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Journal of Retailing and Consumer Services 20 (2013) 200–206

Contents lists available at SciVerse ScienceDirect

Journal of Retailing and Consumer Services

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Slow fashion movement: Understanding consumer perceptions—An exploratory study

Sanjukta Pookulangara a,n, Arlesa Shephard b,1

a College of Merchandising, Hospitality and Tourism, University of North Texas 1155 Union Circle, #311100 Denton, TX 76203-5017, USA b SUNY Buffalo State, Upton 315, 1300 Elmwood Ave., Buffalo, NY 14222-1095, USA

a r t i c l e i n f o

Available online 20 January 2013

Keywords:

Slow fashion

Consumer perceptions

Sustainability

Green fashion

89/$ - see front matter Published by Elsevier

x.doi.org/10.1016/j.jretconser.2012.12.002

esponding author. Tel.: þ1 9405652439; fax ail addresses: [email protected]

[email protected] (A. Shephard).

l.: þ1 3615932192; fax: þ1 3615932230.

a b s t r a c t

The retail industry currently is dominated by fast-fashion and just-in-time production seeking to

increase fashion trends. Yet, due to the economic crisis worldwide, disposable incomes are on the wane

and clothes at disposable prices are losing their appeal. There is a growth of a new movement

counteracting the demand for fast fashion—the ‘‘Slow Fashion’’ movement. The exploratory study

analyzed consumers’ perception of purchasing slow fashion garments using focus groups. Four themes

emerged (1) Slow fashion defined; (2) Slow Fashion Product Attributes; (3) Slow Fashion as a Lifestyle;

(4) Slow Fashion into Retail Mainstream, implications for retailers have been suggested.

Published by Elsevier Ltd.

1. Introduction

The global retail industry has been growing steadily over the last few years and is estimated to increase to $1222.7 billion by 2014 (Reportlinker Adds Apparel Retail, 2010). Even though there is growth in the retail industry, the outlook is not all rosy. The future holds many challenges for the retail industry. The industry is in the midst of dynamic changes with the addition of new channels of distribution, resource shortages, climate changes, demographic changes, new technologies, and shifts in the global economy impacting both the retailers as well as their customers. Due to the size of this industry it has an opportunity to have a positive impact on the global society and the environment along with its enormous economic clout (Fashion Futures, 2025, n.d.).

The apparel industry currently is dominated by fast-fashion and just-in-time production leading to increased fashion trends. This in turn has spurred overconsumption where consumers buy more than they need, which in the end results in fashion waste. Fierce competition and lack of supply chain transparency have contributed to driving down both costs and social and environ- mental standards (Fashion Futures, 2025, n.d.). Over the past decade, companies have realized that sustainability and ethical conduct have begun to matter in fashion (Moisander and Personen, 2002) because affordable and trend-sensitive fashions, while typically highly profitable, also raise ethical issues (Aspers and Skov, 2006).

Ltd.

: þ1 9405654348. (S. Pookulangara),

Today, fashion is full of contradictions. People express that they are interested in sustainability, but continue to seek out fast inexpensive fashions (Johansson, 2010). Consumers have embraced fast fashion, seduced by cheap versions of styles that graced the catwalks of Milan and Paris in the previous weeks (Wood, 2009). However, due to the economic crisis worldwide, disposable incomes are on the wane and some consumers are becoming disenchanted with mindless consumption and its impact on society (Kozinets and Handelman, 2004). Additionally, consumers are aware that individual over-consumption creates an ongoing cycle of appetite, simultaneously voracious and insatiable (Joy et al., 2012). There is a growing movement of ‘‘ethical consumerism’’ with consumers demanding that the goods they buy are made in ways that do not harm the environment or the workers who made them. Studies have indicated that consumers are often willing to pay more for ‘‘green’’ products or ‘‘sweat-free’’ goods (Gam et al., 2009; Kahn, 2009; Pookulangara et al., 2011).

