Catalysts for sustainable clothing consumption: New value propositions for over consumers (special session) - Download recommended (for full information)

CATALYSTS FOR SUSTAINABLE
CLOTHING CONSUMPTION
NewValue Propositions for Over Consumers
SPECIAL SESSION
Moderator: Cosette M. Joyner Armstrong,
Oklahoma State University, USA

Tim Cooper
Professor
Nottingham
Trent
University
UK
Kyungeun
Sung
Lecturer
De Montfort
University
& Nottingham
Trent
University
UK
Tina Müller
PhD Fellow
Copenhagen
Business
School
DK
Lisa McNeill
Associate
Professor
University of
Otago
NZ

Emotional FitKatherine
Townsend
Associate
Professor
Nottingham
Trent
University
UK

CLOTHING STYLE
CONFIDENCE
Development and validation of 5-dimension
scale to explore how personal influences
sustainable clothing consumption
Confidence about the individual way one
expresses themselves with clothing and
accessories, which includes a preference for:
1.  Style longevity
2.  An aesthetic perceptual ability
3.  Engagement in creativity
4.  A priority given to appearance
5.  …and an emphasis on personal
authenticity.
Cosette M. Joyner Armstrong
Oklahoma State University

Final Scale
Domain Theory
foundation
Interview
examples
Survey item examples
Style
longevity
Style
consumption
Style orientation
Freedom in dress
“I don't buy
too trendy
items since it
will be out of
date very
soon.”

I like to buy clothing that I
know won’t go out of style
for a while.

I prefer to purchase
clothing I know I can utilize
for a long time.
Aesthetic
perceptual
ability
Aesthetic value
Aesthetic
perceptual
ability
Centrality of
visual product
aesthetics
“I think that I
know what
looks good on
me”
I have the ability to put
clothes together in an
aesthetically pleasing way.
I know how to select
clothing that flatters my
body.

Final Scale (cont.)
Domain Theory
foundation
Interview
examples
Creativity Use
innovativeness
Consumer
creativity
Creative
expression
“I enjoy
playing with
my style and
recreating my
look on a
daily basis.”
I experiment to put
different clothing items
together to create my
personal style.

I enjoy new ways to use old
clothing.
Appearance
importance
Appearance
investment,
orientation,
evaluation
Vanity
“I feel that my
appearance
is a way that I
represent
myself; self
image is
important to
me.”
How I look when I’m
dressed is important to me.

What I look like is an
important part of who I
am.

Final Scale (end)
Domain Theory
foundation
Interview
examples
Authenticity Authenticity
Authentic self
awareness
Authentic self
expression
“I dress the
way I do to
please myself”

My clothing style matches
the real me.

I know who I am when it
comes to what I wear.
Note. All constructs were measured on a 7-point Likert scale ranging from 1 (strongly
disagree) to 7 (strongly agree).

Predictive Validity
External Criterion
Behaviors
SL APA CR AI AU
Wardrobe engagement
(α = .722)
.197 .465 .550 .476 .459
Wardrobe preservation
(α = .710)
.225 .356 .401 .381 .274
Note. All correlations are significant. p < .01.
Wardrobe Engagement
Knowing what is in one’s closet, organization for the purpose of
developing outfit ideas and identifying items to keep/discard (e.g.
attending to wardrobe, Fletcher 2016; emotional attachment fostered
via psychic energy supports longevity, Belk, 1987).
Wardrobe Preservation
Care & maintenance of clothing, including rotating wear, repair,
laundering, and storage (e.g. “good housekeeping”, Fletcher & Tham,
2004)

FUTURE RESEARCH
„ Substantiate precisely how CSC influences aspects
of sustainable clothing consumption
„  Consumption across product lifecycle (e.g. purchase & disposal
frequency)
„ “Style sensitive” = small segment of population
(Sproles, 1979 ); related to aesthetics & standards of
taste dependent (Cohen, 1998;Wagner, 1999); can be
trained (Delong, 1978)
„ Implications for retail marketing &
consumer education could support
sustainable consumption

The relationship between fashion
and style orientation & well-being
1.  Explore the conceptual distinction between style
and fashion orientations and their relationship with
subjective well-being
2.  Investigate the role of materialism in the
relationships between style and fashion orientation
and subjective well-being
Tina Müller
Copenhagen Business School

