





































 

35 

 

 

 
 

 

 

 

https://www.designforsocialchange.org/journal/index.php/DISCERN-J 

 

ISSN 2184-6995 

 

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 

International License. 

 

  

 

 

 

Small, local, open, connected: Exploring cosmopolitan localism  

in sustainable fashion design 
 

Siviwe Tolokazi Jack, Lincoln John (Nic) Theo, Alettia Chisin 

 

Published online: November 2024 

 
To cite this article:  

Jack, S.T., Theo, L.J., & Chisin, A. (2024). Small, local, open, connected: Exploring cosmopolitan localism  

in sustainable fashion design. Discern: International Journal of Design for Social Change, Sustainable 

Innovation and Entrepreneurship, 5(2), 35-50. 

 

  



 

36 

 

 

Small, local, open, connected: Exploring cosmopolitan localism  

in sustainable fashion design 
 

S. T. Jacka, L. J. Theob, A. Chisinc 

 
a Faculty of Informatics and Design, Applied Design, Cape Peninsula University of Technology,  

Cape Town 8001, South Africa. jacks@cput.ac.za 
bFaculty of Informatics and Design, Media Department, Cape Peninsula University of Technology,  

Cape Town 8001, South Africa. theolj@cput.ac.za 
cFaculty of Informatics and Design, Applied Design, Cape Peninsula University of Technology,  

Cape Town 8001, South Africa. chisina@cput.ac.za 

 

Abstract 

The fashion design sector stands to gain from embracing cosmopolitan localism (CL), allowing designers to 

merge global trends with local cultures. This strategy fosters distinct, sustainable identities that resonate 

with their communities. This literature review focused on sustainable fashion design practices, searching 

the literature in databases that included Google Scholar, IEEE Xplore, ACM Digital Library, SpringerLink and 

ScienceDirect. The review emphasizes the relationship between traditional craftsmanship, innovation and 

minimizing environmental impact through global and local collaborations. Of 169 articles that met the basic 

eligibility criteria—focusing on sustainable practices such as ethical sourcing and consumer engagement—

only five authors discussed CL. This reveals a notable gap in the literature regarding the in-depth 

application and evaluation of CL in sustainable fashion design. Nonetheless, key principles are apparent, 

such as strengthening supply chain connections to promote ethical practices, fair wages and sustainable 

sourcing; fostering meaningful consumer relationships through narrative-driven brand communication  

and values-based messaging to build brand loyalty and encourage lasting purchasing behaviours; and 

participating in global sustainability initiatives while remaining informed about best practices and industry 

standards. This clarifies how supply chain dynamics and consumer engagement impact sustainable fashion. 

This review examines recent applications of small, local, open, and connected (SLOC) principles in 

sustainability research, emphasizing their role in adapting global influences on local cultures and values. 

Furthermore, it emphasizes the interrelations among supply chain dynamics, consumer engagement and 

global sustainability frameworks in promoting a more sustainable fashion industry. 

 

Keywords: Sustainable fashion, Sustainable design practices, Cosmopolitan localism 

 

Introduction 

Cosmopolitan localism is a concept that blends global perspectives with a strong connection to local 

communities (Manzini & M’Rithaa, 2016). It emphasizes preserving and promoting regional cultural 

diversity while fostering cross-cultural exchange and understanding. Combining global ideas and ethics  

with local cultural traditions and identities aims to create a sense of belonging to a global community while 

appreciating local distinctiveness (Corsini & Moultrie, 2021). Cosmopolitan localism originated in the 1990s 

as a response to “cultural evaporation” (Sachs, 1999). Since then, it has evolved into a framework for 

sustainable design practices, integrating global viewpoints with local commitments (Manzini, 2011). This 

approach encourages using local materials, traditional techniques and renewable energy sources to reduce 

environmental impact while preserving cultural identity (Fiala, 2019). A key concern is that ideas like 

cosmopolitan localism, which are gaining traction in design, are still quite new in fashion and must establish 

strong conceptual foundations. In seeking a new direction, an integrated approach to sustainability 



 

37 

 

 

recognizes that empowering local communities through sustainable practices may result in a fairer 

distribution of benefits and help address social justice issues (Schismenos et al., 2020) while also driving  

a move towards a more inclusive, equitable and resilient fashion industry in which fair trade initiatives 

dominate. This, in turn, may ensure that producers, especially those in developing countries, receive a fair 

price for their work, helping to address inequalities in the fashion industry. 

