennon (2006) contend ‘the contemporary definition of social responsibility has evolved, emphasizing ethical responsibilities in addition to traditional economic and legal obligations to society’ (pp. 243–244). According to the Ethical Fashion Forum, ‘Ethical fashion represents an approach to the design, sourcing and manufacture of clothing which maximises benefits to people and communities while minimising impact on the environment’ (http://www.ethicalfashionforum. com/the-issues). Thus, an ethical apparel firm integrates a combination of socially and environmentally responsible initiatives into its business practices. The problem In our apparel design curriculum, seniors complete a course titled Product Development and Management Studio. Through industry-driven design scenarios,

students build creative thinking and problem-solving skills, responsibility, resourcefulness, teamwork and communication. Core course goals include developing and refining technical skills such as computer-aided pattern design and development of quality standards and specifications. Course objectives include developing cooperative skills in addressing design/pre-production-related issues, problems and dilemmas related to producing high-quality apparel. Students learn to maintain product development timelines, as they interact with industry clients, suppliers and manufacturers and to apply all phases of apparel product development for a targeted market from conceptualisation through execution of sample garments for mass production. For a number of years, this course has involved an apparel industry partner. In 2009, the co-instructors sought to enhance the social responsibility and sustainability focus of the course. The instructors’ approach was to use a PBL format that introduced the students to the goals of the project in phases. The course assignment, as students would later find out, was to simulate the process a new apparel firm desiring to make ethical decisions concerning materials and production would go through to identify partners. Students were asked to examine the range of considerations that should go into the design and production of an ‘ethical’ garment, such as selecting materials that support a healthy environment, examining labour practices to identify suppliers with verifiable and good standards and conducting responsible interactions and exchanges between apparel firms and suppliers. Then, they were to design a knitwear collection considering these criteria. Industry partners were pre-selected for the project. Project context Concerned about the superficial answers from different firms about what makes their line of clothing ‘ethical’, Fair Labor Association (FLA) President Auret van Heerden approached our department with an idea for a demonstration project partnering with the FLA during which apparel design students would go through the decision making necessary to more fully justify the use of the term ‘ethical’. Immersed in this idea was the pre-test of a set of tools that FLA would develop to assess the corporate compliance of potential suppliers. Gildan Activewear, an FLA member, was approached as an industry partner. A vertically integrated global firm, Gildan, has instigated socially responsible and environmentally responsible labour and production practices in their textile and apparel production. One significant sustainable practice of

International Journal of Fashion Design, Technology and Education Gildan is the support of El Instituto Politecnico Centroamericano (IPC) in Honduras. This technical school has a division devoted to apparel technology. As a mass-market knitwear firm, Gildan’s cutting and sewing are automated (e.g. dye cutting). Therefore, their partnership with IPC provided the ability to simulate the sample production stage in a global context.

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Phase 1: design development For students to understand ‘the ethics and politics of fashion production, they must first understand the fashion industry and the business choices it faces’ (Tomaney 2009, p. 31). Research and education provided context for the semester project and prepared students for their initial meeting with the industry partners. Students participated in a simulated job application process, were organised into design teams and began the design development of three product lines. Research and education on ethical/sustainable fashion Review of current industry practices related to ethical fashion, including materials, fair labour practices by suppliers and responsible purchasing practices, was the first assignment. This activity provided a forum for discussing ethical issues surrounding the industry. Students worked in teams to clarify key terms and definitions. Findings were posted on a forum site, a tool on the university’s learning management system and presented in class. The variety of definitions, opinions and contradictions sparked conversation and debate among students; compelling issues raised included the ‘grey areas’ of ethical fashion practice and greenwashing. Students struggled to define for themselves terms such as ‘ethical’ and ‘sustainable’ (Table 1). Students then reviewed and evaluated several sustainable fashion knitwear companies in terms of practices specific to material choices, corporate philosophies, target customers and company culture. Utilising the course forum site, specific questions regarding consumers, material sourcing, fair labour practices and design scenarios were posed as entry points for response. Unknown to the students at the time, one of the firms reviewed was our industry partner, Gildan Activewear. Debate was raised during presentations in regard to how successfully the students believed each firm was addressing the issue of sustainability and ethical production. They were able to understand the criticisms facing the industry and develop a more balanced viewpoint after examining the variety of ways apparel firms are positively addressing these issues. The research and education components of this PBL experience were crucial, as it raised the students’