Fashion vs. style orientation
•  Focus on consumers with high interest and
involvement in fashion
Fashionorientation
• Up-to-date on the latest
fashion trends
• Emphasize the material
and possession
components
of clothing acquisition
• View clothing as a
means to achieve
social positioning
and status
Styleorientation
• Select clothing that
reflects one’s personal
taste, interests, and
characteristics (i.e.
expressing individuality)
• Emphasize longevity,
authenticity and
uniqueness
• Acquire fewer products
than fashion-oriented
consumers

Materialism
Materialism …
•  refers to the importance a person places on
possessions and their acquisition as a
necessary or desirable form of conduct to
reach desired end states
•  is characterized by three facets:
Acquisition centrality
Happiness through acquisition
Success (i.e. success evaluated by possessions)
•  has consistently been found
negatively linked to subjective well-being

Subjective well-being
•  relates to how people feel and think about
their life
•  comprises both cognitive and affective well-
being
Cognitive well-being (CWB) refers to domain-
specific and global evaluations of life
Affective well-being (AWB) refers to the frequency
and intensity of positive and negative emotions
and mood

1.  Materialism is more strongly related to fashion
orientation than style orientation
2.  Consumers with a style orientation exhibit
higher levels of SWB than fashion-oriented
consumers
3.  Materialism mediates the relationship
between fashion as well as style orientation
and SWB
1.  Materialism is more strongly related to fashion
orientation than style orientation
2.  Consumers with a style orientation exhibit
higher levels of SWB than fashion-oriented
consumers
3.  Materialism mediates the relationship
between fashion as well as style orientation
and SWB
Hypotheses
and results

A fashion orientation is more strongly related
to materialism than a style orientation
Style-oriented consumers exhibit higher levels
of SWB than fashion-oriented consumers
When the materialistic aspect of a fashion
orientation is controlled for, both clothing
orientations are positively related to SWB
Conclusions

FUTURE RESEARCH
„ Reduced clothing consumption
„  Prevalence, motivations and outcomes
„ Diary data on consumption
„ Can we strengthen positive attitudes
towards and consequentially foster
reduced clothing consumption behaviours
with interventions?

Clothing Longevity
Tim Cooper
NottinghamTrent University

Scaling up fashion upcycling
businesses in the UK
Multi-stakeholder perspectives
from 16 practitioners and 7
consumers in the UK on:
1.  Challenges for scaling up
2.  Success factors for scaling up
3.  Potential actors to make
changes
Kyungeun Sung
De Montfort University
http://ethicalfashionblog.com/wp-content/uploads/
2013/07/newspaper-print-parka.jpg
Tim Cooper, Johanna Oehlmann, Mollie Painter-
Morland, Usha Ramanathan, Jagdeep Singh

Research methods
§  Semi-structured interviews (face-to-face or phone) with 23
stakeholders of upcycling-based SMEs conducted
between April and June 2017 (30-60 mins)
§  Purposive sampling (dimensional)
−  16 practitioners: 2 material suppliers, 2 supplier-retailers, 1
upcycler, 10 upcycler-retailers, and 1 retailer
−  7 consumers: 4 females + 3 males (2 under 35; 3 between 35
and 54; 2 55 and over)
§  Questions: Challenges, success factors, suitable actors
§  Analysis: Thematic analysis (QSR Nvivo 10)

Material suppliers’ perspective
unsteady inflow of sufficient,
affordable materials
Decreasing donations (for
selling materials)
Complicated laws and
legislations
Being financially unstableBad macro-economic
situation
Promotion
Law and
legislation help
and support
Financial support for lease/
rent
Individual activists and
volunteers
National
organisations
(e.g. Reuseful UK)
Local councils

Upcycling designers and
makers’ perspectives
Limited access to a variety of
affordable, used materials with
quality and quantity
−  Limited by the materials
−  Difficult to find a right
equipment
Time-consuming handmade
process
small volume
production
Limited product
variety
High labour cost
−  Difficult to build reputation
−  High cost for attending
markets and fairs
High price for
sales
−  Unaffordable space
−  A lack of space
Having employees
and apprentices
§  Online
marketing
support
§  Connections
with right buyers
§  Press coverage
Financial
support
Upcyclers