 

To unlock the full potential of cosmopolitan localism in fashion, it is vital to identify and analyze its 

integration into sustainable fashion practices. Researchers and designers can create more effective 

strategies for sustainable and culturally relevant fashion by understanding the specific methods aligned 

with cosmopolitan localism. Investigating the challenges and opportunities of implementing cosmopolitan 

localism in the fashion sector can guide future research and policy development. There has been a notable 

growth in publications about sustainable fashion in recent years. The current research reviews the 

literature to assess how this growth includes a focus on merging global knowledge with local fashion 

sustainability needs, thereby implicitly reflecting some core aspects of cosmopolitan localism. This article 

explores the connection between fashion theory and practice, as discussed in the available literature, and 

the principles of cosmopolitan localism, highlighting its importance for achieving sustainability in the 

fashion industry. Specifically, this research seeks to answer the following questions: 

 

RQ1 - Which sustainable design practices have been documented within a cosmopolitan  

localism framework? 

RQ2 - How do these practices address sustainability’s local environmental, social and  

economic aspects? 

 

Identifying what might be termed ‘cosmopolitan localism’ in sustainable fashion practices 

Cosmopolitan localism is too imprecise and widely contested to serve as a definitive register of interactions 

between local communities and other communities, either for a historical empirical inquiry or as an ethical 

mandate (Simpson, 2005). It is, therefore, not obvious how the idea might have been incorporated into the 

scholarship of fashion without a deeper analysis of how the ideas that lie implicit in the framing have been 

discussed in the literature. Without such analysis, it becomes difficult to derive coherent strategies that 

account for how culture, economy and ecology might be implemented so that the fashion industry might 

have a less negative long-term influence on the environment, as Moorhouse and Moorhouse (2018) 

recommend creating in the context of sustainable development, and at the same time so that sound design 

ideas, such as those discussed by Fletcher (2010), might be conceived and implemented to promote social 

change and create more sustainable products in the fashion industry. 

For example, one solution widely touted has been slow fashion for sustainability and ethical fashion 

practices (Jung & Jin, 2014), where slow fashion is a vision of sustainability in the fashion industry based  

on current values and aims (Fletcher, 2010). However, a nuanced understanding of whether and how  

a proposed solution like slow fashion would incorporate all the variables involved must, of necessity, be 

based on the acknowledgement that the challenges of incorporating sustainable design practices are broad 

and multifaceted and that addressing these challenges will require a collaborative effort from designers, 

corporations, legislators and society (Di Monte-Milner & Breytenbach, 2014). It would seem at first glance 

that this is almost impossible to do without one of at least two pre-existing circumstances: 

 

 



 

38 

 

 

• A centralized entity should provide coherent and coordinated guidance for the widespread 

adoption of slow fashion or 

• Develop a conceptual framework that incorporates several factors from different locations and 

practices within the fashion industry. Such a framework would allow stakeholders to create tailored 

strategic plans suited to their contexts, promoting better practices (Peirson-Smith & Craik, 2020). 

Option 1 is unlikely because no global system currently supports a strategic approach to sustainable design. 

For sustainable design methods to be successfully implemented, they must encompass environmental, 

social and economic considerations to mitigate negative impacts on ecosystems and enhance social  

well-being. 

While Option 2 offers a pathway for addressing these challenges, it necessitates a clear understanding  

of the relevant variables to develop a framework to support efforts to overcome difficulties. This, in turn, 

could lead to a more sustainable future that safeguards our environment and enhances everyone’s  

quality of life. 

Additionally, before advocating for slow fashion as a solution to sustainability, it is crucial to find a creative 

balance that connects a specific community while remaining receptive to global exchanges of ideas, people 

and products, which aligns with the principles of cosmopolitan localism. This entails acknowledging the 

importance of sustainability and recognizing the challenges that hinder the effortless integration of 

sustainable fashion design practices. A thorough understanding of the fashion industry’s landscape is vital 

to facilitate social innovations that contribute to the establishment of strong, decentralized socio-technical 

systems, as suggested by cosmopolitan localism. This approach requires examining the interrelation of 

ideas, culture and physical presence. The current literature review is the starting point for mapping recent 

research on sustainable fashion design practices. It does so by integrating various theories related to 

cosmopolitan localism into sustainable fashion design. This includes transcending geographical barriers 

while preserving local identity and promoting environmental responsibility, as noted in the literature. This 

framework enables designers to create environmentally conscious clothing that also highlights the unique 

cultural heritage of their communities. 

