be nurtured, by de-emphasizing what is seen and heard (i.e.
can be transferred to fashion remains to be seen. However, the
is evident, provided the focus is shifted from fashion as image,
the materiality of fashion.
dreams and desires feed consumer behavior, they must be constrained
sustainability is to be viable. Young consumers will need to embrace
significant shift in consumerism: no longer routinely purchasing
impulse, and no longer routinely viewing their acquisitions through
lens of short-term thinking. In fact, sustainable fashion should become
dream, and all stakeholders in the fashion industry should strive toward
goal, with luxury fashion playing a major role in the transition.
plays a key role in this transition, calling upon the consumer’s
to discern and value artisanal quality. Heidegger argues
a work of art is never finished when the artist stops working on it;
it needs a viewer to make present the “being of a thing” (Atwood
48). The same can be said of luxury: only once a luxury item has
an element of a consumer’s self-definition, with its innate appeal
reflecting and reinforcing the consumer’s individual aesthetic, can
be said to be fully complete.
brands can become the leaders in sustainability because of
emphasis on artisanal quality; why toss an item designed to last, with
opposed to deliberately time-limited—style? Dissuading
from fast fashion poses a significant challenge, however, given
acute addiction to its transient thrills. However, since identity is
evolving, and requires a materially referential imagining of
individual’s identity, an alignment of fashion with saving the environment
make dissuasion possible (Parkins 2008). Such a process
be tied to the conceit of a self that is fully transparent to itself and
whom we are able to assign agency (Butler 2005). As Binkley (2008:
notes, “Ambivalence itself is no longer the enemy of identity, but
basis for an on-going project of the self, tuned to the endless preproduction
fluidity, mobility, and indeterminacy as a permanent state
a variety of life choices, daily practices, and on-going projects
the self.” We tend to believe like Butler (2005) does, that the basis
morality is not so much self-identity but the exposure to others—the
desire and attempt to not close down the task of narrative
Fashion, especially sustainable fashion, lends itself to such creative
(Entwistle and Rocamora 2006). As Wilson (2004: 381) suggests,
the epitome of consumerism, is also its stealthiest critic.”
authors gratefully acknowledge receipt of an SSHRC grant No:
in Canada and an internal grant from the Hong Kong
University in Hong Kong.
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