Ethical fashion, ecofashion and sustainable fashion: all these terms have become familiar within the media over the last few years (Fashion Futures, 2025, n.d.). However, as stated earlier, it is difficult to for retailers to be sustainable and maintain low costs as well as achieve superior product quality especially in the fast-fashion led industry. This has encouraged the growth of a new movement that counteracts the increasing demand for fast fashion—the ‘‘Slow Fashion’’ movement. This nascent ‘‘Slow Fashion’’ movement has taken its cues from the now-popular ‘‘slow food’’ movement, which – besides emphasizing slow cooking methods – has also made efforts to support small, local farmers and to promote the use of local, seasonal produce (Kahn, 2009). Slow fashion does not refer to time as its name suggests, but rather to a philosophy of attentiveness which is mindful of its various stakeholders’ respective needs (with ‘‘stakeholders’’

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referring to designers, buyers, retailers, and consumers) and of the impact producing fashion has on workers, consumers, and eco- systems (Fletcher, 2008).

Slow fashion is a topic that has entered into discussion in the textiles and apparel industry in the last few years. As scholars seek to define slow fashion, they examine contributing concepts such as fast fashion, social responsibility, sustainability, and transparency within the fashion system. Slow fashion concept is based on sustainability within the fashion industry and design incorporating high quality, small lines, regional productions, and fair labor conditions (Slow Fashion Award, 2010). Sustainability is increas- ingly becoming a core consideration for the apparel industry, affecting strategy, operations, workforce engagement, and connec- tion to consumers and communities (Siegel et al., 2012). It is important to understand that slow fashion incorporates concepts such as using greener fibers, utilizing technology to reduce waste and pollution, or taking into account the movement of the product through the supply chain. In addition, slow fashion encourages conscientious consumers who consider their purchase in a holistic manner especially since they have become progressively more concerned about their environmental and social impact (Henly, 2010; Siegel et al., 2012). Slow fashion is not just adopting classics, or literally slowing down the production process; it is a means of incorporating social responsibility, sustainability, transparency and other core concepts to improve businesses practices as well as maintain profitability (Fletcher, 2010). According to Nakano (2009), slow apparel is ‘‘fashion that is not time based, but is about producing, designing and consuming better.’’

The slow movement is relatively new to the fashion industry. Few scholars have begun to investigate the role of slow fashion and its definition; however, this concept is derived from a strong foundation in the slow food movement and has the potential to provide more direction for future business practices than more general concepts and terms such as eco-fashion or sustainability. Furthermore, the complexity of ethical consumer choices reflects the complicated process of ethical decision making, which requires detailed evaluations of personal and social benefits and harms derived from products with ethical attributes (Freestone and McGoldrick, 2008). Previous studies have examined various facet of consumption with respect to the apparel industry i.e., concerns with respect to sweatshops (Pookulangara et al., 2011; Tomolillo and Shaw, 2004); corporate social responsibility (Creyer and Ross, 1997; Sen and Bhattacharya, 2001); eco-friendly tag- ging/garments (Phau and Ong, 2007); re-cycling (Birtwistle and Moore, 2007). However, none of these studies have examined the new concept of ‘‘slow fashion’’. Recent studies have indicated that the clothing market is emerging as an area of increased consumer concern (Valor, 2007; Joergens, 2006; Shaw et al., 2006) and hence it is appropriate that the slow fashion concept is investi- gated more holistically. The proposed study will be exploratory in nature and will analyze consumers’ perception of purchasing slow fashion garments using focus group interviews. It is hoped that the information gathered in the interviews will be utilized to create a survey which then can be tested with a larger sample set.

2. Defining slow fashion

The origins of slow fashion lie in the slow food movement (Clark, 2008; Holt, 2009b). The slow food movement began in Italy in the 1980s as a reaction to the increasing fast food lifestyle (Fletcher, 2010; Holt, 2009b; Johansson, 2010). Not only was it important to know more about what consumers were buying and who produced it in order to make more sustainable choices, but people desired to return to the community connection they had with food through cooking and eating in social settings (Holt, 2009b; Fletcher, 2010).

