SIGHT SIDE | Sounds like Sustainability
At the Sustainability Table: An Unfiltered Conversation on Ethics, Designer Responsibility, and Environmental Impact
This week’s issue of <SIGHT SIDE> will weebly wobbly its way into the theme of ‘Sustainability’ — a topic that might be self-evident from the title. While some regard it as a critical aspect of modern lives, others may dismiss it as unremarkable or even tiresome. Even so, as denizens of planet Earth, we can ill afford to ignore its significance. Yet, grappling with the issue can prove challenging. That’s why, for this issue, I’ve decided to mix things up a bit and sit down for a chat with an individual who has a passionate interest in the subject.
C: This issue of <SIGHT SIDE> is all about sustainability, and we’re not pulling any punches. It’s an issue that demands our attention, and there’s no shortage of material to cover. Despite the lip service paid to sustainability by countless companies, their ESG management efforts often fall short, and some of the examples are downright bizarre. Let’s be honest, some of the cases out there are downright strange. Shall we start with what you think is the most outrageous case of sustainability?
H: You know, when I think about sustainability in design, one thing that immediately comes to mind is vegan leather. While it’s marketed as a more ethical alternative to traditional leather, it’s essentially just synthetic leather with a different name. It’s a classic example of greenwashing that’s been around for ages. The term “vegan” has a magical ring to it that makes consumers feel less guilty about their choices, even though the environmental impact of producing vegan leather is still a big unknown.
C: Indeed. The word “vegan” seems to make everything okay, but in reality, it’s not that simple. It’s important to recognize that the production of vegan leather likely has a significant environmental impact.
H: I don’t have any concrete data on the environmental impact of producing vegan leather versus animal hides. But what’s interesting is that there’s something about the word “vegan” that makes it sound eco-friendly. It’s like a magic word that lets you feel good about consuming without any guilt. Remember when it used to be called synthetic leather? That term had a negative connotation because it was obvious that it wasn’t doing the planet any favours. But “vegan” has a different ring to it, and it seems to make everything okay. With the term “vegan leather,” guilt is alleviated, making consumption much easier.
C: It also fuels consumption, don’t you think?
H: People don’t bother to explore what vegan leather really is, but the term itself gives them a sense of making a conscientious purchase, almost like magic.
C: Absolutely. And while synthetic vegan leather has been the go-to alternative for animal leather, there are now more genuine sustainable options available, like pineapple leather made from discarded pineapple leaves and stems. However, the labeling and marketing of these materials is a bit of a gray area. The term “vegan leather” doesn’t adequately capture the unique properties and environmental benefits of these alternatives.
H: As a consumer, it’s challenging to discern between the different types of leather, and a detailed explanation from the company is required. Simply touching and feeling the material is not enough to distinguish between animal-based and vegan leather. We need a clear classification system to avoid confusion between genuine and faux alternatives. Just as there are varying degrees of veganism in food, they can also be varying degrees of sustainability in materials.
C: So, If I’m understanding you correctly, you’re proposing a standardized system for categorizing materials, similar to how eggs are labeled based on how the chickens are raised?
H: Yes, exactly. Although, the problem with the current egg labeling system is that very few people know what the numbers represent.
C: I completely agree. A clear labeling system that is easily understandable by everyone would be great, particularly for sustainable and eco-friendly materials such as vegan leather. Speaking of which, what other vegan materials are commonly used in the fashion industry?
H: There are some alternatives to fur that use synthetic fibers, but I am not well-versed in the details. Additionally, there are several brands that entirely avoid using animal-based materials.
C: The fashion industry is notorious for its unpredictability of demand, which often leads to excess inventory that can be challenging to manage. It’s been reported that in some cases, unsold items are even burned to maintain brand value.
H: As far as I’m aware, the fashion industry has a considerable environmental impact, with one of the highest percentages among industries. The majority of clothing production is situated in countries like Southeast Asia and China, resulting in a significant carbon footprint due to transportation.
C: At least there is still a growing conversation about sustainability within the industry, despite its significant environmental impact.
H: Yes, it’s true that large corporations are making efforts to incorporate sustainability into their agenda and using ESG labels. It’s good that there are still efforts being made, but it’s important to acknowledge that the most sustainable option is to consume less and avoid excessive buying, even though it may seem like a far-fetched idea.
C: To me, it seems paradoxical that the fashion industry both intentionally creates trends to promote consumer spending and simultaneously makes claims about their sustainability goals, such as “We plan to achieve n percent sustainability within n years.”
H: Yes, it’s definitely ironic. In my opinion, this tactic is a way for the fashion industry to survive in a highly oversaturated market. But if we want to encourage more responsible consumption, it’s crucial for people to value and create memories with their clothing.
C: It’s certainly a challenge for brands to create a lasting memories and impression on consumers.