Retailers’ perspectives
Varied quality of products
Consumers’ negative perception
−  Difficult to get the right
narratives and keywords
−  Difficult social media use
−  Difficult to attract suitable
consumers
−  No time for market research
A lack of funding
−  Shop with insufficient display
space and in a bad location
−  High rent
High quality (e.g. aesthetics, longevity,
desirability)
Good exposure of the shop and
products
-  Effective online marketing
-  Good story/history behind products
-  Right wording
-  Good product photos
-  Good product reviews
-  Celebrity involvement
-  Building trust
-  Appreciation of the skills and time
for upcycling
Retailers
Social media, celebrities, consumers,
volunteers

Consumers’ perspectives
−  Limited availability of products
−  Finding good quality products
−  Suitability
−  Warranty
−  High price
−  Price justification
−  Access to the products
−  Convenience in shopping
−  A lack of awareness
−  A loss of appreciation of the
value of handmade products
−  Personal situation
Bespoke
Lowered price by VAT reduction
Increasing availability and access to
products
-  More physical shops embedded in
local shopping environment
-  Financial support and incentives
for retailers
-  Incentives or grants for designers,
makers, manufactures.
-  Information
-  Training and education
Consumers, designers, makers, businesses
(including media) and government

FUTURE RESEARCH
„ Critically discuss (or validate) the findings
throughout a workshop with practitioners,
consumers and experts
„ Suggest promising interventions for scaling up
upcycling SMEs in the UK and beyond
„ Implications will impact upon progress towards
sustainability: a) contribution to academic and
policymaking communities; b) change of consumer
awareness and purchasing preferences; and c)
improvement of business practices à scaling up
of upcycling SMEs à reduce waste + employment

Catalysts for sustainable clothing consump5on:
New value proposi5ons for over consumers

Par%cipa%on in Collabora%ve Fashion Consump%on:
Young Female Over-‐Consumers
Associate Professor Lisa McNeill
lisa.mcneill@otago.ac.nz

•  This
study
explores
consumer
a4tude
and
behavioural
inten7on
toward

collabora7ve
consump7on
generally,
as
well
as
exploring
the
fashion
context
in

light
of
several
fashion-‐sharing
models
of
consump7on
(e.g.
ren7ng,
borrowing,

trading
and
community
ownership).

•  The
sharing,
or
access,
economy
has
been
seen
as
a
hybrid
market
model

between
owning
and
giA
giving;
characterised
by
mul7ple
modes
of
exchange

that
operate
at
the
intersec7on
between
market
and
non-‐market
economies

(Scaraboto
2015).

•  In
this
way,
the
sharing
economy
is
characterised
by
temporarily
accessing

goods
and
services
in
place
of
owning
them,
and
is
ideal
for
assets
that
have

frequent
idle
capacity,
such
as
fashion
items
(Botsman
and
Rogers
2010,

Hamari,
Sjöklint
and
Ukkonen
2015).


Findings

•  Par7cipants
were
mo7vated
to
use
alterna7ve
consump7on
models
to
express
a

unique
and
dis7nct
sense
of
individuality.
They
perceived
that
they
could
be

more
self-‐expressive
using
alterna7ve
consump7on
models,
which
is
an

important
implica7on
for
the
marke7ng
of
collabora7ve
consump7on
op7ons.

•  The
current
study
found
that
many
consumers
were
mo7vated
to
par7cipate
in

alterna7ve
forms
of
consump7on
due
to
a
desire
for
personal
change,
a
chance

to
be
crea7ve
and
alterna7ve
means
to
develop
their
iden7ty.
External

influences,
such
as
the
environmental
benefit
of
alterna7ve
fashion

consump7on,
was
not
a
mo7va7ng
factor
in
their
decision,
despite
the

par7cipants
showing
informed
awareness
of
the
detrimental
effects
the
fashion

industry
has
on
the
environment.

•  Par7cipants
were
predominantly
intrinsically
mo7vated,
therefore,
future

research
of
alterna7ve
consump7on
models
could
examine
mo7va7ons
with

regard
to
self-‐determina7on
theory,
to
beVer
understand
the
balance
between

consumer
values
regarding
sustainability
and
fashion
consump7on.

•  A
unique
contribu7on
that
this
study
provides
is
the
concept
of
place-‐iden7ty
as

a
mo7va7ng
factor
for
one
to
par7cipate
in
alterna7ve
forms
of
consump7on.