Identifying and reviewing the literature 

The starting point for this analysis is a South African take on cosmopolitan localism, which, in the first 

instance, lies in a comparative study by Dickson et al. (2016) in consideration of the extent of industry 

stakeholders’ involvement in sustainability and their demand for sustainable apparel and textile products 

from South Africa. This study demonstrated that several local environmental, social and economic hurdles 

inhibit sustainable fashion design practices, which suggests a challenge to the universal application of 

Manzini’s (2011) framework for achieving local environmental sustainability. Manzini’s (2011) framework,  

a fundamental contribution to sustainable design, presents a comprehensive approach considering social, 

environmental and economic factors. This paradigm emphasizes creating products and systems that meet 

functional requirements and contribute to a more sustainable and fair future (Manzini, 2011). It encourages 

designers to analyze a product’s complete life cycle, from material extraction to disposal, and to seek 

opportunities to reduce environmental effects while increasing social benefits. Manzini’s methodology, 

which adopts a “systems thinking” perspective, enables designers to produce unique solutions that  

manage difficult challenges and promote sustainability. 

 

This challenge to universality suggests a need for a deeper exploration of the rich and complex epistemic 

terrain that encompasses the burgeoning field of sustainable fashion design to better identify the extent to 

which recent scholarship on sustainability implicitly reflects the tenets of cosmopolitan localism as fostering 



 

39 

 

 

community engagement and a sense of shared responsibility for long-term development (see Bonsu et al., 

2022; Fiala, 2019; Kossoff, 2019; Opoku et al., 2022;  Schismenos et al., 2020). 

 

In an initial informal review, it soon became apparent that only some authors have dealt specifically with  

its fashion application. This pre-empts the need to illuminate the possibilities and challenges inherent in 

applying this design philosophy to this domain, grappling with environmental responsibility and cultural 

expression. The most effective approach for this was deemed to be a comprehensive bibliometric analysis 

by way of a qualitative literature review and qualitative analysis based on the methodology proposed by 

Yang et al. (2017), following the steps of review planning, conducting, finding and reporting. 

Identifying the relevant studies 

The literature was gathered from the Google Scholar, IEEE Xplore, ACM Digital Library, SpringerLink and 

ScienceDirect databases and the design-specific database, ProQuest Design and Applied Arts Index. We also 

explored open-access repositories, such as ResearchGate and Academia.edu. Combining these databases 

ensures a thorough search and captures studies from various academic disciplines and research 

communities that offer different perspectives on cosmopolitan localism in fashion. 

 

After the initial searches, the results were filtered by publication date, relevance and publication type,  

such as research articles, book chapters and conference proceedings. We prioritized studies that explicitly 

addressed the intersection of cosmopolitan localism and sustainable fashion design. We also looked for 

studies that delve into specific aspects of interest, such as cultural representation, local production systems 

or environmental impact. Articles that only superficially mentioned social factors, with a significant 

emphasis on environmental sustainability, were excluded. Later, we used a snowballing technique to 

analyze references from relevant studies and identify new sources. We further considered grey literature, 

such as reports, white papers and industry publications. 

 

Several initial broad searches with keywords related to design practices, fashion sustainability and similar 

words were identified to examine existing knowledge on various sustainability challenges in fashion design. 

The search period from 2014 to 2024 was used to gain a clear view of the literature over the past 10 years. 

We identified several studies that examined sustainable fashion in general. Few studies, however, focused 

on cosmopolitan localism in fashion, while most studies presented case studies of fashion sustainability 

focused on environmental concerns across the Global North. None of these articles focused on the Global 

South, particularly Africa. Studies covered China, the United Kingdom and the United States. 