People desired to change the homogenized, mass-produced business model that appeared to trump food merchandising and consump- tion (Fletcher, 2010).

The slow fashion movement has not grown with the cohesiveness of the slow food movement (Fletcher, 2010). The concept of slow fashion is relatively new in the textile and apparel industry; therefore, scholars have been working toward identifying a concise definition of the term that would differentiate it from the many existing concepts (i.e., sustainability, social responsibility) from which it has evolved. Part of the challenge is in the name—the fashion industry has become synonymous with speed, efficiency, and trendiness which seem to contradict the term ‘‘slow.’’ Most scholars agree, however, that the purpose of slow fashion is not to literally slow down the textile and apparel supply chain, but place more holistic emphasis on creating a more sustainable process, which includes design planning, production sourcing, and consumer education (Clark, 2008; Fletcher, 2010). According to Clark, ‘‘the slow approach offers more sustainable and ethical ways of being fashionable that have implications for design, production, consumption and use’’ (2008, p. 428). Clark identifies three components of slow fashion: placing value on local resources and economies, transparency in the production system, and creating products with a longer usable life (2008). Clark’s view of slow fashion closely relates to the themes behind the slow food movement (Johansson, 2010).

Contemporary researchers vary in their definitions of slow fashion. Flower describes slow fashion as the ‘‘farmer’s market approach’’ to clothing (Johansson, 2010, p. 28). Each garment has a story and consumers have more appreciation and personal connection with their clothing (Johansson, 2010). An article in WWD discussed one industry member’s interpretation of slow fashion which was to create more classic silhouettes in more neutral colors by well-paid, skilled laborers (Tran, 2008). Holt defines slow fashion by suggesting that the concept of slow fashion is the direct opposite to fast fashion (Holt, 2009b). Slow fashion, however, is not intended to literally be ‘‘slow’’ (Clark, 2008; Fletcher, 2010). This is not to say that slow fashion does not incorporate some of the above ideas; however, slow fashion has different goals and priorities and is less ‘‘materially growth- focused’’ (Fletcher, 2010).

Fletcher, one of the leading scholars regarding slow fashion, seeks to clarify the role of slow fashion in her description:

Slow fashion represents a vision of sustainability in the fashion

sector based on different values and goals to the present day. It

requires a changed infrastructure and a reduced through-put of

goods. Categorically, slow fashion is not business-as-usual but just

involving design classics. Nor is it production-as-usual but with

long lead times. Slow fashion represents a blatant discontinuity

with the practices of today’s sector; a break from the values and

goals of fast (growth-based) fashion. It is a vision of the fashion

sector built from a different starting point (Fletcher, 2010, p. 262).

Fletcher argues that slow fashion is one component or subsystem of slow culture in which fashion must be viewed within the frame- work of the larger economic and societal systems. When considering slow fashion, she asks questions such as ‘‘what are the socio-cultural and ecological consequences of [producing more fashion]? Are the benefits worth the extra costs? And what sorts of fashion system would best serve our total needs?’’ (Fletcher, 2010, p. 264). Her argument is that we should not literally ‘‘slow’’ down fashion, but examine the system of fashion in a new, more sustainable context.

3. Recent changes in the apparel industry: From fast to slow

The retailing sector has evolved in recent years. In particular, apparel retailing has made a critical transition from the push system,

Fig. 1. Framework model for the slow fashion process.