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awareness of current issues in ethical apparel production and clarified definitions and terms. Students were responsible for researching and sharing the information they uncovered with the class. These self-directed learning tasks allowed the students to engage more deeply with the subject matter, than in a lectureformat class. During the research phase, students became aware of the reality of the complexities involved. Pre-production research provided students with a solid understanding of how ethical fashion companies frame and promote their practice and product (Table 2). Application process To enhance the real-world experience, students formally applied for a position within one of the three teams (apparel companies) and were required to upload a current resume with their application. The co-instructors facilitated the selection of individual roles and chose the project leaders for the teams on the basis of the online application, resume and recommendations and suggested roles for each student within the company. The final decision, however, was deferred to the project leader. These ‘jobs’ included: Project Leader, Trend/ Researcher, Fashion Illustration and Rendering Specialist, Patternmaker, Sourcing Technician, Fit Specialist, Spec Manager, Construction/Sewing Technician, CAD Technician and Client/Manufacturing Liaison. The application process simulated a real-world job application scenario, offering students the opportunity to reflect on and articulate their personal strengths and weaknesses and make tangible efforts to place themselves in a role that would compliment and develop their abilities. Although faculty introduced and encouraged teamwork and capacity building, the students themselves led team-building efforts and were quite motivated to develop model apparel firms that exemplified best practices mined from pre-production research and education. The three teams then each took on the role of a new apparel firm sourcing materials and production. Concurrent with design and sample production, each team created a company profile for the project website, including a name, an aesthetic and design philosophy, as well as an expression of their definition and stance on ethical fashion. Within the students’ design process, some interesting concepts emerged, such as end-of-life strategy for garments, recycling of scraps and versatility of clothing. The company profiles developed by the 2009 class are included here (Ethical Fashion Project Website 2009): ‘Clothing for Life: Ethical fashion means not only creating a product that is environmentally friendly but is also long-lasting and manufactured under safe and well-monitored conditions. Clothes for Life will

(continued)

Response ‘‘One of the most interesting components of the Patagonia website is the Footprint Chronicles where you can learn more about where the products are designed, where the fibers comes from, where the sewing is down, and also where it is distributed. It also informs you about the distance it traveled, Carbon Dioxide Emissions, Waste Generated, and Energy Consumption. It’s an interactive site that is easy to maneuver through which makes you want to look through everything. This might be the only site where you can really learn about the clothes you are wearing.’’ What are examples of ‘‘In the last few years Timberland has really stepped up and is doing a lot to reduce its carbon footprint. The company has responsible material committed to using natural and biodegradable materials like wool, leather, hemp, organic cotton, and rubber, in its sourcing? products as much as possible. 80% of Timberland shoes feature organic or recycled materials.’’ ‘‘Nau is a company that has a strong focus on their environmental impact. Their website goes into great detail about what their goals are, where they get their fabric and areas that they are still looking to improve in. For example, Nylon is a fabric they talked about. Nylon is used a great deal in outerwear because of its durability but it is unable to be recycled. Nau is trying to replace nylon with recycled polyester to be more eco friendly. Nau ‘‘voluntarily meets the strictest global legislation.’’ They have a list of restricted items for their garments and also practice traceability. This allows them to see when and where each process of fabric making takes place. Faculty Response: This should go beyond what a few apparel manufacturers are doing. What are the textile manufacturers doing? (Where do our materials come from?) What about the manufacture of materials used in apparel (fabric, notions, etc)? Have these items, or the manufacture of them, been transformed in any way? Ethical and Sustainable Fashion: Fair Labor Practices by Suppliers Question Response What is fair labor? I think the sweatshop issue is one that we’re going to be struggling with for a while to come. There are so many factors that affect the conditions, and the workers aren’t speaking out against them because they want to work as much as possible to make money for their families. There is so much competition among factories in China that they sometimes offer prices to their clients that are below the cost of productions just to win their contract. If they’re losing money on these jobs it’s impossible for these factories to pay their workers fair wages and to have acceptable working conditions. The only solution I can see is to restrict the number of factories in China in order to cut some of the competition, or to have some sort of minimum or extra tax paid to factories to ensure that their workers are taken care of.

