#Slow Fashion vs Fast Fashion

[differentgardenerobject]

Comparing Slow Fashion and Fast Fashion: An In-depth Analysis

In today's fast-paced world of fashion, two major paradigms are competing for the spotlight: Slow Fashion and Fast Fashion. These two approaches represent not only different ways of creating and consuming clothing but also distinct philosophies that shape our relationship with fashion, the environment, and our wallets. In this blog, we'll conduct a comprehensive analysis of Slow Fashion vs Fast Fashion to better understand their implications and why this comparison is more important than ever.

What Is Slow Fashion?

Slow Fashion is a movement that emphasizes quality, sustainability, and ethical practices. It encourages consumers to make more deliberate choices, invest in high-quality, durable pieces, and support brands that prioritize eco-friendly materials and fair labor conditions. Slow Fashion rejects the breakneck speed of trends, opting for timeless designs that stand the test of time.

The Pros of Slow Fashion:

Sustainability: Slow Fashion brands focus on reducing their environmental footprint through responsible sourcing, production, and minimizing waste.

Ethical Practices: Workers in Slow Fashion companies are often paid fair wages and operate in safe, humane conditions.

Quality and Durability: Slow Fashion garments are typically made to last, reducing the need for constant replacements.

The Cons of Slow Fashion:

Higher Price Tag: Quality and ethical practices come at a cost, making Slow Fashion items more expensive for consumers.

Limited Variety: Slow Fashion may not always offer the diversity and rapid style changes that some shoppers desire.

What Is Fast Fashion?

Fast Fashion, on the other hand, revolves around rapid production and quick turnover of trends. It's about providing consumers with affordable, on-trend clothing, often at a fraction of the price of high-end brands. The downside is that Fast Fashion often relies on exploitative labor practices and materials that are not eco-friendly.

The Pros of Fast Fashion:

Affordability: Fast Fashion allows consumers to stay current with trends without breaking the bank.

Variety: Constantly changing collections offer a wide range of options for consumers to choose from.

The Cons of Fast Fashion:

Environmental Impact: The industry's rapid pace contributes to significant waste and pollution.

Ethical Concerns: Many Fast Fashion brands have been criticized for poor labor conditions and low wages in their supply chains.

Comparative Analysis: Slow Fashion vs. Fast Fashion

Environmental Impact: Slow Fashion is the clear winner here. It prioritizes sustainability, responsible sourcing, and reduced waste, while Fast Fashion often harms the environment through overproduction and cheap, non-biodegradable materials.

Ethical Practices: Slow Fashion takes the lead again. It's committed to fair wages and humane working conditions, in contrast to the questionable labor practices associated with some Fast Fashion brands.

Quality and Durability: Slow Fashion shines in this aspect, as its emphasis on well-crafted, timeless pieces ensures that they last longer. Fast Fashion items often lack the same level of durability.

Price: Fast Fashion offers more affordable options, making trendy clothing accessible to a broader audience. Slow Fashion may be costlier, but the investment in quality pays off in the long run.

Variety and Trends: Fast Fashion provides a wider variety and keeps up with rapidly changing trends. Slow Fashion, with its focus on timeless designs, offers fewer choices in this regard.

In conclusion, Slow Fashion vs Fast Fashion are two very different approaches to clothing, and consumers must weigh the pros and cons of each. The rise of Slow Fashion signals a growing awareness of the need for sustainability and ethical practices in the industry. Ultimately, the choice between Slow Fashion and Fast Fashion comes down to personal values and priorities. Consider your budget, style preferences, and commitment to sustainability and ethical practices when making your decision.

[serendipityscribbles1402]

Week 7: Slow Fashion Case Study

As a counterculture against rapid fashion and throwaway culture, slow fashion is becoming more popular (Future 2022). Slow fashion is a way of regulating the life cycle of clothing that places an emphasis on quality rather than quantity. It promotes ethical corporate practices, emphasizes the value of long-lasting products, and highlights the significance of mindful consumption (Future 2022). The origins of "slow fashion," how it relates to "digital citizenship," the environmental impact it seeks to mitigate, some of the most well-known Malaysian companies that have adopted "slow fashion," the principles of sustainable fashion labels, the accessibility of "slow fashion," and some novel ways to consider the movement's transformative potential are all covered in this blog post.

Originally posted by Country Living Magazine

The promotion and awareness-building of slow fashion strongly depends on responsible digital citizenship. Social media platforms can be used to discuss, share, and highlight the environmental and social issues related to rapid fashion (Zhen et al. 2017). Influencers, bloggers, and online communities encourage slow fashion by highlighting the value of moderation in consumption and highlighting environmentally sustainable solutions. Digital citizenship creates a venue for conversation by encouraging people to become more ethical consumers and building a worldwide community dedicated to developing sustainable practices in the fashion industry (Zhen et al. 2017).

Slow fashion is motivated by a desire to lessen the fashion industry's environmental impact. It attempts to address problems like overuse of water resources, pollution, and textile waste (Batista 2022). Slow fashion strives to reduce environmental harm by advocating methods like upcycling, recycling, and using eco-friendly materials (Batista 2022). It encourages buyers to adopt a circular economy by making investments in enduring pieces and extending the life of clothing via care and upkeep. Slow fashion promotes a more sustainable future where environmental responsibility and fashion go hand in hand through these initiatives.

Originally posted by Trendy Attire

A leader in the slow fashion movement in Malaysia is 'The Modest Brand', among other Malaysian businesses (Selvanayagam 2022). This modest athleisurewear firm is dedicated to provide cozy clothes for ladies of every size and shape. It was founded on two basic values: diversity and sustainability (Selvanayagam 2022). The company ensures a sustainable approach to fashion by using eco-friendly materials in its designs, such as recycled cotton, polyester, and nylon (Selvanayagam 2022). These businesses encourage their clients to make more ethical fashion choices by emphasizing transparency and encouraging two-way communication through digital media. The Modest Brand supports women's active lifestyles, whether they are exercising, relaxing at home, or doing errands, by placing a priority on comfort and functionality. The Modest Brand is an example of slow fashion's potential and encourages other national and international firms to include sustainability into their products and business processes through their commitment to both environmental awareness and inclusivity.