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where designers dictated trends, to a pull system where retailers respond to consumer demands (Barnes and Lea-Greenwood, 2010; Sull and Turconi, 2008). In order to meet consumer demands with accurate timing, concepts such as just-in-time (JIT) delivery and quick response (QR) developed (Barnes and Lea-Greenwood, 2010; Bruce and Daly, 2006). Besides haute couture and the traditional ready-to- wear market, a new category developed known as fast fashion which perfected these new strategies (Reinach, 2005). Fast fashion retailers have two main goals which are to reduce lead time and provide fashionable merchandise concurrently as trends emerge as a means of promoting continual economic growth (Barnes and Lea- Greenwood, 2010; Byun and Sternquist, 2008; Cachon and Swinney, 2011; Sull and Turconi, 2008). Fast fashion retailers accelerated the selling cycles and began to add additional cycles by making smaller and more frequent purchases thus replenishing inventory more rapidly (Bhardwaj and Fairhurst, 2010; Byun and Sternquist, 2008), leading to the introduction of new styles and merchandise on a frequent, sometimes weekly or bi-weekly basis (Byun and Sternquist, 2008; Morgan and Birtwistle, 2009). The lead time of fast fashion is much shorter than that of traditional ready-to-wear with lead times often taking as little as one month or less (Doeringer and Crean, 2006) which can improve trend accuracy and reduce necessary markdowns (Bruce and Daly, 2006). Fast fashion firms often reduce lead time by adapted styles from existing designs with less emphasis on long-term forecasting (Doeringer and Crean, 2006; Reinach, 2005; Tokatli, 2008).

3.1. Sustainability versus fashion waste

Some scholars question whether fast fashion can be sustainable (Johansson, 2010; Fletcher, 2010). The argument is that fast fashion’s emphasis on reduced lead time often leads to social and environ- mental sacrifices. Fast fashion, for instance, is sometimes referred to as throwaway fashion (Bhardwaj and Fairhurst, 2010) and relies on being able to imitate and sometimes copy haute couture and ready- to-wear designs (Barnes and Lea-Greenwood, 2010; Byun and Sternquist, 2008; Doeringer and Crean, 2006; Reinach, 2005; Tokatli, 2008). According to Byun and Sternquist, fast fashions are often presented as being perishable, suggesting that like food, the styles will degrade quickly (2008). To keep up with the trends, people expect to be able to buy more and spend less. This has been made more feasible because prices of apparel have dropped in the last ten years (Fast Fashion, 2007; Kunz and Garner, 2011) with more consumers buying at ‘‘value’’ retailers (Fast Fashion, 2007). Reports indicate that people were buying one-third more clothing in 2007 than in 2003 with fast fashion clothing expected to be worn ten times or less (Fletcher, 2007; Morgan and Birtwistle, 2009).

Due to fast fashion, consumers are not only purchasing, but disposing of fashion at a rapid rate. Clothing today is not meant to last and often shows wear or defects in a short period of time resulting in fashion waste (Johansson, 2010; Niinimäki and Hassi, 2011). More consumers seem to be discarding textiles than before given that the collection of textile waste has increased from 7% to 30% based on weight in just five years (Morgan and Birtwistle, 2009). According to a study by Morgan and Birtwistle (2009), more than 1000,000,000 kilo-grams of textiles end up in landfills each year which warrants notice since landfill space is quickly running out. There seems to be a growing interest in ‘‘cheap chic’’ among people in their teens and early twenties and it is likely that fast fashion will continue to maintain a presence in the industry (Bove and Dorsett, 2009; Morgan and Birtwistle, 2009).

3.2. The adoption of environmental and social concepts

Consumers have become savvy about environmental and social concerns and are pressuring companies to incorporate sustainable, ecological, green, socially responsible and other practices into their

business plan. Many of these concepts have often been viewed as contradictory to the fast fashion process (Cervellon and Wernerfelt, 2012). The terms ‘‘ethical’’ and ‘‘sustainable’’ have become integral in discussions about the fashion industry. Sustainability is often used as an umbrella term that incorporates environmental compo- nents and has become an important factor in the apparel design sector to identify proactive practices that incorporate planning for the future (Thomas, 2008). The concept of ethics is different from ecofashion, green fashion and other environmentally directed move- ments in that ethics embodies a holistic philosophy where design, manufacture, trade, and consumption take efforts to have a positive impact on people, cultures, and the environment (Thomas, 2008). Ethical production has now trumped the eco craze as it has more overall importance among consumers (McAspurn, 2009). Ethics often works in tandem with the concepts of sustainability and social responsibility.