Faculty Response: Ethical and Sustainable Fashion: Materials Question What are issues and practices that are transforming the material end of the supply chain?

What are examples of responsible purchasing practices?

Student Response ‘‘If the consumers don’t buy a particular style for a season, then the retailer and or designers understand that it was not a hit with the majority. Once other consumers notice that sustainable fashion is ‘‘in’’ and becomes trendy, others will pick up on the news and start to shop ‘‘green.’’ I think that it is most important to educate the public about what sustainable and organic really means.’’ ‘‘Consumers have a tendency to buy what they believe are ‘‘good clothes’’ based on price, quality, fashion, and longevity. They are lacking knowledge and awareness of what exactly sustainability means.’’ . Price: sustainable products, priced to please . Purpose: Clear about the purpose of what is being bought. Do I need this? . Process: Increasingly demanding answers to questions like, ‘‘What was the process used to make the product? Was it energy intensive? Did it use pesticides? Were the workers paid fair wage? How will it be disposed of? What is being done in the US related to sustainable clothing practices? Are our consumers concerned?

Research and education on ethical/sustainable fashion.

Ethical and Sustainable Fashion: Consumers Question Consumers guide retailers and have the ultimate power to change, What are consumers doing to address these isssues?

Table 1.

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(Continued).

Faculty response:

What makes it green? What are the following designers really doing? What are examples of sincere projects? You might want to discuss green-washing also

Design Scenarios Question What are examples of design that follows best and responsible practice from start to finish?

Faculty Response:

What organizations concern themselves with this issue?

Table 1.

Response Kate Fletcher focuses not only on production but every part of a garments life cycle: what happens when it is manufactured? Transported? Used? Thrown away? She looks at the big picture, not each separate part. In 2002 Fletcher, along with Becky Earley developed ‘‘5ways’’, a project on ways to develop garments and textiles that eliminated or reduced harm their ‘normal’ counterpart would cause. A No wash shirt was developed, with increased underarm ventilation and a wipe clean surface; this garment was designed to be worn six months without washing. Updateable attire that can be changed easily to follow trends, local goods created by independent artists and designers instead of larger manufacturers, ‘‘nine lives’’ or clothing created and designed deliberately to have a second purpose which it can easily be altered to fulfill, and ‘‘super satisfiers’’ which are meant to be interactive and tastefully revealing. Companies like Nau and Patagonia set a strong example of how companies should behave. Green-washing is a big issue, many companies ‘‘go green’’ for publicity purposes and do not actually take sustainability seriously. Having some personal experience in this matter, at one of my previous internships I think it’s really important that companies are clear about exactly what they are doing. At a popular knitwear company we had an organic cotton line of t-shirts which had very low organic cotton content, but was marketed quite differently. I think that with such pressure now to go green it’s really important that companies are monitored well so that they cannot trick the consumer into thinking they are sustainable or environmentally friendly when they truly are not. I’d like to see you investigate several other designers, in particular examining the differences between independent designers and larger companies. How do they differ in their approaches?

I think it is very interesting how many of the companies that got into trouble over sweatshop issues back in the 90’s have become the forerunners in advocating fair labor and workers rights. Nike and Wal-Mart have become very vocal in their efforts to eradicate any negative impact their business has on the environment. Of course, it is impossible to know whether or not the companies originally started these programs to improve their public image or if they legitimately wanted to improve their working practices. Unfortunately, despite all the work these companies have done to improve their fair labor conditions, mistakes do happen when dealing with so many factories half way across the world (such as the Nordstrom situation discussed in class). In my opinion, there is only so much that businesses can do to monitor and keep track of their factories. The Chinese factories and government are just as responsible for monitoring the situation as their US and European counterparts. As China continues to grow and develop, their laws regarding fair labor and sustainability will mature and they will be able to monitor the situation themselves; until then companies must work even harder to ensure that their factories are following all fair labor regulations. Are there any other organizations besides the FLA that deal with ethical labor standards? In the US or beyond? Is this only an issue in factories in China and other third world countries?

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International Journal of Fashion Design, Technology and Education 177

178 Table 2.

B.T. Orzada and K. Cobb Review and evaluation of sustainable fashion knitwear companies.