 

Relevant studies were selected using keywords. We started with the core terms design practices AND 

cosmopolitan AND localism AND fashion AND (sustainable OR sustainability OR balanced OR sustainable OR 

continual OR feasible OR supportable OR continuous OR viable) AND (challenges OR issues OR threat) AND 

(incorporation OR embodiment OR fusion OR integration). 

 

As this resulted in only a small number of articles, we decided to expand the search to include search terms 

from the domains of social design and sustainable design, including [[“Fashion”] AND [all: “design 

practices”] AND [all: cosmopolitan] AND [all: localism sustainable]] OR [all: sustainability] OR  

[all: a feasible] OR [all: supportable] OR [all: viable] AND [all: challenges] OR [all: issues] OR [All: threat]  

AND [all: incorporation] OR [all: fusion] OR [all: integration] AND [title: fashion] AND [Title: sustainable] 

AND [e-publication date: (01/01/2018 to 23/02/2024)]. These searches sought literature at the intersection 



 

40 

 

 

of these domains that consider design and social sustainability (see Figure 1). All articles were examined up 

until February 2024. In Google Scholar, the first two pages for each search were retrieved for screening. 

 

 
 

Figure 1: Flow chart of the research process. 

The material was found in multiple online libraries and databases, including ScienceDirect, ACM Digital 

Library, SpringerLink, Google Scholar and IEEE Xplore, and 295 articles were retrieved. The title and abstract 

screening resulted in 126 sources (80 conference proceedings, 35 books, three book chapters, four reviews 

and four other reports) being excluded for reasons such as needing to be peer-reviewed, being outside the 

scope of the review, or being duplicates. This left 169 articles that proceeded to the next stage, in which 

their titles and abstracts were reviewed, resulting in 169 relevant articles that moved on to a full-text 

review on the basis that they were highly cited and relevant to fashion design practices and the founding 

ideas of cosmopolitan localism. 

 

Overview of materials 

Most articles are case studies (156 articles), conceptual articles (seven) or review articles (six). This is 

consistent with the emergent nature of this topic in that many articles are still exploring and clarifying  

the role of design concerning fashion sustainability. 

 

Regarding the research context, most articles focused on environmental sustainability instead of fashion 

sustainability. While environmental sustainability addresses a wide range of issues, fashion sustainability 

specifically targets the fashion industry’s environmental impact, with 34 articles not specifying the context. 

Fashion sustainability seems well suited to community-based projects where social relations are essential  

in design. The articles focused on projects in the Global North, with only a few from the Global South; 

however, many articles emphasized the relevance of sustainable fashion in designing for marginalized 

people. For example, Corsini and Moultrie (2021) noted: “Designers connected to this movement generally 

focused on disadvantaged industries of society, using alternative and appropriate technology and 

encouraging an efficient use of resources” (p. 8). 

 



 

41 

 

 

 
Figure 2: Theoretical illustration of the literature. 

Results: Themes that emerged 

The content analysis of the final 169 documents selected in the current study gave an overview of the 

literature supporting the “sustainable design practices” ideas, which were grouped into themes, namely 

Evaluation of sustainable fashion, Sustainable design practices, Successful adoption of sustainable design 

practices and Cosmopolitan localism. 

 

Evaluation of sustainable fashion 

The evaluation of sustainable fashion will be discussed based on the environmental and social difficulties  

of implementing sustainable practices within the fashion industry. This presents a shift away from the 

conventional methods of the fashion industry, which often contribute to environmental and social issues. 

Sustainable fashion focuses on minimizing the negative impacts of the fashion industry while promoting 

environmental and social responsibility. Adopting environmentally and socially responsible approaches 

throughout the whole life cycle of apparel and accessories is called “sustainability in fashion” (Thomas, 

2020). Sustainable fashion design is closely aligned with the United Nations Sustainable Development  

Goals (SDGs). The fashion industry’s significant impact on the environment and society drives the need for 

sustainable design strategies to mitigate these negative effects and foster a more sustainable future. While 

there are 13 SDGs, this study focuses on the interconnection between SDGs 8 and 9. SDG 8 advocates for 

sustained, inclusive and sustainable economic growth alongside full and productive employment and 

decent work. In contrast, SDG 9 aims to develop resilient infrastructure, promote inclusive and sustainable 

industrialization and encourage innovation. The interplay between strong infrastructure and industrial 

development is vital for job creation and economic opportunities, which ultimately support SDG 8’s decent 

work and economic growth objectives. Furthermore, a skilled workforce is crucial for driving innovation  

and establishing a sustainable industrial framework, thus aiding SDG 9. Sustainability in fashion transcends 

individual components; it encompasses a holistic integration of sustainability principles throughout the 



 

42 

 

 

product life cycle. This thorough approach seeks to minimize the industry’s environmental footprint and 

advance ethical practices across the supply chain. 