The social responsibility concept has contributed to the devel- opment of the slow fashion movement. The term ‘‘social respon- sibility’’ has been used in business since about the mid-twentieth century. In Dickson and Eckman (2006) attempted to develop a universal definition of social responsibility in which it is embo- died by several core dimensions: an orientation that is comprised of the environment, people, and the value chain that is involved in the textile and apparel process; a philosophy that seeks balance between ethics and profitability; and a desire for outcomes that have little negative impact on the people and societies involved. The challenge is that consumers often support socially respon- sible business practices, but are not equipped with appropriate knowledge to make responsible purchases (Dickson, 2000).

3.3. The slow fashion process

As more is learned about slow fashion, it has become clear that it is not just another term for ethical fashion or the antithesis of fast fashion, but a process that embodies the direction of the textile and apparel industry to incorporate more conscientious decisions at all levels of the textile and apparel complex from retailers to consumers (Fig. 1). Slow fashion is a means to combat the consumption issue which addresses the lack of sustainability of the fashion industry as a whole (Johansson, 2010). The slow fashion process challenges apparel firms to make the effort to include sustainable, environmental, and ethical practices into their designs, to select production methods that emphasize quality, craftsmanship, and experienced labor, and to

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educate consumers so that they can play an active role in making informed decisions regarding their apparel selections.

Many companies are now integrating sustainability into the apparel design process (Gam and Banning, 2011; McAspurn, 2009). Unlike fast fashion which is focused on quickly adapting popular styles, sustainable design incorporates reflection throughout the design process (Niinimäki and Hassi, 2011; Leerberg et al., 2010). Designers are now encouraged to design using the cradle to cradle concept as it motivates designers to design a product with all stages of the garment’s lifecycle in mind including what happens to the garment when it is no longer in use or discarded (Gam and Banning, 2011; Gam et al., 2009). Sustainable design does not come without challenges. One of the first challenges for companies has been obtaining more sustainable textiles, such as organic cotton or recycled plastic bottles. Another challenge to sustainable practices is the force of constant change brought on by fast fashion retailers (Gam and Banning, 2011).

Slow fashion continues to focus on the quality of a garment and the practices with which it was made. In order to be successful, retailers need to educate the consumer about the processes used in the creation of their apparel. Despite growing technology, consumers still have little access and knowledge concerning the business practice claims of many companies (Gargi and Ha- Brookshire, 2011). Consumers are looking for transparency today (Dilys et al., 2009). This need for transparency is a key element within the concept of slow fashion. Many professionals within textiles and apparel have begun to realize the importance of addressing problems that exist in our current textile and apparel value chain. Corporate Social Responsibility (CSR) is directly tied to accountability among apparel firms which has led to an increase in the need for transparency in the supply chain (Perry and Towers, 2009). Bad CSR practices can lead to bad publicity and loss of brand value (Perry, 2012).

With stores such as H&M and Zara, fast fashion is not likely to disappear in the near future (Tran, 2008). As more of these retailers, such as Zara, have faced CSR challenges due to negative publicity regarding poor working conditions in their factories it has become clear that adjustments need to be made to the fast fashion model (Perry, 2012). The slow fashion process encourages rapport building with labor groups, however, which supports better planning and long-term relationships as opposed to the uncertainty derived from a continual emphasis on reducing labor and production costs (Fletcher, 2007).