Much
of
the
preceding
literature
on
fashion
consump7on
is
focused
on
the
use

of
clothing
in
forming
an
iden7ty,
the
current
study
7es
the
emo7onal
sense
of

place
to
alterna7ve
models
of
consump7on
iden7ty
development.


Mo*va*ons
(+ve)

ü Uniqueness/
Diﬀerence/Variety

ü Crea7vity
(in
self-‐
expression)

ü Conﬁdence
(by

collabora7on)

ü Experimenta7on
(>risk)

ü Learning
experience

(<gain)

Mo*va*ons
(-‐ve)

§ Ac7on
‘unfashionable’

§ Not
exci7ng

§ Preconceived
style

no7ons
for
model

§ Ownership
no7ons

(reluctant
to
give
back)

§ Fear
of
failure
(system

and
self)


Mo*va*ons
(+ve)

Mo*va*ons
(-‐ve)

•  “A
place
like
Dunedin
or
Wellington,
I
think

there's
a
lot
of
people
that
are
interested
in

fashion,
but
it
does
feel
more
like
a

community.
Even
though
you'd
have
less

choice
in
places
that
are
smaller
like

Dunedin
and
Wellington,
because
there's

that
sense
of
community,
I
think
it
would

have
a
stronger
founda-on
to
grow

from”
(Lily).

•  “Yes,
I
would
probably
parFcipate
more
for

the
community,
or
more
for
the
people

rather
than
the
clothes
themselves,
but

yeah.
I
see
how
that's
really
appealing.
It

sounds
really
fun.
Plus,
you
could
possibly

gain
inspiraFon
from
that,
too,
so
yeah,

deﬁnitely.”
(Deborah)

•  “a
group
of
like-‐minded
people”
(Lily)

•  “Say
for
a
subscripFon
you
got
a
this

white
shirt
that
you're
like,
"This
is

amazing.
This
is
the
best
white
shirt

I've
ever
worn."
Then
you
can't
get
it.

You
get
it
one
week,
and
then
you

can't
get
it
for
a
month.
You
are
like,

"Well,
I
can't
get
it."
Maybe
you
just

want
to
go
and
buy
it.”
(Alex).

•  “Yeah,
you'd
be
gu6ed.
You'd
be
like,

"Bye,
white
shirt.
I
don't
know
if
I'll

ever
see
you
again,
but
you
were
a

good
shirt."(Alex).

Support
Mechanisms
(+ve)

ü Place
iden7ty/
community

ü Community

ü Limited
ﬁnances

ü Social
structures

Support
Mechanisms
(-‐ve)

•  Ageing/life
changes

•  Earning

•  Role
enforcement

•  Lack
of
place
iden7ty/
community

•  “Ooh.
It
sounds
like
a
lot
of
fun.
Yes,
I

would
probably
parFcipate
more
for

the
community,
or
more
for
the

people
rather
than
the
clothes

themselves,
but
yeah.
I
see
how
that's

really
appealing.
It
sounds
really
fun.

Plus,
you
could
possibly
gain

inspira-on
from
that,
too,
so
yeah,

deﬁnitely.”
(Deborah
)

•  I
think
it’s
very
much
where
we’re

at
at
the
moment,
and
the
living
style,

and
the
culture
we’re
all
in
at
the

moment,
like
at
this
age.
I’d
say
all
my

friends
that
[got
full-‐Fme
jobs]
at
the

end
of
last
year
and
are
working
now,

I’d
say
they
don’t
wear
each
other’s

clothes
nearly
as
much
as
they
used

to.”
(Holly)

Support
Mechanisms
(+ve)
Support
Mechanisms
(-‐ve)


Q&
A ?
„  Cosette M. Joyner Armstrong
„  Oklahoma State University
„  Cosette.armstrong@okstate.edu
„  Katherine Townsend
„  Nottingham Trent University
„  Katherine.townsend@ntu.ac.uk
„  Tina Müller
„  Copenhagen Business School
„  Tm.msc@cbs.dk
„  Tim Cooper
„  Nottingham Trent University
„  T.h.cooper@ntu.ac.uk
„  Kyungeun Sung
„  De Montfort University
„  Kyungeun.sung@dmu.ac.uk
„  Lisa McNeill
„  University of Otago
„  Lisa.mcneill@otago.ac.nz

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