Embracing mindfulness:
Enriching slow fashion for human and environmental wellbeing
A thesis submitted in fulfilment of the requirements
for the degree of Master of Design
Figure 1: Sandra Backlund’s sculptural knitted garment by Elisabeth Toll, Stockholm New, n.d.
Hayley Alyce Thompson
BCI(Fashion), QUT, BCI(Hons), QUT.
School of Fashion and Textiles
College of Design and Social Context
RMIT University
October 2019
<Image removed due to copyright restrictions>
Hayley Thompson | Embracing mindfulness: Enriching slow fashion for human and environmental wellbeing
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Declaration
I certify that except where due acknowledgement has been made, the work is that of the author
alone; the work has not been submitted previously, in whole or in part, to qualify for any other
academic award; the content of the thesis is the result of work which has been carried out since the
official commencement date of the approved research program; any editorial work, paid or unpaid,
carried out by a third party is acknowledged; and, ethics procedures and guidelines have been
followed. I acknowledge the support I have received for my research through the provision of an
Australian Government Research Training Program Scholarship.
Hayley Thompson
06 October 2019
Hayley Thompson | Embracing mindfulness: Enriching slow fashion for human and environmental wellbeing
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Acknowledgements
The completion of this thesis was aided immensely by the guidance, understanding and support of
those closest to me and my research journey. Thank you to my research supervisors, Dr Angela Finn
and Dr Ricarda Bigolin, for their time, attention, insights and guidance in developing my thesis, and
their reassurance throughout this process. I would also like to acknowledge the direction offered by
each of the panel members from the School of Fashion and Textiles who attended my milestone
progress reviews - thank you. Finally, I wish to thank Will Paton and my parents, John and Donna
Thompson for their enduring support and understanding. Their advice, patience, encouragement
and ability to help me gain perspective during the course of this thesis will always be appreciated -
thank you.
Hayley Thompson | Embracing mindfulness: Enriching slow fashion for human and environmental wellbeing
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Table of Contents
Declaration ........................................................................................................................ II
Acknowledgements .......................................................................................................... III
List of Figures ................................................................................................................... VI
List of abbreviations ........................................................................................................ VII
Abstract ............................................................................................................................ 1
CHAPTER 1: INTRODUCTION .............................................................................................. 2
1.1 Situating the research .............................................................................................................. 9
1.2 Methodology ............................................................................................................................ 9
1.3 Scope and limitations ............................................................................................................. 12
1.4 Structure of thesis .................................................................................................................. 17
CHAPTER 2: SLOW FASHION AND MINDFULNESS ............................................................. 18
A literature review .......................................................................................................... 18
2.1 Slow fashion ........................................................................................................................... 19
2.2 Mindfulness ............................................................................................................................ 34
2.3 Mindfulness in the slow ethos ............................................................................................... 40
2.4 Sustainable and ethical fashion .............................................................................................. 45
2.5 The fashion system ................................................................................................................. 49
CHAPTER 3: SLOW FASHION AS A PRACTICE .................................................................... 52
A contextual review ........................................................................................................ 52
3.1 Introducing slow fashion labels .............................................................................................. 55
3.2 Ethos of slow fashion labels ................................................................................................... 61
3.3 Practices of slow fashion labels .............................................................................................. 67
3.3.1 A commitment to social and environmental sustainability ........................................................... 68
3.3.2 A commitment to designing better for people and the planet ...................................................... 73
3.3.3 A commitment to producing better for people and the planet ..................................................... 75
3.3.4 A commitment to nurturing relationships ..................................................................................... 76
3.3.5 Transparency ................................................................................................................................. 78
3.3.6 Longevity ........................................................................................................................................ 82
3.3.7 Combining traditional and new techniques, skills or styles ........................................................... 85
3.3.8 Quality ............................................................................................................................................ 86
3.4 Slow consumption as a practice ............................................................................................. 87
CHAPTER 4: SLOW FASHION AS A MINDFUL PRACTICE ..................................................... 98
A comparative analysis .................................................................................................... 98
4.1 Awareness in the sustainable and ethical fashion space ....................................................... 99
4.2 Embracing mindfulness in slow fashion ............................................................................... 102
4.2.1 Identifying mindfulness in slow fashion ....................................................................................... 102
4.2.2 Contradictions in uniting slow fashion and mindfulness ............................................................. 109
4.2.3 Holistically embracing mindfulness in slow fashion ..................................................................... 111
4.3 Awakening collective mindfulness ....................................................................................... 118
4.3.1 Framing the concept of collective mindfulness in slow fashion .................................................. 119
4.3.2 Exploring the slow ethos to inform collective mindfulness ......................................................... 122
CHAPTER 5: SLOW FASHION IN THE FASHION SYSTEM ................................................... 128
A comparative analysis .................................................................................................. 128
5.1 Exploring the function of slow fashion in the fashion system .............................................. 129
Hayley Thompson | Embracing mindfulness: Enriching slow fashion for human and environmental wellbeing
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5.2 Garment making was traditionally slow ............................................................................... 138
5.2.1 Not all ‘slow’ fashion constitutes slow fashion ............................................................................ 145
CHAPTER 6: CONCLUSION .............................................................................................. 161
References .................................................................................................................... 171