Originally posted by The Modest Brand

Fashion brands must adhere to a set of standards in order to be entirely sustainable. Making ensuring that no children are being forced to labor in any aspect of their supply chains is the first thing they do (Misman 2023). Second, they emphasize the use of sustainable materials to decrease their influence on the environment, such as recycled or repurposed fabrics (Misman 2023). Thirdly, they hire locals and offer them a living wage so they can produce clothing in a moral and charitable way (Misman 2023). Last but not least, sustainable fashion manufacturers seek to establish long-lasting relationships with retailers, suppliers, and other industry participants in order to promote open price negotiations and the expansion of a network that supports the manufacturing of ethical clothes (Misman 2023).

Slow fashion is frequently misunderstood to be more expensive than quick fashion. Slow fashion clothing may cost more since high-quality materials and ethical production methods are used, but they are worth the money in the long run (Future 2022). Slow fashion encourages buyers to spend money on classic, long-lasting items that go beyond trends, lessening the need for frequent purchases. Supporting slow fashion can also encourage a change in consumer demand, which will eventually result in more availability and affordability.

Slow fashion encourages sustainability, moral behavior, and deliberate consumption, and it marks a paradigm shift in the fashion business. It makes use of the potential of digital citizenship to promote dialogue, spark debate, and ignite change. The nation supports businesses like The Modest Brand in Malaysia and the worldwide slow fashion movement by tackling the negative environmental effects of the fashion industry. Sustainable fashion brands follow guiding principles that guarantee ethical manufacture, fair labor, and environmentally friendly materials. Although it could need a small initial investment, slow fashion eventually results in a more sustainable and accountable fashion business. The slow fashion movement demonstrates that there are other approaches to producing and consuming clothing that have a positive influence on society, the environment, and the economy. We can all help to improve the world by practicing ethical consumer behavior and embracing slow fashion.

References

Batista, C 2022, 'What Is Slow Fashion & Why You Should Join The Movement?', The Eco Hub, viewed 12 May 2023, <https://theecohub.com/what-is-slow-fashion/#:~:text=It%20can%20help%20the%20environment,up%20in%20landfills%20and%20minimizing>.



Future 2022, 'What is Slow Fashion?', Future Green, viewed 12 May 2023, <https://www.future.green/futureblog/what-is-slow-fashion>.

Henninger, C.E., Ryding, D, Alevizou, P.J., & Goworek, H 2017, Sustainability in Fashion: A Cradle to Upcycle Approach, Springer International Publishing, New York City.

Misman, N 2023, 'MDA 20009 Week Six Digital Citizenship and Slow Fashion 2022.pptx', MDA20009 Digital Communities, Modules via Canvas, Swinburne University of Technology, 4 May, viewed 12 May 2023.

Selvanayagam, V 2022, 'The Modest Brand Introduces Modest Athleisure Pieces That Everyone Can Wear', Sense Scoop, viewed 12 May 2023, <https://scoop.sense.my/blog/the-modest-brand-introduces-modest-athleisure-pieces-that-everyone-can-wear>.

Trendy Attire 2021, Fast Fashion vs Sustainable Fashion, 2 June, viewed 12 May 2023, <https://www.youtube.com/watch?v=UbIodeCEUMU>.

[gowns]

one of my "special interests" in the past couple of years has been exploring fast fashion vs. slow fashion. it has been a long journey trying to find clothes that actually 1) fit me 2) look good 3) are made from material that is not actively shoving plastic in the ecosystem 4) involve ethical labor, fair trade, fairly compensated, etc

before i did this research, i really had no clue about fabrics or fashion brands. i used to think i had zero interest in fashion, in fact.

i grew up wearing walmart and thrift store clothes, and when i went to college i bought clothes from target and asos. something started to shift a little bit when i found vintage resellers on etsy and ebay... those clothes were so unique. but a lot of the vintage clothes were polyester blends, stiff, and would fall apart as easily as my asos clothes. i would leave them hanging in my closet and never wear them. i would wear the same old t shirts and jeggings every day. i felt like it was impossible to ever wear comfortable clothes, or ever feel good in clothes, so why bother?

it started with linen. linen is very comfortable and pretty sustainable. i was amazed that i didn't feel the urge to rip my clothes off when i wore linen. lightbulb number one.

a friend let me borrow a nooworks dress, and i went to the store and got some overalls. wow. overalls. lightbulb number two. holy shit, you can wear overalls. you know how people say "not binary or non-binary but a secret third thing." that's overalls.

i realized i loved the bonkers prints that nooworks had, and all of it was soft, and made ethically. it was a higher price point than i was used to, which gave me pause. but then you realize: we're not supposed to be buying dumb clothes every other weekend. and isn't a slightly higher price point for soft clothes that you won't want to tear off your body worth it?

so i started my research. i made a spreadsheet. the prices can be all over the place across brands, so i made a column for prices. sizes can be all over the place too -- people always ask me "where is the plus size slow fashion?" it's there. just look at the size column. people say "isn't it better to buy secondhand?" yeah, it is. i have many links to secondhand sources.

if you have any suggestions or additions please let me know, it is a living document.

[elains]

HoFaS cements to me that Sarah struggles with conclusions of her epic story arcs, picking up patterns we saw way back in ACOWAR.

She's not good at balancing stakes VS pay off. The former due to how she's always raising them to astronomical levels, quite literally with the Asteri. They're so absurdly ancient, powerful, and knowledgeable; so unimaginably powerful, with a system that has been in place for fifteen thousand years... and it all crumbles so quickly.

It takes less of a month for Bryce to take them down. Hypaxia develops a cure for the parasite in what, three days? Four of the Asteri die in the most anticlimactic fashion possible, including our main antagonist, Rigelus (and really, why have so many Asteri if you aren't going to do shit with them? Three/Four was ENOUGH).

It ends too fast, too quickly. Fifteen thousand years of oppression, ended like that? Come on.