Fletcher (2010), a founding scholar in slow fashion, suggests that the slow fashion movement requires a re-examination of the entire fashion process including design, production, and distribution. The Center for Sustainable Fashion developed three tactics to facilitate change: build a transformed fashion system through the generation of discussion, increased attention to sustainable design, and dis- semination of knowledge; foster human well-being through exam- ining the role of fashion in our culture, developing more sustainable production practices, and improving education; and work within nature’s limits by encouraging transparency, developing goals and methods of assessment, embracing positive change and new ideas, and evaluating the cost of production to society as a whole (Dilys et al., 2009). In order to implement these tactics, it becomes our role as researchers to better understand the nature of slow fashion and consumers’ perceptions through exploratory research.

4. Methodology

Due to the limited insights provided by literature into the slow fashion movement, focus groups were deemed an effective means of exploratory data collection, as relatively little is known about the phenomenon of interest and this approach has been

successfully employed elsewhere to study consumer attitudes and perceptions in a relatively un-researched context (Calvin and Lewis, 2005; Nicholls and Lee, 2006).

5. Sample and data collection

Data for personal interviews was collected via convenience sample from students of apparel and textiles programs at two Southwestern Universities. A student sample was considered appro- priate for the study because the topic under investigation was apparel, a category of interest to the student sample (Bertrandias and Goldsmith, 2006), and also because the consumers within this age cohort group are more culturally homogeneous than any other age cohort group (Levy and Weitz, 2001) and hence reduces the potential for random errors compared with a sample from the general public (Calder et al., 1981; Sprotles and Kendall, 1986). Additionally, the students were appropriate for the purpose of conducting focus group interviews as young consumers will be the next generation of ethical consumers (Mirza, 2004). Research has indicated that the use of students for exploratory study especially when items in the questionnaires are pertinent to the given respondents is appropriate (Singhapakdi et al., 1996).

There were 7 focus groups conducted at the two research sites with a total of 50 participants. On average, the focus groups had 5–7 participants; all the participants except two were women. All the participants were undergraduate students with an average age range of 18–25 years with most of them pursuing a merchan- dising major. The participants were provided an incentive which was to participate in the drawing of a $25 gift card.

6. Measures

The questions for the in-depth interviews were based on the existing literature (e.g., Beard, 2008; Clark, 2008; Fletcher, 2008) and consisted of open-ended questions to elicit candid responses from participants. Group discussions were recorded with the participants’ permission and a discussion guide was used to encourage topics to be explored. The questions were principally aimed to gain insight into the following five topics of research:

(1)

defining slow fashion movement

(2)

beliefs about slow fashion;

(3)

slow fashion attributes;

(4)

slow fashion consumption behavior; and

(5)

influence of slow fashion on the retail industry.

The students were provided the following definition of slow fashion after they presented their initial thoughts of the concept:

Slow Fashion concept is based on sustainability within the fashion

industry and design incorporating high quality, small lines,

regional productions, and fair labor conditions (Slow Fashion Award, 2010). Slow Fashion garments are intended to be worn for a long time and create a personal connection with the wearer

(Holt, 2009a). Slow Fashion is not about responding to trends, it is a change of mentality that involves thinking about the origin of

the garment and buying something that won’t look unfashionable

after one season (Wood, 2009).

7. Data analyses

The interviews were tape recorded with prior approval from participants and transcribed separately by the researchers using the open-coding method. Open-coding is a component of

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grounded theory and is the process involving identifying, coding and categorizing the main ideas found in the data (Corbin and Strauss, 1990). Concepts were re-examined with written notes from the interviews to ensure consistency. After independent analysis by the researchers, four themes emerged:

7.1. Slow fashion defined

The focus group participants were asked to define the concept of slow fashion prior to providing them with the definition of the concept. Most of the students indicated that it had a relationship to the fashion industry with definitions such as ‘‘opposite to fast fashion’’; ‘‘slowing down of the fashion product life cycle’’; ‘‘slow moving fashion styles’’. The participants were then provided the definition of slow fashion as stated above and were asked again to describe their definition of slow fashion. The common theme was that it is fashion that never goes out of style and is made with care and precision. The respondents indicated that it took care and time to produce these garment. Some of the participants mentioned that they would consider pieces that were handed down from their parents and grandparents as ‘‘slow fashion’’ products as they were considered not only as a fashion piece but also the value of the product increased due to the shared history with their family members. This supports the ideology that slow fashion garments are intended to be worn for a long time and create ‘‘emotional durability’’ or in other words a personal connection with the wearer, which will ensure its longevity and may even get passed on to the next generation (Holt, 2009a). The participants’ statements sup- ported the concept of slow fashion whereby each step of design from manufacturing to consumption has been considered in the sense that the designer considered the origins of the garment and how was it derived; the clothes are constructed by well-paid workers, and they are built to last (Tran, 2008).

7.2. Slow fashion product attributes

All the participants agreed that slow fashion products were quality products irrespective of the product category. The respon- dents indicated that the slow fashion pieces would be more expensive than regular merchandise and would be classic rather than trendy. This is in line with the slow fashion philosophy which is not focused on responding to trends; it is a change of mentality that involves thinking about the origin of the garment and buying something that will not look unfashionable after one season (Wood, 2009). During the interviews there was a common theme that these products would be made with care and take a longer time to be manufactured unlike fast fashion products. When asked to provide an example of this kind of merchandise the most quoted example was the little black dress. Several of the participants stated that they would be willing to pay extra to ensure that the garments were manufactured in socially respon- sible conditions and were eco-friendly. Some of the other product categories they indicated would be a good fit for the slow fashion concept would be accessories and handbags.

7.3. Slow fashion as a lifestyle

All of the participants agreed that the slow fashion movement is an ideal situation that they would be striving to work toward. The biggest hindrance to follow the slow fashion lifestyle accord- ing to the participants was economic considerations. Most of the participants indicated that although they would love to buy fashion that was not only a quality product but also ethically produced, they were unable to do so due to the higher price tag attached to such products. This finding supports Joergens’s (2006) suggestion where it was indicated that even when consumers

have a high level of awareness about ethical issues, price, quality and style have a greater bearing on purchase decisions. When asked if they knew for certain whether slow fashion products were actually more expensive than other merchandise, none of the respondents had any knowledge. This is an important finding since there is now far more information in the public domain regarding ethical practices (Jones et al., 2007); however, this research found that consumers still believe they do not have enough knowledge to make ethical decisions. When further probed why they thought that slow fashion products would be more expensive, the participants responded that as the merchan- dise was ethically produced (i.e., sweat free) and was of higher quality they assumed that the products would be more expensive. Overall, the participants were willing to embrace the slow fashion movement when they had more discretionary income at their disposal.

7.4. Slow fashion into retail mainstream

The participants were divided in their opinion as to whether slow fashion would integrate into the retail mainstream. A few of the participants indicated that slow fashion was more for their parents’ generation whereas fast fashion was more appropriated for their generation. Some viewed slow fashion an ‘‘economic’’ phenomenon suggesting that during periods of economic hard- ship, when consumers do not want to spend money, they would be more open to investing in a few classic well-made pieces. However, once the economy recovered, the consumers would go back to conspicuous consumption, buying fashions based on trends rather than their sustainability or eco-friendly character- istics. Others indicated that due to the increased focus on sustainability and ethical consumerism, the slow fashion move- ment is here to stay and will slowly gain popularity worldwide. One idea everyone agreed upon was the fact that if retailers and manufacturers marketed their product aggressively and educated the customer about the benefits of buying slow fashion products, this concept has the probability of becoming a highly successful phenomenon.

8. Conclusions and implications

Slowed down by a softening economy, dwindling supply of natural resources and fatigue from constantly chasing trends, a growing number of designers, retailers and consumers are turning their attention to an emerging trend called slow fashion (Tran, 2008). Retailers are reporting the rise of ‘‘slow fashion’’ as consumers think harder about what they buy (Wood, 2009). Thus, it is important for retailers to embrace a consumer-centered approach to sustainability, in which companies present a holistic application of sustainability that is well integrated into company policies and product offerings (Sheth et al., 2011).

