Introduction

The textile and clothing industry is a diverse one, as much in the raw materials it uses
as the techniques it employs. At each of the product lifecycle stages typically required to
make a garment, the negative impacts on the environment are as numerous as they are varied.
The environmental impacts of the clothing industry are larger than most people imagine, if
we consider all the processes from raw material procurement to product disposal. Raw
material cultivation contributes to air pollution and carbon footprint. Spinning, weaving and
industrial manufacture undermine air quality. Dyeing and printing consume vast amounts of
water and chemicals, and release numerous volatile agents into the atmosphere that are
particularly harmful to our health.
Several times a year in the worlds fashion capitals, willowy models in dazzling
outfits glide down the catwalk to present the coming seasons trends. Each year a handful of
designers set the tone, says whats in and whats not. Chain-stores and mass retailers then
adapt their ideas for the man and woman in the street. Fashion feeds a growing industry and
ranks textile and clothing as the worlds second-biggest economic activity for intensity of
trade. However, stiff competition forces down costs while working conditions, more often
than not in developing countries, are far from ideal. The environment pays a heavy price too.
To improve conditions for workers and stem pollution, textile producers, manufacturers and
distributors are launching the first initiatives built around sustainable development.
The world of fashion may be stylish, glamorous and exciting, but its impact on
environment is worsening day by day. Most of the time, we consumers are happy to be
pampered by fashion retailers with the latest and rapidly changing fashion trends. But perhaps
it's time to consider the story behind the garments we buy - the resources used in their
production, where they were made, by whom and under what conditions.
In this report, we will assess the environmental impact of the fashion industry. We will
look at every stage in the product lifecycle, we will analyze the problem and recent situation
of the issue and we will try to come up with conclusion and recommendation.

Literature

Often when we read fiction, the peripheral aspect of clothing seems quite redundant to the
actual plot and message. But if you look more closely at what clothing can represent in the
actual story, it can be quite surprising at how much fashion can epitomise both the historical
and social aspects of certain pieces of literature, the time of their composure, as well as how
it can influence our perceptions of different characters.
As Virginia Woolf wrote in her novel, Orlando: Vain trifles as they seem, clothes have, they
say, more important offices than to merely keep us warm. They change our view of the world
and the world's view of us. And this is no less important than in fictitious literature, where
the author wants to present their characters in a certain way. The clothing that they wear can
be as significant at depicting their personality as the more tangible adjectives used to describe
them.
The essence of character is what defines us as people, and when an author depicts this
characterisation simply by describing the clothing and appearance of their characters, the
impact this can have on the overall story can be profound. The definitive styles associated
with books, such as The Great Gatsby, Breakfast at Tiffanys, and Alice in Wonderland, are all
contrasting in their approach, whilst being inspirations for designers to draw from. For
instance, the Parisian store, Printemps, commissioned some of the worlds most notorious
designers to create dresses for their window display during the Spring/Summer 2010 Paris
fashion week, inspired by Tim Burtons film adaptation of Lewis Carrolls capricious novel.
Literature has always proceeded with some form of visual complement, and this is more
present today than it ever was. Not only do we have films supported by books, but we now
have copious remakes, all in the hope of trying to achieve something better, and this is also
true of the fashion and the costumes we see in them. Whilst the clothing in films may be very
visually beautiful and fascinating, they're not often true representations of their original
counterparts and might not retain the same significance as they do in the books.
But why does clothing have so much significance to a story? Fashion, whether marginal to
the plot or not, usually tends to build the historical period of the novel through its description,
and this is no more present than in The Great Gatsby. F. Scott Fitzgeralds most renowned
novel is the epitome of the 1920s, in both the writing style and the inclusion of fashion to
develop his characters. But whilst the 2013 film by Baz Luhrmann captures the spirit of
1920s decadence, it's full of historical inaccuracies with dress. The colours are more vibrant,
the dresses more flamboyant and the fit of the clothing is relatively dissimilar to their original
forms. And obviously, this inspired interpretation doesnt have the same boundaries in its
composition made clear by its contemporary touch. Fashion in the past has both signified
wealth and status, and whilst this may not be so obvious when reading a book for the first
time, the presence of it is categorical if you are aware of it. Reading literature has always

required some form of imagination, but the narrative is predominantly the aspect that
encourages the reader to continue, while the description of an outfit can develop both a
characters personality, as well as figuratively, and perhaps literally, emphasise the social and
historical aspects of a story.
In regards to culture, fashion in literature has helped create the image of two defining types of
women the angel and the whore. Prostitutes are often portrayed in more revealing garments
than ladies from a higher social class. But, in some cases, the dress in literary works
questions stereotypes. One defining example is Hardy's Tess from Tess And The
D'Urbervilles. The novel questions social standards of sexual morality, as Tess is shunned
from society after bearing a child from rape. Tess successfully transcends the two established
types of women as she's seen as a ruined woman, but this is by no means a result from her
own moral standing; in fact, Tess' poor conditions are catalysed by the immoral decisions of
two other men. To show this, Hardy uses the colour red throughout the novel. At the
beginning, Tess is portrayed in a white dress with a red ribbon in her hair. The white
represents purity, which relates to Tess' own purity of morals and character, while the red
symbolises sexual sin. We can read into how the fashion foreshadows later events, and how
colour symbolism builds her character.
Understanding what clothing represented in a novel's period is an important consideration for
authors when forming fictional literature. Wisdom and an insightful understanding about the
world can be gained from the inside pages of a book, and whilst style and fashion may be
thought to be opposites in their definition, there is a timeless quality that particular books
capture in their musings. These reflections are distinctive in their efforts to portray a
particular story, and fashion is an important characteristic at inspiring certain ideologies that
the writer wishes to show. So next time you pick up a novel, take the time to consider how
the fashion creates an era; think about what fashion has to say about the character, the class
boundaries and morality. Does this differ much from how we see people now? To think about
the present, we must consider how the past has shaped contemporary culture, and we must
consider how fashion in literature has perpetuated stereotypes, colour symbolism, and much
of our own perspectives of fashion now. Think about how fashion in literature is related to
misogyny and feminism now. Dior's Autumn/Winter 2015-16 Haute Couture show opened
with a puritanical white dress; it's seemingly angelic, but from where do our own meanings
derive from? While it's most likely not directly linked to Tess' white dress, much of our own
meanings that we project on to art came from art and, in particular, literature.

Research Methods for the Fashion Industry provides readers with a comprehensive look into
the skills and techniques required for conducting research. The text is designed for the most
effective teaching and retention of the lessons contained in it, using the tried-and-true
methods of learning. Discussing the principles of research methods as they apply to fashion,
each chapter is divided into three sections: theory, practice, and application. After finishing
this text, readers will be able to conduct a research project and analyze the results using

critical thinking skills. An informative and useful resource for students, this book can also
serve as a reference for industry professionals.