Sustainability in fashion requires addressing multiple interrelated concerns, such as environmental impact, 

ethical labour practices, the circular economy, social impact and conscious consumerism (Khan et al., 2016). 

Pioneering works by Fletcher (2008), Sull and Turconi (2008), Clark (2008) and De Brito et al. (2008) initially 

appeared in the management literature around 2008. This became apparent after the Rana Plaza factory 

catastrophe on 24 April 2013, which was a tragic and significant event in the history of the garment 

industry (Ayatullah Hosne Asif, 2017). This eight-storey commercial building in Dhaka, Bangladesh, housed 

several clothing companies and other enterprises. The collapse resulted in one of the deadliest industrial 

disasters, claiming over 1100 lives and injuring countless more, primarily garment workers. This tragedy 

brought global attention to the unsafe working conditions and labour rights issues prevalent in the global 

garment industry, especially in developing countries like Bangladesh, a central hub for clothing production. 

The disaster catalyzed a significant shift towards sustainable fashion and ethical industrial practices 

(Ayatullah Hosne Asif, 2017). 

The literature indicates that sustainability in fashion requires a comprehensive vision to identify 

opportunities for sustainable practices in fashion and design. This vision transcends focusing on just one 

industry element, highlighting the importance of a holistic and integrated approach. Central to this vision 

are sustainable design practices that foster the creation of fashion products that are environmentally and 

socially responsible, paving the way for a more sustainable future in the industry. Seasonal trends can 

impose restrictions on clothing design, limiting silhouettes and constraining creative concepts. Designers 

often draw motivation from challenges—such as difficult situations or disagreements—alongside 

opportunities for improvement or for introducing ideas previously overlooked. The effectiveness of 

sustainable design practices is heightened when they adopt an integrated approach throughout the 

product development journey. This broad perspective guarantees that environmental and social 

sustainability are embedded in the product’s foundation, leading to more responsible, innovative and 

competitive offerings in a dynamic market. Thus, designers must recognize the potential outcomes of their 

design choices, underscoring the critical role of design function. Design decisions can have profound effects 

on fashion practices. Over the past two decades, sustainable design approaches have gained significant 

recognition, urgency and acceptance. 

An overview of the structural development of the industry must be examined to research new design 

approaches and ways to produce value (Ræbild, 2021). Examining the fashion industry’s structural 

evolution will enable designers and researchers to better understand sustainability-related challenges  

and opportunities within the sector. This insight can guide the creation of innovative design methods and 

strategies tailored to each country, fostering value that aligns with environmental and social sustainability 

objectives and ultimately promoting positive transformation in the fashion industry (see Fletcher, 2010). 

Textile and apparel production volumes have altered substantially during the last decade. However, there  

is inadequate research to identify the hurdles and challenges in putting sustainable design into practice 

(Hur & Cassidy, 2019). To overcome these challenges and promote sustainable design in fashion, increased 

research, collaboration and information sharing are essential. Researchers, practitioners and policymakers 

should unite to close the research gap, establish and advocate best practices and foster transparency and 

accountability across the industry. Such collaboration is crucial for steering the fashion sector towards 

more sustainable and responsible methodologies. South African fashion designers can enhance their 

environmental responsibility by incorporating transformable design techniques, such as garments that  

offer two or more functional and aesthetic variations (Rahman & Gong, 2016). 

 



 

43 

 

 

Sustainable design practices 

Sustainable fashion design focuses on how designers can influence change through their main collection 

practices and their alignment with life cycle design strategies. Designers are crucial in promoting 

sustainability by making informed material choices and designing garments that last. When considering  

the social aspect of sustainable fashion, two important points emerge: 

• There is a notable lack of consumer awareness about sustainability and relevant information  

on fashion products; 

• The aim is to enhance consumer understanding of sustainability through effective communication, 

especially within South Africa. 