And the pay off is not enough. Did anyone doubt even for a moment that Bryce would stay dead?

Death is cheap in CCity Land. We see that with thr necromancer plotline, even if it can go wrong. It was clear as day that she would be brought back somehow, just as it was clear as day Rhys would not stay dead in ACOWAR. The surprise in that one was Amren returning too (which Jesiba didn't and CCity's ending is better for it).

And if death is cheap and the reader knows it won't stick, it just becomes a bad plot device to give the ending some emotional way. Some pay off: oh look, they defeated the evil, but there were consequences which won't last more than one chapter!

I'm not arguing against happy endings. I'm arguing that if you are going to pull this off, better not kill these character are all. There are other ways to achieve this emotional impact on the reader, death is not the only way to do it; have the journey matter. Have them be changed and impacted by it, transformed. The person they weren't at the start are not who they are in the end. Along the way, things changed, and some of it are never getting back.

If you are going to have this epic storyline against monsters of legend, conquerors of worlds, powerful enough that time slows when they die, then the resolution has to be coherent with the stakes. You are dealing with the fate of worlds, yet everyone is fine and it moves so fast and the emotional side is left to the wayside... I don't know, maybe don't raise the stakes so sky high?

[gattnk]

Arkan and Temptel embody everything a guardian should be.

Here they are, everyone's favorite teachers! Hands down the most iconic and beloved adults in both the comic and series, and with good reason: this pair is perfectly balanced in terms of design and personality, so I had to do them justice with my redesigns. I'm super proud of how they came out :D

My first step was comparing the comic designs to their show counterparts. The biggest difference for Arkan was his age: he was visibly older in the series, and I'd argue this decision was made so his character design would reflect his wisdom and authority better, and I'd focus on reflecting this notion. Meanwhile, Temptel saw little to no change, and I couldn't agree more with this decision made by the show staff: don't fix what ain't broke!

Teaching is all about theory and practice: knowing the rules and testing them out. I wanted Arkan to embody theory, and in turn Temptel would represent practice; it aligns with the role of angels and devils perfectly (who in turn represent "thinking slow" VS "thinking fast", respectively). As such, I decided Arkan would look more austere and grounded compared to Temptel's impeccably chaotic fashion.

Arkan's new outfit is based on pilot uniforms to evoke authority and discipline. The trench coat, foulard ascot and Oxford dress shoes override the military coding and turn it into classy and elegant. The reading glasses convey he's prepared to observe and learn. I wanted to convey experience, wisdom and authority without incurring on the old mentor trope. In character design, there's many ways of relying the same message!

"Spooky chic" came back with a vengeance! I love me some "spooky chic", which is definitely a staple of devil fashion at this point. I synthetized the shapes and details as much as I could for the sake of serialization: if this character had to be drawn over and over again in a comic or cartoon, a simpler but iconic design would make a big difference on the long run. I know I'd be grateful ;P

Arkan's color palette is a more desaturated version of Raf's, sans the red. I added warm brown tones and a bright orange (same color as Temptel's eyes!) to contrast all the blueish grey. I chose to make his cardigan a very muted color so it would complement the lighter tones much better.

Temptel's colors are a mix of her two palettes: her skin, hair and physical features take after the comic, while her wings, horns and dress are more purple like in the show. Her silver jewelry is a callback to Sulfus as well. Lastly, Temptel's makeup is the same blue as Arkan's eyes, but with the saturation value cranked up to the max.

Random tidbits that went into the design process: despite being younger than his show version, I wanted to keep Arkan's hair color light to complement Temptel's more saturated and darker colors. While I don't think he counts as an accurate representation of real albinism/achromia, I definitely coded him that way. As for Temptel, I thought sneaking in a little treat for her was appropriate, since she's the type of teacher who mixes work with fun: it's also a nod to her sweet tooth in the comics.

I believe this will be my last redesign duo this year since I want to focus on commissions and the holidays, but I'll definitely continue working on the rest of the Golden School staff. Wish me luck and let's see what the future brings :D

I'll Fly With You (rewrite fic) Art masterpost

[shadowmaat]

No ethical consumption, etc.

I've been noticing more articles and commentary about clothing. There's all the high-minded "fast fashion" vs. "slow fashion" thinkpieces as well as contempt for "fake" materials that are toxic to the environment.

Look, I want the environment to be salvageable just as much as the next person, but the idea of trying to put ALL of the onus on individuals instead of corporations or "how the world works" has already been proven as wrong and only gets more irritating the more people hammer on the dead horse.

Are there things you can do to help? Absolutely. But there are also limits, and it'd be nice if we stopped acting as if everything was easy to do for everyone.

I've taken a look at some of the "slow fashion" sites where clothes are sustainably sourced and designed to last for years and there's just no goddamn way I can afford it. Same goes for clothing materials in general: the "evil" synthetic stuff is FAR cheaper and more readily available than natural fibers and "eco" materials. While I'd love to have a complete wardrobe made of environmentally friendly cloth, it just isn't going to happen. And that isn't my fault. Keep the blame on the corporations who've decided it's far cheaper and easier for them to mass produce synthetic materials than to find more sustainable sources. Blame economic systems who refuse to pay workers fair value for their labor so people can't afford to house themselves or eat, let alone wear the "right" kind of clothing.

There's no shame in wearing synthetic fibers. Even if it's for the simple reason that the synthetic stuff looks pretty/sparks joy, there's no reason to feel guilty about it. And there's no reason to shame people for choosing synthetics, either. Condemn the megacorps, not the shoppers.