H: Ideal but difficult to achieve.
C: It’s hard not to notice the sway of an intangible force over individuals when it comes to consumption. People seem to be making decisions based on trends and what others are wearing, rather than on their own independent choices. It just doesn’t feel authentic to me.
H: I agree with you. The pressure to own the latest trendy bags, even when it serves no practical purpose, can be overwhelming. I’ll admit that I’ve even succumbed to the urge to buy something just because it’s in fashion. It’s so easy to get caught up in the trend and feel like we need to follow it, even if it’s not really something we want or need.
C: So, what do you think about the fast-fashion and SPA industries, which are so in tune with the latest trends?
H: You can’t deny the allure of trendy clothing, even if you can’t afford the high-end brands favored by celebrities and influencers. There’s just something about discovering a stylish, fashionable piece of clothing at an affordable price that brings a sense of excitement and satisfaction. And while luxury brands may be out of reach, SPA brands can offer a similar experience at a more accessible price point.
However, the dark side of mass production in the fast-fashion industry cannot be ignored. It’s disheartening to see the amount of waste and discarded products. It’s time for SPA brands to prioritize sustainability and step up their game. Eco-friendly materials are a good start, but we also need to consider the production processes used to create them. The fact that it takes an astonishing amount of water to produce a single pair of jeans, even with eco-friendly materials, is concerning. And if the workers involved in producing these garments are not treated fairly or given safe working conditions, can we even truly call the end product “eco-friendly”?
C: So, if I getting this right, being eco-friendly in fashion means reducing the carbon footprint at every stage of the process, from materials to production and treatment of the producers. Is that what you mean?
H: I believe that’s how it should be. However, currently, it doesn’t quite make sense, and I must admit that my understanding of the industry may not be extensive enough to claim that using eco-friendly materials alone can make it sustainable. While it might have been straightforward in the beginning, we now need to consider the next level of complexity. Companies need to minimize waste during production, which depends on the garment design and amount of fabric used. This not only benefits the environment but also reduces losses for the company by minimizing leftover materials. Eco-friendliness is often associated with immediate drawbacks like higher costs for the consumer, but in the long run, it’s a win-win situation. If we don’t take action now, we’ll end up paying for it in the future.
C: Then, what actions can fashion designers take from their perspective?
H: That’s quite a tough question.
C: But an important one to consider.
H: Fashion designers are distinct from artists because their aim is to create wearable products that appeal to consumers. However, it’s important to recognise that the production of any product can have adverse effects on the environment. Thus, designers should prioritise sustainability by incorporating high-quality materials, even if it requires a greater expense. By adopting this approach, individuals can obtain greater gratification from wearing a single, long-lasting garment, rather than purchasing multiple pieces that quickly wear out. Clothing plays a pivotal role in defining a person’s identity. As such, wouldn’t it be worthwhile for designers to create clothing that truly resonates with a person’s unique identity?
C: “Trend” can be helpful in the fashion industry, but it often results in an abundance of clothing items that look strikingly alike. Therefore, it may be worthwhile for designers and brands to consider creating a collection of high-quality, meticulously crafted pieces that embody their distinctive style and vision.
H: Loads of fashion brands follow the latest trends, but only a select few can truly stand out by defying the norm while staying true to their identity. In my opinion, good design incorporates elements of current trends while maintaining its relevance beyond a single season. The ultimate goal is to create clothing and accessories that are both fashionable and durable, rather than disposable items that quickly lose their appeal.
C: Exactly, I do recall that interview with the Lemaire creative director. It was fascinating to hear how they consider the customer’s existing wardrobe when creating new collections. It’s a delicate balancing act, trying to maintain a unique aesthetic while also ensuring the pieces can be easily incorporated into one’s existing closet.
H: Implementing a strategy that stays true to brand identity and avoids trendy fads is commendable, but for an SPA, it can be difficult to achieve. With the pressure to sell large quantities and appeal to a broad consumers, it can be difficult to strike a balance.
C: It appears that the push for sustainability has largely come from consumers rather than brands.
H: Brands prioritize profits over sustainability and only change when consumers demand it.
C: It’s easy to use buzzwords like “sustainability” and spin it to look good, but not many businesses are genuinely practicing sustainability in a meaningful way.
H: Using the word “sustainability” may seem simple, but fully comprehending its significance and communicating it accurately is no small feat. Nonetheless, the fact that it’s becoming a habit is a step in the right direction.
C: The ability to customize clothing through tailors and modern knitting technology allows for the production of small batches in any material and quantity. This means that it is possible to produce exactly what is needed, minimising waste and reducing the likelihood of clothing ending up in landfills.
H: Yeah, this approach is not only sustainable but also allows for more individuality in fashion. Bespoke clothing holds sentimental value and is less likely to be thrown away, making this approach to production more sustainable.