Research Phase #2 Knitwear companies Evaluate and rate-Rate the following: working conditions, environment, best manufacturing practices, community outreach and product. American Apparel

Gildan

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Hanes

NIKE

California Rain

Fessler USA

St. John

‘‘I liked learning about this edgy brand. I knew of their commitment to a Made-in-the-USA product but I was not aware of their efforts to be more sustainable. With their waste management system, Sustainable fabrics, and responsible labor practices which seemed very expansive from an on-site medical clinic to even free massages, they seem to have their ducks in a row. I thought it was really cool that their factories practice ‘‘style number identity’’ where the same style is produced for 100 months in a row. To slow fashion down is one of the practices we should be working towards.’’ ‘‘I thought it was really interesting to hear about this company and how they have such a strong stance and desire to be sustainable, and are taking measures and precautions to be sustainable. However, I found it extremely odd that they have absolutely no Organic fabrics. Isn’t that like an oxymoron in a way?’’ ‘‘Gildan’s main fiber used is cotton, however the cotton that they use is not organic. According to Gildan, the increased water usage associated with growing organic cotton outweighs the benefits of decreased chemical use. For this reason, they believe that using conventionally grown cotton is best for the company. Through this decision, Gildan has shown us that ‘‘going green’’ does not necessarily mean going organic.’’ ‘‘I’m surprised that such a large company like Hanes has done so little to publicize its efforts to be sustainable. While they are working to become a more sustainable company, I feel that they are doing only the minimum amount. For them to truly become an environmentally friendly company they need to invest more time and money and get their act together. As a mainly cotton based company, Hanes could make a great impact by using more organic cotton. If such a large and reputable brand made a huge leap into the organic market, more smaller companies may follow.’’ ‘‘Nike recognizes that they are one of the world’s largest users in white leather and make a enormous contribution to the amount of leather waste in the industry so they are working with tanners to fund the leather working group to identify and use only those tanneries who meet protocol, promote best practices, and develop protocol for better environmental practices of tanneries.’’ ‘‘When our group first went to look up California Rain, we were amused to see that on the company website they wrote ‘‘delivers high style knit blanks at overseas price points even though manufacturing is United States based.’’ Clearly they are cutting costs somewhere. Their website is very limited and seems to be very shady. Any company that is researching knitting companies for outsourcing should be very suspicious of California Rain and seriously considers the possible consequences. Are questionable practices worth saving a few cents per garment?’’ ‘‘Fessler USA does an incredible job in being sustainable. Their efforts are legitimate in begin environmentally friendly in their company policies and what they invest their time and money into. Something so small as energy efficient reflective paint is something many companies may not even think about and yet it makes a huge impact.’’ ‘‘I had definitely heard about St. John’s the company, but I had no idea that they mention nothing about sustainability. However, this may seem hard to believe, but a company that dresses the world’s couture women is probably not focused on being sustainable and eco-friendly, but more about the look and the aesthetic behind their line. The last thing this high-end company needs is to cut corners to change their line; the risk of losing their ‘‘high-end’’ clientele is far too high. Hopefully, one day they cross over just a little to help out our environment!’’

approach slow fashion by reducing the number of send-outs to four seasonal lines. This ensures that there is no need to rush product development, the production process or the shipping. With more time for sample stages, product quality is assured. Buyers are not pressured into overbuying and can view all pieces in the line before making purchase orders, therefore reducing waste by eliminating over-production. By creating looks that are classic and do not follow all of the current trends, not only can pieces be worn over a longer period of time, but buyers can easily predict what quantity they will sell.’ ‘The New Jocks (TNJ) wants to preserve the Earth and all of its components by minimizing waste, creating designs that are versatile with the aim of using less energy and labor, creating designs that are multifaceted like the transformable skirt and leggings, and using waste such as scraps in our very own designs as

long as doing so does not increase the amount of labor, and finally by increasing our fabric yield by making sure all pattern pieces are shaped similarly to rectangles and squares. TNJ has created a tank top design that incorporates knotting of scraps for the front and back necklines. On TNJ’s website there will also be a section that illustrates different and creative ways to use scraps and old garments. Furthermore, TNJ has also contracted a recycling company to collect unused pieces of scrap fabric. The company recycles scraps into other forms of apparel’. ‘Voice’s approach to creating a better environment and increasing awareness of sustainability is through education and community involvement. We feel that by informing and interacting with our target market we can give a strong voice to the generation and better quality of life for all. Our objectives are to create sustainable knitwear designs while keeping them feminine

International Journal of Fashion Design, Technology and Education and chic for the youth of the world. Through our designs we hope to educate our target customer in an effort to promote environmental change. Through our customers, we can help to make the world a better place . . . one voice at a time. Our embellishments on select pieces will be made of scrap fabrics worked into flowers and accessories. Our goal is to educate a younger group of girls on how to be sustainable and socially responsible while at the same time remaining fashionable’.