Consumers are now slowly starting to invest not only in a piece that will look incredible for years, but the integrity of the process via the slow fashion route (Sayer, 2007). However, as indicated by the interviews, consumers currently do not possess adequate knowl- edge on slow fashion to make informed purchase decisions. It is argued that in order for consumers to make efficient decisions they must be fully informed (Sproles et al., 1978) since consumer demand for sustainable fashion, such as slow fashion, depends on a knowledge and understanding of the issues impacting sustain- ability, coupled with availability (Moisander et al., 2010).

Transparency continues to be a challenge as product and supply chain transparency is another important approach to authentically communicate to consumers (Siegel et al., 2012). In times of instant gratification, consumers expect to have easy and

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convenient access to production information in order to make more informed purchase decisions (Gargi and Ha-Brookshire, 2011). Retailers need to pay attention and address this gap in information by creating promotional strategies that can both educate as well as enhance brand equity. Today’s consumer is technology savvy and hence it is suggested that retailers utilize the web, social media, and smartphone applications to engage consumers and provide them with information about slow fash- ion and other sustainable strategies at the level to which they are comfortable (Siegel et al., 2012).

The findings also indicate that consumers have the mindset that shopping for slow fashion would require a larger share of their discretionary income to be spent on clothing which is not considered ‘‘trendy’’. The economic downturn has certainly affected consumers’ purchase behavior as many people can no longer afford to go on big shopping sprees and are buying less (Faulkner, 2011). Shopping ‘better’ means different things to different people, but everyone can take steps toward more sustainable purchase decisions that fit their lifestyle and wallet. Carrigan and Attalla (2001) had suggested that consumers tend to make ethical purchases when they are not required to pay more, suffer loss of quality, or make a special effort. Hence, it is recommended that retailers utilize strategies which will mini- mize the effect of price. Additionally, slow fashion is not only about purchasing garments that meet the ethical requirements but also participating in the process of reusing, recycling, and repurposing existing clothing. This provides additional growth opportunity to the apparel industry as the slow fashion trend could support tailors and budding designers who would enable consumers to repurpose their garments.

Celebrities have the leverage to address such issues because they have the propensity to garner attention for environmental, human, and animal rights as ‘‘celebrity activists’’ (Winge, 2008). Furthermore, celebrity endorsers have become powerful refer- ence groups influencing consumer behavior (Joung and Park- Poaps, 2011), and retailers can effectively use celebrity endorsers to help them make ‘‘slow fashion’’ popular and established. Obsession with celebrities has increasingly fueled consumer demand for the latest style and the desire to be able to buy clothing the celebrities wear (Alexander, 2003; Alexander et al., 2003) and retailers can utilize the aspirational value of celebrities to sell slow fashion products.

Overall it can be stated that slow fashion is still at its’ introductory phase. Slow fashion is a concept that potentially serves as a means of improving the way businesses that are involved in the textile and apparel value chain conduct business. However, there is greater awareness among consumers about ethical behavior and the consequences. Slow fashion is not time- based but quality-based and is about choice, information, cultural diversity, and identity and requires a combination of rapid imaginative change and symbolic (fashion) expression as well as durability and long-term engaging, quality products (Fletcher, 2007). In the end the success of slow fashion at the consumer level will be largely determined by how a company markets the idea and how they connect to what they buy by hearing a story about the designers, materials, and collections (Tran, 2008).

9. Limitations of the study and recommendations

The findings from this study may not be generalized to the population because a sample from two research sites may not be representative of the population. It is suggested that future study should be expanded to include other ethnic and age groups to gain a better understanding of the staying power of the slow fashion movement and its impact on the apparel industry.

Additionally, the study was restricted to interviews, and to increase reliability and validity of focus groups, it is argued that the data be validated by a survey (Calvin and Lewis, 2005). Hence, it is suggested that information gathered in this study may be used to design a survey which then can be administered to consumers.

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