C: The standards for proportion and fit in fashion constantly change with the latest trends. But, if skilled tailors were readily available in local communities, a culture of refurbishing clothing could emerge, reducing the need for new purchases. For instance, there are already artisans who transform old luxury bags into modern pieces.
H: Even if it is an old luxury bag, experienced craftsmen can restore and revive it. I cherish the bag and the memories it holds, so throwing it away would be wasteful. However, if the cost of fixing it were too high, I might not bother. Ultimately, the price and the experience of purchasing and using a product determine its longevity.
C: So, it all comes down to price?
H: Not everyone can afford a product at that price point. If you aim to offer cost-effective products for the masses, you must consider more than just the immediate environment. Raising the price would limit the opportunity for everyone to have the same experience.
C: The parallel between the fashion and food industries is striking. Fast fashion is like fast food; it’s quick and cheap, but lacks quality and substance. Just like how maintaining a nutritious diet requires more effort and is often less accessible than grabbing a fast food meal.
H: I aspire to wear high-quality clothing that can last for a decade, but it can be expensive and out of reach for most people. But we can hope for advancements in science and technology that will allow for the use of recycled materials. The vintage market is also expanding, which is good. Clothes are tempting. The low prices of trendy clothes can make it difficult to resist the urge to buy them.
C: However, 3D printing technology has advanced significantly, yet it is still not commonly used in mass production.
H: For personalised, low-volume tailoring, the future may lie in the combination of AI and 3D printing technology. Imagine. By sending our measurements, AI can analyze our needs and place an order for a perfect fit, resulting in no fabric loss.
C: But what happens to clothes at the end of their life cycle? What is the current approach of the fashion industry?
H: Sadly, they are often discarded and buried or exported to developing countries.
C: So, the so-called developed world, under the guise of sustainability, exports garbage to the developing world… It’s basically exploitation all over again.
H: I believe this is because we don’t see the production process or understand how it’s done. If we knew how much water was used in the production process and how much waste is generated, we might behave differently. I remember watching a documentary about mountains of garbage, and it was shocking. Although we have recycling, we don’t always know where the waste is buried. We live in a world where convenience often outweighs our concern for the environment. If we put ourselves in the shoes of those living in countries where garbage is piling up, we would realize how serious this issue is and that it’s our responsibility to address it.
C: You know, as a designer, we only focus on the birth of the process. We’re obsessed with how to make it look beautiful and sellable. I once visited a junkyard for a project and it made me realize that there is a whole other world of valuing materials that we don’t often consider. Like copper and metals are valued highly because they can be traded for cash, but good quality fabric and leather are just tossed away like trash. We don’t often think about what happens to our designs at the end of their life cycle.
H: Yeah, I think it’s because it’s easier to throw things away than to reprocess them. And even in school, they don’t teach us about what happens after we create something. We only see the birth, not the end. As designers, we have a responsibility to think about the environment.
C: It’s a lot of responsibilities, isn’t it?
H: It is. I’ve even questioned whether designing is the right thing to do when I learned about the impact on the environment. But we can’t just stop designing, someone’s going to do it anyway. I think it’s important for schools to educate students about the entire design process, from beginning to end.
C: Nowadays, using sustainable materials has become more than just a practice in industrial design; it’s almost become a trend. But honestly, I’m not sure if it’s accurate to call it sustainable.
H: What do you mean by that? Are you referring to the production process?
C: Well, if you remove the sustainability label, it’s not that impressive. The only advantage is sustainability, but if you take a closer look, it’s not really that beneficial.
H: Sustainability is crucial, but design is equally vital. You can purchase an eco-friendly product once, but what we need is a continuous effort within the industry. It seems like designing with only the sustainability label is taking the easy way out.
C: When you’re trying to market sustainability, you have to concentrate on sustainability’s true meaning. Take a look at classic designs that are still popular, or vintage furniture that has a significant value. Perhaps that’s one aspect of what true sustainability is all about.
H: That’s sustainability. Sustainability is a crucial factor, and the designer’s name holds sway as well as the price. For instance, you don’t throw away a worn-out classic Chanel bag, you repair it and keep using it. I also believe that government policies are what drive brands. Consumers’ opinions certainly have an impact, but when the policy changes, it becomes enforceable.
C: I think there’s a trend towards experimenting with sustainability, and I’m hopeful that if we give it some space, some positive changes might emerge.
H: Currently, the countries that are consuming high-quality designs are not the developing nations. There seems to be a gap because it is the developing nations that are confronting environmental challenges. It begs the question, if developed countries like the US and Europe are also grappling with environmental problems, can they still afford to consume?
C: I think they are aware of it, but they pretend not to know.
H: Because it doesn’t directly affect me at the moment.