Sustainable fashion design requires actions at each stage of the design process, from concept development 

to strategies for sourcing, recycling, reusing and repairing materials and new production technologies (Ban, 

2020). Emphasizing the importance of integrating sustainability into the design process, designers must 

adjust their mindsets to function as promoters for the industry’s transformation (Agarwal, 2020). 

Sustainable design practices, such as zero waste, upcycling and reconstruction can be applied in fashion 

education to prepare the next generation of designers to address industry challenges and opportunities 

(Medcalfe & Miralles Miro, 2022). The fashion industry has faced significant challenges in balancing global 

sustainability goals with local community needs. While numerous global practices, such as design for 

sustainability, grassroots innovation, frugal innovation and transition design, have been developed  

to address these challenges, a disconnect between these approaches and local realities must often  

be addressed. 

There is a strong correlation between sustainable practices and financial performance in fashion 

companies, showing that increased sustainability results in improved economic outcomes (Kam & Yoo, 

2022). To ensure sustainability control within the entire fashion design cycle, all manufacturing processes, 

including finishing, should be conducted within a fashion company or a partnership company that can 

control every manufacturing process to ensure sustainability. Customers need help to distinguish between 

sustainable and non-sustainable fashion products due to the non-transparent labelling method used even 

for sustainable fashion (Daukantienė, 2023). This literature revealed the various global practices proposed 

for sustainable fashion, delving into the concepts of design for sustainability, grassroots innovation, frugal 

innovation and transition design, examining their potential contributions to sustainable fashion. By 

understanding these approaches, we can gain valuable insights into how to bridge the gap between  

global sustainability goals and local community needs within the fashion industry. 

Successful adaptation of sustainable design practices 

To develop a sustainable fashion industry, new technologies must be incorporated, collaborative 

consumption must be practised and existing clothing must be upcycled. Arrigo (2021) highlights that 

collaborative consumption provides an affordable and sustainable form of consumption. New technologies, 

such as microbial enzymes and bio-pigments, offer opportunities to minimize the environmental impact of 

textile production (Mazotto et al., 2021). Additionally, upcycling existing garments, as advocated by Gupta 

et al. (2021), can contribute to a more sustainable approach to fashion design. According to Murzyn-Kupisz 

and Hołuj (2021), fashion designers play a crucial role in making fashion more sustainable. Comprehensive 

fashion education should equip designers with the necessary knowledge and skills. It is possible to develop 

a theoretical framework that addresses the sustainability problem in the fashion industry by incorporating 

aspects such as collaborative consumption, technological advancements and upcycling to encourage 

sustainable design practices (see Monyaki & Cilliers, 2023). 

 



 

44 

 

 

Fashion sustainability aims to turn the fashion industry into a more responsible and ethical system, 

combining environmental preservation, social equality and economic viability (see Mukendi et al., 2020). 

This holistic strategy considers the entire life cycle of fashion goods and aims to benefit both people and 

the environment (Adamkiewicz et al., 2022). According to the literature, sustainability is usually related to 

contributions to economic, ecological and social factors (see Daukantienė, 2023). Despite well-documented 

negative environmental repercussions, the contemporary fashion system is still based on industrial 

capitalism, which is increasing resource throughput; in contrast, business, cultural tastes and ideas  

on desirability and realism all influence fashion purchasing (Fletcher, 2012). 

This study suggests that more than technological innovations are needed to achieve true sustainability  

in the fashion industry. While technology can improve efficiency and reduce environmental impact, it may 

only address some underlying issues. This research emphasizes the importance of adopting the small, local, 

open and connected (SLOC) approach, which involves reducing environmental impact and improving quality 

control, shortening supply chains, reducing transportation emissions and supporting local economies. It 

also fosters collaboration, knowledge sharing and transparency within the industry and creates strong 

relationships between designers, artisans, consumers and communities (Radclyffe-Thomas, 2018). 