[switch]

I'm trying to figure out Vlad's speech pattern, do you have any tips on writing his dialogue?

ohh yeah that's tough. i struggled with that for a while and i'm still not 100% sure how exactly i'd put it to words since i kinda just started feeling it out...

uh i think one thing that especially helped with vlad for me was really listening a lot to his voice acting and then just sort of... imagining how his particular deep and kind of slow-spoken and kingly cadence would translate to and sound in written dialogue... does that make sense...

i mean one, uh, 'nice' thing about vlad is that he doesn't have a lot of written dialogue. between his gameplay/my room lines, his interlude, the gray collar event, vegas, valentine, and halloween revival, plus his relatively sparse dialogue in apoc, you can basically look at... everything he's ever said in, like, a day for reference (heck i've got like a 10 minute video of every single line he says in the apoc anime). i will say that some of his early my room lines do have a bit of an odd feel to them, though...

uh, anyway, as for more specific tips... uhhh.... he tends to use more refined or formal or even old-fashioned-sounding language, but critically without sounding excessively flowery, either, as he's often also pretty direct and conveys authority in the way he talks at the same time. especially if he's giving some kind of speech, or talking about something before battle, or scolding someone (apoc and vegas). he says stuff like "fool," "unsightly," "end yourself", "i thank you/you have my gratitude" etc... when he does get more poetic or indirect is in higher bond levels where he starts alluding to things more than outright stating them (bond 5, bond 10, ascension 4), so that's also situational.

it's also sort of shown/implied that he lightens up a bit more when dealing with kids or teenagers in chaldea, and obviously the protagonist, but he really never feels casual even at his most relatively casual or happy state. when writing him i'd definitely recommend veering towards more formal language than you might think is necessary vs risking making it sound too casual, as i would say it sounds out a lot weirder fast when a vlad is accidentally written even a bit too casual than it does when he's written maybe a little excessively formal. he also doesn't seem to laugh a lot outside of brief "heh"s or "hehe"s or even the occasional "oho". he seems to go "hm" or "hmph" sometimes if he's contemplating things or not happy about something... maybe it was sort of a weird translation, but the end of his interlude 1 where he just outright says "sorry for forcing you to accompany me" instead of anything more... noble-sounding feels like kind of a rare big deal thing, for him.

a lot of fan translations outright write him into using "thee"s and "thou"s and "canst"s and such, or at least having him switch to talking like that in certain situations, which i do definitely think works contextually for him. he doesn't use contractions a lot of the time ("there is" "i am" "it is" "i shall", etc) but he does still use them sometimes, (there's multiple instances of "i've" and "i'll" peppered around at the least), so it's not a hard and fast rule- it seems to just be more dependent on who he's talking to and whether or not it works with the flow of that particular line of dialogue. he tends to address other people by titles of some kind rather than by name.

actually i do remember one time the way vlad talks was described to me as something like the way some kind of dark anime villain would talk. he talks like an anime villain who isn't actually a villain...

ugh does any of this make sense, i don't know, so much of this is situational.......

[rose4pup]

Fun facts about me

I'm a m!n0r but anyone can interact just don't be weird

I'm new to tumblr (I came from tiktok 4n4 community its very different on here.)

My whole family is 0bese SOOO

I'm a f00d addict despite trying so overwhelming hard to res

I first image is what I dress and look like vs what I want to look like is second image.

I want to be a game developer for horror games

I love Fnaf, Anime, Creepyspasta,Little pet shops, Welcome home, drawing even though i suck, despite wanting to make horror games i am easily scared.

My whole life i have been 0bese except for when I was 8 and had to move to a different Country City??? I was very close to d!abetic and had to be put on a vegan diet with my sister. we got very th!n and I still thought i was f@t even then. then when we moved out with our dad because he thought they weren't taking care of us when he figured out the conditions. we gained a ton of weight, both me and my sister. i forgot to mention since like 3rd grade I refused to eat lunch, then in 5th grade (184 lbs) i started p*rging and skipping bre@kfast and lunch then b!ng!ng at home. I stopped doing that during summer and gained back so much weight.in 6th grade I would redo the not e@ting,b!nging, and p()rging cycle all over again. during that summer I gained to 194. I then starting locking in, first time I got a calorie counter and steps tracker. but i Iwas more wannarex!c, I'm pretty sure I'm a 4n0rex!c or at least junk0rex!c but whatever. then I moved with my dad again and bought a scale and got more in control. I lost to 175 lbs. and then I had to move with my mom because of financial issues. so, I moved back to my birthplace. then I gained back so much, like I mentioned majority of my family is obese or at least overweight so with all the unhealthy eating, lack of a scale, no self-control, constant fast food and my granny's cooking I got to a disgusting 225. Now I'm trying to lose back all that shit and keep failing. as of writing this i have only had liquids except for my f@t@ss eating four mini reeses from my uncle.

I was really slow in k-2 grade then in 3-7 i got a random boost of intelligence but i wasn't really smart just have good memory and I'm always reading cause I've been a gacha kid since 2018. (if your reading this I promise this isn't my best grammar)

I like danganronpa but i am broke so i watch kubz scouts and biju mike play it. I'm watching the playthroughs in the wrong order no spoilers please. I love fnaf, butI enjoyed the movie despite hating the lore changes.

I liked wonyoungism and in the beginning of 7th grade i had a huge kpop phase but thats gone now.

In 5th grade I thought a was bisexual andIi was a feminist, 6th grade I was a man h@ter and a lesbian despite me being obsessed with male gay romance but whatever. now I'm realizing I was straight and in denial(plus i started hearing stories about crimes commited by men on women and how common it is but now i'm realizing anyone can be evil so i no longer hate me i hate everyone. true EQUALITY) I only had two crushes on girls, and they were just my close friends and I had misread feelings, i was jealous of my best friend(5-now) thinness, beauty, curly hair, fashion, and personality i literally wanted to be her and i was obsessed but i misread it as a crush. then my other friend who treated me like shit despite me being her first real friend. in the past i wanted her validation but now I don't and that makes her mad. Idk but her treating me unfairly and always mocking me for my weight despite being overweight herself manifested in me craving her validation and believing it was a crush.

I've been a gacha tuber for 4 out of the 5 years i've been a youtuber and I only have 1,500 subs i feel like i should give up but i genuinely like my story telling but i never make the videos because i hate nearly everything i make so i never try anymore.