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Design process At this point in the course, Gildan Activewear was identified as the materials supplier for the project, and each team was given the design challenge to expand Gildan’s product lines by producing for new markets and to consider ethical fashion challenges in product design, materials selection, production and sourcing, and product use. Designs could explore any silhouette. Students were required to design garments within Gildan’s fabric, colour, trims and construction parameters. Each team was free to select their target market and the direction of their line. To jumpstart concept generation, each student was given an assignment to design three basic t-shirts, three fashion forward t-shirts and three sustainable design t-shirts. Students presented sketches and justified design concepts during in-class presentations. Students then separated into teams to collaborate, refine and select 15 of the initial ideas. These designs evolved beyond t-shirts to ensembles, including jackets, dresses, skirts and pants, as well as accessories. From those, seven prototype garments of each team’s designs were produced. Each team designed their seven garments via flat pattern or drafting methods, then digitised the patterns and exported the pattern files to IPC using Lectra Technology. Companion technical packages, including size specifications, colour and fabric information, construction details, diagrams and flat sketches developed using Adobe Illustrator, were emailed to IPC. Students communicated with the factory (IPC) via Skype twice during the sampling process to approve samples. Student teams negotiated common real-world problems within their product development process relating to timing conflicts, sourcing mishaps, size issues, faulty electronic files and unavailability of fabrics or preferred colours. Prototype garments were produced by a team of students at IPC and shipped to our university for approval and use in the final presentation (Figures 1 and 2). Communication with students, industry partners and project collaborators Technology was a key component in the students’ communication with their international industry

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partners. Three multi-point videoconferences took place during the semester in video conference classroom studios on campus allowing participants from the university, Gildan, the FLA and IPC to view each other, simultaneously. Students participated in Skype conversations with their production counterparts at IPC to review style and sourcing details. Skype was also used to communicate technological issues regarding digitising and pattern input/output. In addition, students captured their product development process on a website. During the semester, the website was refined to share comprehensive company profiles and was then employed as a contextual tool during the final presentation. Phase 2: assessment of compliance using FLA tools The students assessed their materials and supplier partners during the second phase of the project. Gildan Activewear, a vertically integrated marketer and manufacturer of quality branded basic knit apparel, supplied the fabric used in the project. The supplier selected to produce sample garments was IPC. The IPC is a high-performance polytechnic institute in Honduras, offering general and specialised industrial education aimed at training and re-training for technical staff. Assessment of materials and suppliers was conducted with the guidance of the FLA. The FLA is a collaborative effort that seeks to improve working conditions in factories around the world. By partnering cooperatively with forward-looking companies, nongovernmental organisations and universities, the FLA developed a workplace code of conduct on the basis of International Labour Organisation standards and created a practical system of monitoring, remediation and verification to achieve these standards (Fair Labor Association nd). Students in this course utilised FLA assessment tools developed to allow analysis and improvement in a more sustainable way than that offered by audits. These are web-based, quantitative tools with a range of multiple choice questions that score performance in compliance terms. The students, along with industry partners, utilised three specific tools: a labour and environmental compliance questionnaire for the students’ fashion companies, a factory compliance readiness self-assessment for suppliers and a code of conduct labour compliance assessment for suppliers. Labour and environmental compliance questionnaire for fashion companies The labour and environmental compliance questionnaire is an online assessment tool allowing fashion

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Figure 1.