Cosmopolitan localism 

The literature highlights subtle distinctions in how sustainability interrelates with cosmopolitan localism 

and recent innovations that could reduce the environmental footprint of fashion design practices. Engaging 

with sustainable fashion through cosmopolitan localism reveals key areas such as sustainability education, 

competitive careers within the sustainable fashion sector and eco-friendly alternatives to traditional design 

methods. Achieving sustainability requires enhancing our quality of life while adopting sustainable 

practices, using fewer natural resources and revitalizing our physical and social environments.  

(Mukendi et al., 2020). SLOC are the characteristics that drive cosmopolitan localism (Manzini & M’Rithaa, 

2016). These constructs emerged from over two decades of dialogue and real-world experiences, proving 

that sustainable solutions can be achieved by starting with local concepts and the communities they serve 

(Semi, 2021). While enhancing the technical components of fashion design is crucial, more is needed to 

solve the industry’s sustainability concerns. Merging global trends with local production (cosmopolitan 

localism) is a start in the right direction, but true sustainability requires an emphasis on eco-friendly 

materials and ethical manufacturing techniques. The literature should still contextualize these trends  

from the fashion design perspective. The SLOC characteristics offer a valuable framework for discovering 

sustainable solutions, emphasizing the importance of local involvement, community participation and 

small-scale initiatives that foster human connections, democratic processes and a sense of belonging 

(Mukendi et al., 2020). The four keywords encapsulated in SLOC characterize these emergent qualities  

and the cases of socio-technical innovation on which they are based. 

Small, local, open and connected and their consequences are easily understood but provide a new picture 

of how a sustainable, networked society may take shape. Fletcher and Vittersø (2018) suggest that the 

emerging concept of sustainability contains valuable insights to support a local fashion movement. By 

explicitly understanding how it can redirect what is made and bought by bending it towards more diverse 

practices and small-scale producers with regional supply networks, we can show how cosmopolitan 

localism manifests in fashion design practices from a sustainability perspective. 

In fashion, being localized, small, connected and open to others’ ideas, culture and physical presence 

promises social innovations that actively contribute to realizing resilient, distributed socio-technical 

systems (Manzini & M’Rithaa, 2016). Cosmopolitan localism may describe the complicated relationship 

between being small and being open. Examining the “complicated relationship” between being local and 

open can lead to an original and insightful contribution to the field (Manzini & Cipolla, 2021, p. 391). The 



 

45 

 

 

industry can view the relationship between its broader social and environmental contexts through  

a cosmopolitan localism lens and respond with a systems-based approach that integrates the design of 

everything from the concept stage through design and development to clothing production in the design  

of fashion clothing (see Manzini & M’Rithaa, 2016). 

Discussion  

The literature review revealed a growing interest in sustainable fashion design, focusing on environmental 

and social impacts. However, a significant gap exists in integrating global sustainability frameworks such  

as design for sustainability, grassroots innovation and frugal innovation with local, community-based 

approaches. Integrating cultural elements into fashion design raises important cultural intellectual property 

rights considerations. Respecting and acknowledging communities’ cultural heritage and ensuring fair 

compensation for using traditional knowledge and designs is crucial. By understanding and respecting 

cultural intellectual property rights, designers can create sustainable fashion that celebrates diversity and 

promotes social justice. While these approaches share a common goal of promoting environmental and 

social responsibility, their specific focus and implementation strategies differ. Design for sustainability 

emphasizes an integrated approach to the entire product life cycle, while grassroots innovation prioritizes 

local solutions and community engagement. Frugal innovation focuses on resource efficiency and 

affordability, and transition design seeks to guide systemic change. 

A significant gap in the existing literature is the lack of a comprehensive framework that integrates social 

design, sustainable design and cosmopolitan localism within the fashion industry, particularly in South 

Africa. While numerous studies have explored individual aspects of sustainable fashion, there is a need for 

a more holistic approach that considers the interconnectedness of these elements. This research addresses 

this gap by proposing a framework combining cosmopolitan localism principles with sustainable design 

practices. It highlights three key areas: ways to address local environmental, social and economic aspects, 

key challenges and opportunities for implementing sustainable design practices and sustainable design 

practices in a cosmopolitan localism framework. These findings provide critical insights into developing 

economies’ challenges in transitioning to sustainable practices. 