I like minecraft,roblox,gacha,pinterest,wattpad,AO3, and idk what else to add currently.

when i say i'm an anime fan i mean i know a few popular ones, jjk,beaststars,demonslayer,black butler,made in a abyss,danganronpa, ajin demi human,tokyo ghoul,hunter x hunter, Komi can't communicate, blue exorcist, attack on titan,chainsaw man,my hero,helluva a boss if that counts.

I like melanie martinez,aesteria,6 rarely human,ketseki,mitski,ayesha erotica,lumi athena,odetari,rebyzx,thats a few most songs i listen to i only like that one song by the artist and not the rest.

I litterally have no life and sit in bed all day with dreams and hopes but never getting up to do them but the funny part is i can get up to eat like bro thats the one thing i don't want to do but for some reason i was end up eating while thinking i'm never g0nna e@t again, promising to fast tomorrow just to b!nge.

I know its cringe and common but my favorite animals are wolves, A+ for loyalty an family team work. I also love cheatahs.

I love animal facts and documentaries.

I didn't grow up in jamaica,i'm only half jamaican.

Since I was only skinny for 2 years i ate the fact, I have barely any pictures plus the fact in most pictures I do have I realized its very unlikely I will have a thigh gap as skinny me looked skeletal up top like literally dead but for some reason my thighs were still muscly. but ! have grown alot since then.

I love lavender,rose pink and black.

If you want to know (sukuna 1,gojo 2,toji 3, choso 4,I know none of yall like mahito but he 5, geto/kenjaku 6. smk.)

Bye now and I hope i'm not sharing to much.

block don't report ig

[gardenianoire]

and another thing I hate about the "plus size people need fast fashion because no one else makes our sizes" is that yeah it's true that a lot of brands onlt cater to thin people the solution shouldn't be fat people should only wear cheaply made ugly sacks that fall apart after a year. I'm almost 30 I don't wear forever 21 anymore. what about the office workers, church clothes, evening gowns, going out clothes that aren't something I would have worn to club when I was 19. we deserve designer brands that are well constructed, stylish, and will actually allow us a sense of style instead of the the fashion fast industry's brand of crapping overly trendy disposable rags and trying to pass them off as clothes. and it has the nerve to be waaaaaay more expensive than thin people's fast fashion like look at the cost of charlotte russe vs torrid. I love vintage looks but it dawned on me 3 years ago that I only wear so much vintage reproduction because the women owned indy brands actually make slow fashion in my size. and the gag is I'm the biggest size in every brand that I frequent. what about bigger plus size people. they gotta wear leggings and tshirts their whole lives. I want some variety. I want a pair of jeans that my thighs won't split open in six months and like nice staple pieces I can have for years at a time and wide foot genuine leather shoes. the average size in this country is a 16 it makes no sense that 00 is always available from high end brands but 10 is as high as they go if you're lucky. and these ethically made brands ain't shit either. y'all complain no one wants to invest in sustainable clothing and that your businesses are failing but no one can fit into it learn to design for bigger peoplr s m l is children's sizes children do not have moneh children shop at the mall with their allowances

[honor-among-thieves]

32 and 37 for Calcifer, 3 and 15 for Theo, and 21 and 38 for Connor? 👀👀

I had to readmore this because it became long and I don't want to irritate the people following me for shitposts.

fdlksjklajfdsk HELLS YEAH Calcifur ask, this is literally my favorite Blorbo

Calcifur

32. What do they dress like? What sorta shops do they buy clothes from? Do they wear the fashion that they like? What do they wear to sleep? Do they wear makeup? What’s their hair like?

He likes to read plays, but he was never much of a voracious reader outside of that. Fiction vs. non-fiction did not matter to him, though in a way plays are always a little fictional; historical plays were common in his culture though.

Both ostentatious and slutty. He ended the game in Glammerweave, which I always imagined as a hanfu style that resembled ever-shifting ocean waves. Calcifur was established as a silk-robe sleepwear type friend. Yes, he wears make-up, mostly red or gold under the eye, eyeliner, whatever he would need to cover blemishes on his non-standard issue tiefling hues; he was an actor though, so he's good with makeup. He was growing his hair out at the end of the campaign but it was a nice, coiffed undercut.

37. Do they like to read? Are they a fast or slow reader? Do they like poetry? Fictional or non fiction?

Theodosius

3. Did they have a good childhood? What are fond memories they have of it? What’s a bad memory?

Cooking was not a part of his temple duties and he likely has only basic skills; meals were humble. He knows enough to make passable "poor folk" food, but nothing overly impressive. His skills were mostly Temple related and in medicine specifically.

Theo had an...interesting childhood. He doesn't remember much of it, but he was raised in the Temple of Sarenrae and taught everything he would need to know as one of her devout (I assume it was a monk-like situation for him). Unlike other priests-in-training, he was restricted in a lot of ways he will never understand, due to his nature as a divine construct (his temple created him and he is their property), like not being able to really bond with people outside the temple the way he can now. He misses the people he grew up with though, misses his temple, regardless of some of the questionable day-to-day treatment. He is left to trust in Sarenrae's divine plan for them all in the knowledge that he persists while his creators are long-gone.

15. Are they good at cooking? Do they enjoy it? What do others think of their cooking?

Connor

21. Do they have a temper? Are they patient? What are they like when they do lose their temper?

He mostly doesn't have the energy to get into fights with people in...interpersonal situations and ghosts when he's uncomfortable, HOWEVER, he doesn't like being pushed around and he has a quiet, intense anger when he does get stirred up. Also this is a guy who has decided to be a supervillain and do punching, as the fiction demands, so I would say having a bit of a temper comes with the territory at times.

38. What do they admire in others? What talents do they wish they had?

Confidence. Other people being able to move through life without second-guessing themselves, without being trapped in their own minds. He wishes he could be as laissez-faire as Charge, maybe mimics it in his Apotheosis persona. Does not want to acknowledge that or have anyone else do so either and would probably be upset if he saw it in the mirror.