B.T. Orzada and K. Cobb

Clothing for life web profile: design overview and process.

companies (in this case, the student design teams) to review their corporate social responsibility (CSR) and sourcing policies by measuring risk control and due diligence processes. The purpose of this first tool was to inform the students of the various processes that must be put in place in a CSR strategy. After filling out the questionnaire, companies can determine whether they have taken all the necessary actions to uphold labour and environmental standards throughout the supply chain. A company obtains an indication of how its business model (i.e. range of manufactured products, sourcing policy, number of suppliers, etc.) influences risks in the supply chain, or how the risk control of its supply chain can be strengthened by increasing contact with the suppliers and gathering more information about the conditions of production. This questionnaire also assesses the company’s status regarding labour and environmental compliance. It shows how the implementation of a code of conduct along with its communication and verification procedures can enhance control and performance over the supply chain. Students were guided in the use of this tool during a face-to-face meeting with the FLA’s

University and College Program manager Heeral Coleman (Figure 3). Pre-sourcing tool for suppliers This online assessment tool was designed to allow a company to get to know its suppliers by evaluating their general compliance levels. It also gives the buyer a way of selecting business partners. The suppliers themselves answer the items in the pre-sourcing tool (this step was completed by the representatives from IPC and Gildan as suppliers of production and materials for the project). Project leaders of the three design teams combined forces to draft one letter to their counterparts inviting them to fill out the assessment. The pre-sourcing tool offers the buyer the following possibilities: obtain a reliable first impression of a factory; determine if the factory is ready to engage with the buyer in regard to environmental standards and labour conditions; allow the buyer to check that the suppliers are ready to be transparent and determine if the factory is accustomed to working with buyers who

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International Journal of Fashion Design, Technology and Education

Figure 2.

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The New Jocks web profile: design concept and end-of-life strategies.

care about labour and environmental standards. The pre-sourcing tool measures dimensions of a firm, such as the ability to comply, code of conduct implementation, readiness to install a basic compliance system, communication and training provided, labour compliance and readiness to improve the current compliance system. Students were introduced to this second tool via a webinar with the FLA’s Training and Assessment Manager Ines Kaempher.

system and, thus, allows the buyer to direct the supplier towards appropriate remediation and capacity building plans. The person filling in the questionnaire on behalf of the supplier receives an automatic analysis of the factory’s strengths and weaknesses that could be further discussed with the buyer. Project counterparts at IPC completed the final tool, and findings were discussed with the students, industry partners and project collaborators during the final presentation.

Code of conduct scan for suppliers

Phase 3: project integration: final presentation

The code of conduct scan provides a deeper picture of a suppliers’ labour compliance performance and can point out the potential issues to be remediated. The online questionnaire includes a wide range of multiple choice questions, which score suppliers’ performance in compliance terms. Revolving around the life cycle of a worker (from recruitment and hiring to termination, through wages and benefits, hours of work management and grievance procedures), this questionnaire gives a full picture of the factory compliance status regarding each element of the code of conduct. The tool also takes into account the suppliers’ management

Students presented their final design process and final sample garments via a videoconference with the industry partners and on their project website. Each design team’s company stance on the issues of ethical and sustainable practices served as the entry point into their design process. Each team designed company profiles for the website articulating their views on sustainability and ethical fashion. Included on the website and through each group’s oral presentations were their industry/market research, inspiration, design concept and process, a manufacturing process overview, the self-analysis using FLA tools, the

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Figure 3.

B.T. Orzada and K. Cobb

Labor and environmental compliance rubrics tool and assessment.

insights gained and questions/challenges addressed. Several interesting labour and environmental concepts and ideas emerged including end-of-life strategy for garments and recycling of scrap. Methods to educate the consumers about the entire design, sourcing and product development process, eco-friendly packaging and versatility of clothing were also explored (Figure 4). Outcomes Students appreciated the process and knowledge gained by applying the FLA tools to their design opportunity. One student commented that the study of sustainability and ethical issues had been touched on in the previous courses but never practiced in depth or as a real-world scenario. Final student presentations (from the perspective of a small fashion company) articulated the need for an apparel firm to adopt a clear code of conduct, the necessity of being involved in the auditing process of suppliers and of building relationships with the suppliers and manufactures.