C: Because It’s not an immediate concern for me.
H: Imagine if a tsunami were to strike right in front of your home. You wouldn’t be able to ignore it. That’s fear. If it were a genuine and present issue, we couldn’t consume or design the way we do during a crisis.
C: The only means by which I experience it are through documentaries, which are not commonly watched by people.
H: How about we gather a group of designers, provide them with nearby accommodations, and give them the opportunity to see a pile of garbage stacked just offshore in the Maldives on a daily basis?
C: That could make for an interesting Netflix series. But what can we do right now to address this issue?
H: I admire brands like Patagonia, which wasn’t originally a fashion brand, but rather a brand that produced durable clothing and didn’t prioritize high sales volumes. There are tasks we do because we have to, and those we do because we want to, so why not be a designer who creates what we need, just like we do what we enjoy and want to do.
C: I think Patagonia’s approach is also influenced by American culture, which places a positive emphasis on self-expression, allowing people to showcase their identity as environmentally conscious individuals through the brands and clothes they purchase, and that’s admirable.
H: Yes, people view their identity as tied to the brand, and I feel that it’s a more difficult area to design with environmental impact in mind than it used to be.
C: Well, what’s your opinion on Re;code?
H: I believe it’s a great initiative, especially since it’s a brand from Kolon, and I haven’t seen many large companies doing something similar. Instead of creating new products, they take unsold clothes and turn them into something new. It has a unique identity and looks appealing. The design is not generic, and people might have different opinions about it, but it’s admirable that a big brand is taking steps towards sustainability. The products themselves are also aesthetically pleasing.
C: How about Freitag?
H: I think it’s a functional and practical product that has managed to sustain its popularity over time. It has a sporty and trendy design that appeals to many people, and its durability also adds to its appeal.
C: And it’s reasonably priced. Neither too expensive nor too cheap.
H: That makes it less likely to be discarded. Despite Korea being known for its recycling, the actual recycling rate is quite low, and some places don’t recycle at all. It’s a personal practice, and it’s different from what companies do.
C: I feel like there’s a sense of lethargy that comes with it, even if I try my best… Well, some things are done just once, for a few days, and then forgotten by people who don’t care.
H: It’s a difficult problem to solve. In Korea, one of the worst things is the waste produced at funeral homes. It’s so convenient for people, but it’s mostly non-recyclable and ends up in landfills. Even if one person uses plastic, when many people attend the funeral, the amount of waste generated is enormous. It’s a challenge to avoid using these conveniences, but what can we do?
C: I heard that even so-called biodegradable vinyl products are often incinerated instead of being composted, because there is no proper environment or infrastructure for them to decompose.
H: That’s why material innovation is so important. Without proper disposal options, we need to create materials that are either fully recyclable or biodegradable.
C: Maybe that’s why people are interested in Mars. Tesla was a bit of a game-changer with the idea of updating software instead of constantly changing hardware. On the other hand, companies like Apple, Samsung, and Huawei are releasing new smartphones every season while claiming to care about sustainability, even removing chargers from the package. It’s strange.
H: It’s absurd. This approach to sustainability is the most absurd of all.
C: There’s also an unwritten rule that you should replace your phone every two years.
H: I prefer to use my phone until it breaks down, even if it’s more than two years old. Unfortunately, after two years, it tends to start breaking down. The push to replace phones every two years only promotes consumption, and that shouldn’t be the case.
C: Constantly discussing new phone models and limited edition colors feels like we’re adding design garbage to already-existing smartphone garbage. It’s like we’re spending energy on something unnecessary.
H: There used to be trendsetters who would replace their phones frequently, but others like me want to use them for as long as possible without them breaking down. However, smartphones now cost as much as home appliances, which can last for 10–20 years, while smartphones are consumer goods that have a limited lifespan. I love them for their convenience, but sometimes it feels like I have to keep replacing them.
C: As the functionality of a single device becomes more complex, the likelihood of it breaking increases. One small gadget now replaces many different machines. So, in the end, how would you define “sustainability”
H: In my view, sustainability means reducing environmental harm across all stages of the product lifecycle, ranging from manufacturing to consumption.
C: Certainly, I couldn’t agree more. Sustainability is not just about reducing environmental impact; it’s also about elevating the consumer experience with minimal consumption. Can you imagine a world where brands and designers shift their focus towards producing items that are durable, unique, and difficult to dispose of, in order to ensure a refined and elevated user experience? In general, it’s discouraging to see so many brands churn out forgettable designs that lack creativity and thoughtfulness.
H: Developing a clear identity is one approach we can take. Although there is no definitive solution, we must strive to improve.
<SIGHT SIDE> definition:
Sustainability[n] 1.Minimising environmental harm throughout a product’s entire lifespan 2.Enhancing the user experience without encouraging excess consumption