[spectershaped]

Was talking to someone last night about the infamous Persona 4 character arcs and how, like, there's a bunch of different ways to make character arcs sort of Work (very dependent on a bunch of factors and context, like all storytelling)

On a more obvious level, the thing that grates about the P4 arcs is the particular way they bend towards characters accepting roles that are imposed on them by a heteropatriarchical society that, naturally, also exists outside the text. That said, thinking of them in broader terms, a character arc often is, in some fashion, all about the manifold alchemy of the Self and the world outside it; and, of course, one molds the other in a sort of neverending dialogue - the world exists before and molds the Self, which is ultimately a part of it, but the Self reflects upon and pushes somewhat against the world (and other Selves, of course) too. How much of each is changed and how is wildly variable

In St. Vincent's song "Cruel", there's a line, built little by little across various parts of the song (just like she does in "Los Ageless") that I find very cool and haunting: "bodies, can't you see what everybody wants from you / if you could want that too / then you'd be happy". Desire is something that feels at once freeing and tethering - no one can really make you want or desire something directly, but you desires are neither something that comes from nowhere nor something you can control, and they're not always completely cohesive and straightforward. In narrative, there's sometimes an interesting interplay of want vs. need, where a character's most conscious and concrete desires are not what will ultimately satisfy them. And you could dive into the nature of the character arc vis a vis character as simulacrum of personhood, yadda yadda, but the gist of it is: a character's desires - or their understanding of their own desires - changing across the narrative doesn't necessarily make for a weak arc in any way, as the character is but one of a bunch of elements all ping-ponging together in the approximate shape of a story. So what's the deal with P4 in that regard?

P4 is a game ostensibly about facing one's own hidden desires or pettinesses or pains and accepting them, but acceptance can mean a lot of different things. To "accept" can be anything from passively acknowledging but treating as fleeting to treating it as important information that might lead you to reevaluate your sense of self or even your outer context. IIRC the game is a bit muddled regarding what it means by acceptance; Chie's hidden resentment towards Yukiko kinda fizzles out, for instance, and Yukiko's feeling of being trapped is kinda resolved only in her Social Link I believe? The Social Link system with your gang can end up in a weird spot not unlike the DR Free Time Events, where there needs to be a sense of development but not to the point where the story proper is altered by its presence or absence. So the circularity of the story arcs is not just ideologically questionable, it also comes across as thematically weird

Honestly what sort of prompted me thinking about this is that I ended up giving up on trying to play Petal Crash and decided to just watch a playthrough. Not very good at these fast-thinking puzzle games, already not great at the slow-thinking ones. And this playthrough starts with the Yosoti route. Their plotline is basically that they're (like all the playable cast) attempting to gather all of these gems in order to grant their wish; in Yosoti's case, they're looking back at all the ancestors who bore their name and were forgotten by history, which is kind of weirdly existential considering the general lack of actual angst in this story. And the ending is...oddly ambiguous? It feels like they've come to understand the nature of art across time and the particular way that things are "remembered" through influence across generations and it's not super clear whether they actually used the gems at all. It's pretty poetic in its own right but it ended up making me ruminate on the nature of characterization and narrative and desire. I wish I had an actual conclusion to draw but that's me for ya. I'm curious to see what the rest of the cast's plotlines are like...

[differentgardenerobject]

Comparing Slow Fashion and Fast Fashion: An In-depth Analysis

In the world of fashion, there are two distinct approaches that dominate the industry: Slow Fashion vs Fast Fashion. This comparative analysis delves deep into these contrasting methodologies, examining their impact on consumers, the environment, and the fashion landscape as a whole. We explore the key differences between Slow Fashion, which prioritizes sustainable, ethical, and durable clothing, and Fast Fashion, known for its rapid production and constant trend turnover. By examining the pros and cons of each approach, we provide valuable insights into the choices consumers make and the broader implications of these fashion paradigms on society and the planet.

[b2bbusiness]

The Evolution and Future of the Womenswear Market: Trends, Challenges, and Opportunities

The womenswear market has evolved significantly over the years, adapting to changing consumer preferences, economic conditions, and technological advancements. Today, it is one of the most dynamic and competitive segments in the fashion industry, offering vast opportunities for brands and retailers. This article explores the current state of the womenswear market, highlighting key trends, challenges, and future prospects.

Current Market Trends

Sustainability and Ethical Fashion Consumers are increasingly prioritizing sustainability and ethical practices when making purchasing decisions. Brands that focus on eco-friendly materials, transparent supply chains, and ethical production processes are gaining traction. This shift is driven by a growing awareness of environmental issues and a desire for more responsible consumption.

Rise of E-commerce The growth of e-commerce has revolutionized the womenswear market. Online shopping platforms have made it easier for consumers to access a wide range of products, compare prices, and read reviews. This trend has been accelerated by the COVID-19 pandemic, which forced many consumers to shop online. As a result, brands are investing heavily in their online presence and digital marketing strategies.

Inclusivity and Diversity The demand for inclusive and diverse fashion has become a significant trend in the womenswear market. Consumers are looking for brands that cater to a wide range of body types, sizes, and cultural backgrounds. This has led to the rise of plus-size fashion, adaptive clothing, and collections that celebrate different cultures and identities.

Fast Fashion vs. Slow Fashion While fast fashion remains popular due to its affordability and trend-driven designs, there is a growing movement towards slow fashion. Slow fashion emphasizes quality, durability, and timeless style, encouraging consumers to invest in pieces that will last. This shift reflects a broader change in consumer attitudes towards fashion, where quality and sustainability are increasingly valued over quantity and trendiness.

Challenges Facing the Womenswear Market

Supply Chain Disruptions The global womenswear market is heavily reliant on complex supply chains, which can be vulnerable to disruptions. Events such as the COVID-19 pandemic, geopolitical tensions, and natural disasters can lead to delays, increased costs, and challenges in meeting consumer demand. Brands must navigate these challenges by diversifying their supply chains and investing in technology to improve efficiency.

Changing Consumer Preferences The rapid pace of change in consumer preferences presents a challenge for brands. Keeping up with trends while maintaining brand identity and sustainability can be difficult. Brands must be agile and responsive, leveraging data and technology to anticipate and meet consumer needs.