Students understand the close relationship between apparel design/product development and technology in today’s global apparel industry. Use of current technology was emphasised throughout the course. The need for ease of communication with our international partners made communication tools such as conference calls, Skype and use of the university’s telecommunication studio for presentations essential. Global sourcing and production requires the ability to digitally communicate specifications and pattern designs. Students were asked to reflect on the project during the end of the semester assessment. A sample of their responses is provided: The ethical fashion project helped me learn a lot more about the relationship between designers and the factories that produce the clothes. Sometimes big ideas can’t be made feasible within time and budget constraints or can be easily lost in translation. As far as designing with sustainability in mind, at first I thought that my creativity was being limited, but it was in fact being expanded. With sustainability as

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Figure 4.

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Screen shot of voice company profile: sustainability and education.

a criterion, I was able to stretch my imagination in different ways than I had before. I saw this project as a challenge in creative problem solving. My team, ‘The New Jocks’, designed a range of convertible ‘2-in-1’ garments. I was very proud of my design contribution of a shirt that could be converted into a top (and not just the traditional, tube skirt-to-tube top idea). The biggest lesson I’ve learned is not to view constraints as limiting, but as a way to look at things in a new light and exercise creative problem solving. This project also made me more aware about the production process and the relationship between designers and the factories that produce their designs. There are so many glitches that aren’t anticipated. Also, it is important to be clear with your specs in a way that doesn’t allow your instructions to be open to interpretation. Communication is everything.

One limitation to the results of the FLA tools was the simulation aspect of the student teams as apparel firms. There were several sections of the labour and environmental compliance questionnaire about which the students were unsure of the appropriate answer and might have answered differently if they had more experience, or were truly the owner of an existing company.

Our industry partners were impressed by the students’ work and anticipated continuing the project. Gary Bell, Vice President of Global Marketing for Gildan Activewear, Inc. provided the following comments after witnessing the students’ presentations: Great presentations by each of the groups. They presented well and certainly put a lot of consideration into their work. I am very pleased we were able to get involved with the project and hope we can repeat and improve with future classes. I know IPC definitely is seeing the benefits and the long term potential of these types of projects (G. Bell, personal communication, 28 May 2009).

Further, according to Sabrina Bosson, Assistant to the President and CEO of the FLA, Auret van Heerden, ‘The FLA is also very proud to be part of this project and the students did a terrific job’ (S. Bosson, personal communication, 29 May 2009). Thanks to the positive response of our industry partners to the 2009 project, the Ethical Fashion Project (FLA Fashion Project 2009) was replicated and expanded in 2010. A proposal was submitted and accepted for Cotton Incorporated’s 2010 Cotton Student Sponsorship Program. Cotton Lab 2010 was geared towards emerging target markets that embody a meshing of culture, tradition and innovation. This

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expanded project allowed us to cultivate the students’ global and cultural understanding and experiences. The PBL format and design challenge were replicated with Gildan, IPC and FLA as our industry partners. The Cotton Incorporated grant allowed cultural interchange. Students in our course and those at IPC met via videoconference and through site visits. During the sample production stage, our students visited Honduras and the IPC facilities. During final presentations, the IPC students visited our university. The impact of student/industry collaborations is far reaching. It was no small task for students to research, contextualise and develop designs in one semester. Given the challenge, students pinpointed significant issues, offering creative solutions. In 2009, groups focused on educating the consumer, on multi-use garments and coming up with creative solutions to waste. In 2010, after the visit to Gildan factories in Honduras, the students re-evaluated designs from the perspective of the worker and simplified their designs to promote ease in construction. The instructors experienced significant time limitations during this project in having to provide in-depth context for the project via research and education in addition to the design and product management component of the course during a transition period in our curriculum. We anticipate this will be alleviated after a new seminar course – Seminar on Fashion and Sustainability which introduces all incoming freshman and transfers students to the emerging canon of theory and practice regarding sustainability as it relates to fashion – is initiated into the curriculum. The course, developed to introduce our students to concepts of social responsibility and sustainability critical to the field, is centred on four components of sustainability and social responsibility: labour, environment, consumption and body image. In addition, ethical fashion concepts are immersed in the apparel design capstone, the course discussed in this article, and incorporated as topically relevant in many other undergraduate courses in the department. Summary and goals for further study The benefit of this project is ongoing. The positive example apparel firms concerned with social responsibility and sustainability set for impressionable future apparel industry professionals is the critical component to the success of this project. ‘Individuals in a business organization are critical in the sense that they form organizational culture, which, in turn, influences others’ socially responsible behavior in an organization’ (Park and Lennon 2006, p. 244). By modelling this process with the industry partners, our students are prepared to contribute in a meaningful way to the ethical fashion goals of the firms that will employ them.

‘Design naturally fosters higher order thinking, inquiry and problem solving’ (McCracken 2000, p. 72). This design problem was rich in both educational and practical experiences and the breadth of technology utilised. The student teams researched ethical design from product design criteria, materials selection, production processes, distribution, product maintenance and end-of-life factors. The teams selected some, but not all, of these criteria to form their design concept. In the future, we will encourage them to more fully explore consumer use and post-consumer use strategies that might be built into their designs. A focus on the product life cycle will help students to be ‘better equipped to promote change and enable positive sustainable solutions within organizations’ (Tomaney 2009, p. 31). Best practices should be shared. Partnering with industry provides an expanded audience for a timely topic. It is just as important for the apparel industry to be informed that apparel design students are graduating with knowledge and practical experience related to ethical fashion production, as it is for the students themselves to be learning and experiencing it. Apparel design students from day 1are trained to solve problems creatively, in being given the opportunity to work on the ground level we have found that students are gifted at designing from the inside out. Industry collaborators commented on the ingenuity of many design concepts. Furthering our outreach, a paper and the final sample garments from the 2009 course were presented during the Fashioning an Ethical Industry conference for educators and students at the Ethical Fashion Show during Fashion Week Fall 2009 in Paris, France (Cobb 2009). References Boud, D. and Feletti, G., 1997. Changing problem based learning. Introduction to the second edition. In: D. Boud and G.I. Feletti, eds., The challenge of problem based learning. 2nd ed. London: Kogen Page, 1–14. Carpenter, J.M. and Fairhurst, A.E., 2005. Delivering quality and value in the classroom: the use of problembased learning in retail merchandising courses. Clothing and Textiles Research Journal, 23 (4), 257–265. Chaharbaghi, K. and Cox, R., 1995. Problem-based learning: potential and implementation issues. British Journal of Management, 6, 249–256. Cobb, K., 2009. Ethical fashion project. Paris, France: Education for Sustainable Fashion, Ethical Fashion Show. Dickson, M., 2010. Blog of the Fair Labor Association. Ethical fashion: considering the social responsibility and environmental sustainability implications of design from fiber to consumer. Available from: http://globalaction4 fairlabor.wordpress.com/2010/08/02/ethical-fashion-cons idering-the-social-responsibility-and-environmental-susta inability-implications-of-design-from-fiber-to-consumer/ #more-38. [Accessed 15 August, 2010].

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Ethical Fashion Project Website, 2009. Available from: http:// ethicalfashionproject.wordpress.com/. [Accessed 15 August, 2010]. FLA Fashion Project 2009. Available from: http://www.fair labor.org/fla/go.asp?u¼/pub/mp&Page¼SP_FashionProject [Accessed 31 July 2011]. Marquardt, S., 2010. Sustainability is not an option. Apparel technology and business insight – from concept to consumer, February 4. Available from: http://www. apparelmag.com/ME2/dirmod.asp?sid¼&nm¼&type¼ MultiPublishing&mod¼PublishingTitles&mid¼CD74611 7C0BB4828857A1831CE707DBE&tier¼4&id¼E3F8931 8910E4C6AB7A0A16B4CCCCAD7. [Accessed 12 July, 2010]. McCracken, J., 2000. Design – the creative soul of technology. In: E. Martin, ed., Technology education for the 21st century: 49th yearbook, council on technology teacher education. Peoria, IL: Glencoe/McGraw-Hill, 85–90.

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Park, H. and Lennon, S., 2006. The organizational factors influencing socially responsible apparel buying/sourcing. Clothing and Textiles Research Journal, 24 (3), 229–247. Rehm, J., 1998. Problem-based learning: an introduction. National Teaching and Learning Forum, 8 (1), 1–4. Tomaney, M., 2009. The elephant in the room: contextualising the ethical within fashion excellence. In: L. Parker and M. Dickson, eds., Sustainable fashion: a handbook for educators. Bristol, UK: Labour Behind the Label. University of Delaware Sustainable Apparel Initiative, 2009. Creating a more environmentally sustainable apparel business: policies for apparel brands and retailers. Newark, DE: UDSAI.