Competition and Market Saturation The womenswear market is highly competitive, with numerous brands vying for consumer attention. Market saturation, particularly in fast fashion, has made it challenging for new and established brands to stand out. To succeed, brands need to differentiate themselves through unique value propositions, innovative designs, and exceptional customer experiences.

Opportunities in the Womenswear Market

Technology and Innovation Advancements in technology offer exciting opportunities for the womenswear market. From virtual fitting rooms and AI-driven personalization to sustainable fabric innovations, technology is reshaping how brands design, produce, and sell their products. Embracing these innovations can help brands stay ahead of the competition and meet evolving consumer expectations.

Global Expansion Emerging markets, particularly in Asia and Africa, present significant growth opportunities for womenswear brands. As disposable incomes rise and consumer tastes evolve, these regions are becoming increasingly important for global brands. Expanding into these markets requires a deep understanding of local cultures, preferences, and retail landscapes.

Collaboration and Partnerships Collaboration with influencers, designers, and other brands can be a powerful strategy for growth in the womenswear market. Strategic partnerships can help brands reach new audiences, enhance their product offerings, and create buzz around their collections. Collaborations can also drive innovation by bringing together diverse perspectives and expertise.

Future Outlook

The future of the womenswear market looks promising, with continued growth driven by consumer demand, technological advancements, and global expansion. However, success in this competitive market will require brands to stay agile, embrace sustainability, and invest in innovation. By staying attuned to consumer needs and industry trends, brands can navigate the challenges and capitalize on the opportunities that lie ahead.

Buy the Full Report to Know More About the Womenswear Market Forecast, Download A Free Report Sample

[sustainabilityandthecity]

Sustainability and Capitalism in the Fashion Industry: A Critical Analysis through the Lens of Karl Marx and Kate Fletcher

Hello again, dear readers! For my final blog post, I wanted to reflect, conclude, and contextualise my research under a Marxist lens. I believe this perspective perfectly complements the study of sustainability in fashion - it is crucial to challenge the current capitalist regime if we genuinely care about being sustainable and ethical because true sustainability is impossible under capitalism.

The fashion industry is a global behemoth, generating trillions in revenue and standing at the intersection of capitalism and sustainability. In this blog post, I aim to explore the tensions between these two forces by drawing on the theories of Karl Marx and the research of Kate Fletcher. While Marx provides a critical framework for understanding the exploitative mechanisms of capitalism, Fletcher offers insights into sustainable practices within the fashion industry.

Karl Marx: The Exploitation of Labour and Capital Accumulation

Karl Marx’s critique of capitalism, articulated in seminal works like *Das Kapital*, revolves around the exploitation of labour and the relentless pursuit of capital accumulation. In the context of the fashion industry, Marx’s analysis is particularly pertinent. The industry thrives on the extraction of surplus value from workers, often in developing countries, where labour laws are lax and wages are low. This exploitation is a direct consequence of the capitalist imperative to minimise costs and maximise profits.

Marx’s concept of commodity fetishism, where the social relations involved in production are obscured by the end product, is vividly illustrated in fashion. Consumers are often unaware of the conditions under which their clothes are made, focusing instead on the brand and aesthetics. This alienation is a cornerstone of capitalist production, perpetuating a cycle of consumption that disregards the human and environmental costs.

Kate Fletcher: Sustainable Fashion and Systems Thinking

Kate Fletcher, a pioneer in the field of sustainable fashion, offers an alternative vision rooted in systems thinking. Her research emphasises the need to rethink the fashion industry’s business models, production processes, and consumption patterns. Fletcher advocates for "fashion that is not only sustainable in terms of materials and processes but also in how it is conceived, used, and valued" (Fletcher, 2014).

Fletcher’s concept of "slow fashion" challenges the fast fashion paradigm, which epitomises capitalist excess. Slow fashion promotes longevity, quality, and ethical production, aligning with sustainable principles. This approach encourages consumers to value their garments, reducing the frequency of purchases and the associated environmental impact.

The Intersection of Marx and Fletcher: Critique and Transformation

Combining Marx’s critique of capitalism with Fletcher’s sustainable fashion principles provides a comprehensive framework for understanding and transforming the fashion industry. Marx’s analysis highlights the systemic issues inherent in capitalist production, including exploitation, alienation, and environmental degradation. Fletcher’s research offers practical solutions to these issues, advocating for a paradigm shift towards sustainability.

The Capitalist Imperative vs. Sustainable Practices

The capitalist imperative to maximise profits often contradicts the goals of sustainability. Fast fashion exemplifies this tension, with companies producing cheap, disposable clothing at the expense of workers and the environment. The industry’s reliance on synthetic fibres, excessive water usage, and chemical dyes further exacerbates environmental degradation.

Fletcher’s work proposes countering this with sustainable practices such as using organic materials, implementing fair trade principles, and adopting circular economy models. These practices aim to reduce the fashion industry’s ecological footprint while promoting social justice. However, they require a fundamental shift in both production and consumption patterns, challenging the deeply ingrained capitalist logic of continuous growth and consumption.

Towards a Sustainable Fashion Future

Achieving sustainability in the fashion industry necessitates addressing the capitalist structures that underpin it. This requires not only changes in business practices but also a transformation in consumer consciousness. Education and awareness are crucial in fostering a culture that values sustainability over disposability.

Government policies and regulations also play a vital role in this transformation. Implementing stricter labour laws, environmental regulations, and incentives for sustainable practices can help mitigate the negative impacts of capitalism on the fashion industry.

Conclusion

The interplay between sustainability and capitalism in the fashion industry reveals deep-seated contradictions and challenges. Through the lens of Karl Marx, we see the exploitative and unsustainable nature of capitalist production. Kate Fletcher’s research provides a roadmap for a more sustainable future, emphasising ethical production, longevity, and systems thinking.

The path towards a sustainable fashion industry is fraught with obstacles, but it is not insurmountable. By integrating Marx’s critical analysis with Fletcher’s practical solutions, we can envision a fashion industry that respects both people and the planet, aligning economic activities with the principles of sustainability and social justice.

Signing off for now,  

Adam <3

References

Fletcher, K. (2014). Sustainable Fashion and Textiles: Design Journeys. Earthscan.

Marx, K. (1867). Das Kapital: Critique of Political Economy. Volume I.

[dejaliues]

fighting my demons: folding my clothes (ugh)

goldfish attention span vs the tyranny of tidying up

The overflowing laundry basket mocks me from the corner threatening to topple over and engulf my entire room and leers at me like a forgotten fast-fashion collection threatening a runway spill. Adulting 101 tells me to tackle it, to conquer this Everest of sartorial choices, mismatched socks and crumpled graphic tees, but the mere thought triggers a mental yawn so wide that I can hear my brain cells migrating south for a permanent siesta.

Folding clothes– a seemingly basic chore for functioning humans– has become my personal purgatory, a battle ground where I face the ever-encroaching monster of a declining attention span and the crushing weight of existential dread.

Dopamine deluge, psychologists would drop the term that describes the constant barrage of notifications, social media updates, and endless online entertainment we’re bombarded with daily. Our brains, conditioned by this never-ending feed, have become insatiable dopamine junkies. Folding a t-shirt, a task offering a mere trickle of satisfaction, pales in comparison to the dopamine tsunami unleashed by a perfectly curated Instagram feed.

It’s all about the instant gratification, the quick dopamine hit, leaving the mundane task perpetually relegated to the back burner.

The very fabric of our attention has been altered. We’re the ADHD generation, raised on a steady diet of fast-paced video games and multi-tasking mayhem. Our brains our wired for constant stimulation, making the slow methodical process of folding clothes feels like watching paint dry– except way less low-key while simultaneously listening to your grandma explain the intricacies of crocheting doilies.

Folding becomes a desperate attempt at multi-tasking, a Sisyphean struggle against the tide of my own distracted mind but the results are always the same: mismatched pairs, uneven folds and a nagging feeling that nothing is ever truly finished.

Mindfulness practices as potential antidote to the attention span epidemic. Focus on the moment, feel the fabric, the repetitive rhythm of the folding motion, could be a form of meditation.

So here I stand, amidst the ever-growing pile of laundry, armed with a single folded shirt and a renewed sense of purpose. The journey may be long, fraught with distraction and detours, but perhaps, just perhaps, I can transform this mundane chore into a quiet act of rebellion, a moment of mindful resistance against the tyranny of ever-diminishing attention span.

[jaidonschool]

R.e.p.e.t.i.t.i.o.n.

We Are All Copies

We live the same story again and again. Each human life passing with the same plot. Each relationship, each profession. We play out each day driven toward the same fictions, the same feelings.

Yet the world keeps turning. And we need something to do.

Driven by desires to self-reinvent, become, belong, create, contribute, progress… humans recite the same verses time and again in our own voices.

It's the rhythm of our society – maybe even our species – maybe even all life: Reproduce. Survive.

Success and Consumerism

Among the lifestyles of our time, consumerism is one of the dominant strains. It deepens our hunger and feeds us; serving up fast food, fast fashion, hobbies, identities, addiction, [usually shallow] self-transformation, education, downward spirals, upward spirals, and the rest of the 10,000 things.

Though it does have destructive shortsighted tendencies –spreading like a life-sucking cancer destroying biological, cultural, and social ecosystems, and leaving suffering, anomic cultures, poor mental health, and pollution in its wake– perhaps it's also most fit, outcompeting other lifestyles. It's highly profitable, self fulfilling, decentralized, resilient, and widespread.

Many people's initial reaction is belief in reversal: degrowth, taming desires, slow living. Another common reaction is belief in technology: solarpunk living, renewable energy, post-scarcity economics. Though, these reactions often get convoluted in identity politics or drown in hallow buzzwords.

I personally navigate the grey area via longterm thinking, mindfulness, dispassionate critical reasoning, first principals thinking, and curiosity.

Reguardless of its morality, growth in this climate requires reproduction.

Repetition is boredom. Repetition is celebration.

I often bore of repetition and hunger for innovation. To imagine, experience, or feel something new and maybe strange.

Yet at times I celebrate repetition: the entrancing rhythms of electronic music, the focusing and flow inducing homework edits, the satisfying coherence of design systems and lightroom presets, a stable home.

The difference is in where art is "to be seen". The art of business is in innovative business models, distribution, marketing strategies… The art of conceptual painting is in an innovative message or means of delivery. The art of manufacturing can even be in creating perfect standardized copies. The art of olympic sports is in perfected performance for scoring points under a strict rule set.

Design's Lie

The art of design is understanding where to place emphasis and flair, and where to refrain and repeat.

The dream of designers is that you can develop literacy in adding flair. If you are skilled enough, you know how, when, and where to add emphasis. And developing these skills will determine your ability to earn positive reception.

But I no longer believe it.

A host of factors command where repetition (and novelty) is good vs bad: consumer tastes, operational constraints, the business's financial constraints, etc. These factors are so contextual, nuanced, and everchanging. To grasp them, you have to understand how the underlying systems are working. And at best, only hard work and first hand experience can grant you partial understanding at any given time.

Discovering the best way to do something –where, how, and when to add flair in a particular situation– is really time consuming and takes many iterations. Yet it is relatively durable. Once you nail it, you can repeat it for as long as possible, and focus on something else.

Photography

My photographs may be repetitive. This is not bad. I think I'm honing the larger message I want to say. All photographers are finding better answers to the same question: "What should I shoot?"

Doing corporate work is not boring. The art is not often in imaginative or expressive visuals. It may be in the subtitles of communication (like the work of Kenya Hara), in efficiently making money, or even in the financial earnings of an employee on autopilot.

[ Right now, one of my favorite aesthetics is in Helvetica, unedited photographs, Massimo Vignelli, the subtle elegance of Kansai food, and "tasting the ingredients". While the creations themselves may not appear innovative, they draw attention to reality, making the content, the present moment, or life itself the art; in a way that has proven timeless and enduring. ]