Ways to address local environmental, social, and economic aspects 

Establishing strong relationships within the supply chain is crucial for implementing the SLOC characteristics 

for cosmopolitan localism in fashion design, ensuring ethical practices and sustainable sourcing. Building 

authentic connections with consumers through transparent communication and value-driven messaging 

can foster brand loyalty and promote sustainable consumption. Participating in global sustainability 

initiatives helps to stay updated on best practices and industry standards. While significant research exists 

on sustainable fashion, there needs to be a greater understanding of specific design practices and their 

implementation within a cosmopolitan localism framework. This study aims to bridge this gap by providing 

a comprehensive overview of design practice modes, identifying key features, barriers and opportunities, 

and outlining research themes and sub-themes explored in previous studies. By addressing these 

knowledge gaps, this research contributes to a deeper understanding of sustainable fashion design 

practices and their potential to drive positive change within the industry. 

Key challenges and opportunities for implementing sustainable design practices  

Although many fashion designers support the idea of sustainability within local fashion design companies, 

the findings still mention the key challenges, such as the high expense of these practices, which makes 

them very disheartening to adopt fully. Key challenges in implementing sustainable design practices in the 

fashion industry include the high cost of sustainable materials, the complexity of supply chains and the 

need for consumer awareness and demand for sustainable products (Smith et al., 2014). Balancing 

aesthetic appeal with environmental and social responsibility can be challenging. However, opportunities 



 

46 

 

 

abound. Fashion designers can create stylish and eco-friendly garments by embracing sustainable 

materials, innovative design techniques and circular economy principles (Ceschin & Gaziulusoy, 2016). 

Working with ethical suppliers and openly sharing sustainability initiatives with consumers fosters trust  

and encourages demand. By investing in research and development, businesses can achieve remarkable 

innovations while supporting local communities, enhancing supply chain resilience and minimizing 

environmental repercussions. Increased collaboration between global strategies and local actions is vital  

to bridging the divide between theory and practice (Braungart, 2021). This entails encouraging 

collaboration among international organizations, governments, corporations and local communities  

to create and implement globally relevant and locally adaptive plans. We can expedite the transition  

to a more sustainable fashion business by combining global initiatives with local needs and capacities.  

SLOC is a potential solution that emphasises quality control, decreased environmental impact, improved 

community connections and increased design creativity. By incorporating SLOC principles, the fashion 

industry can transition to a more sustainable and ethical future. 

Sustainable design practices in a cosmopolitan localism framework 

Integrating sustainable design into a cosmopolitan localism framework provides a promising solution to the 

intricate challenges in the fashion industry (Opoku et al., 2022). This approach merges global insights with 

localized actions, encouraging innovation, community involvement and environmental stewardship. These 

findings corroborate the results of previous studies that have shown the absence of a comprehensive and 

integrated framework that unifies concepts and principles from social design and sustainable design within 

cosmopolitan localism (see Bonsu et al., 2022; Fiala, 2019; Kossoff, 2019; Opoku et al., 2022;  Schismenos  

et al., 2020). The power of the SLOC principles lies in their ability to paint a visionary picture of a better 

future for society when considered as a whole. While the individual components of SLOC might be readily 

understandable, their full impact and feasibility become evident when significant forces for change come 

into play. This finding corroborates Bonsu et al.’s (2022) observations in their article “Cosmopolitan 

localism as a research framework for sustainability in graphic design practices”. 

Future research should regard cosmopolitan localism as a design trend emphasizing aesthetics and 

production techniques. In contrast, the present study identifies cosmopolitan localism as a research 

paradigm that serves as a framework for analyzing and comprehending the entire fashion industry.  

It underscores the necessity for stronger links between social design, sustainable design and cosmopolitan 

localism. This study suggests that this integrated approach could foster meaningful change. While 

traditional research often focuses on problem identification, this study prioritizes the potential to create 

actionable insights. Consequently, it offers practical recommendations for the fashion industry to enhance 

its responsibility and influence by exploring the connections among social, sustainable and cosmopolitan 

local practices. Recognizing the fashion industry’s entrenched issues, this study aims to transcend 

superficial changes by proposing solutions that tackle these fundamental challenges using cosmopolitan 

localism as its guiding principle. 

The findings highlight the drawbacks of depending exclusively on technology while stressing the importance 

of a small, local, open, and connected strategy. Over years of discussion and implementation, the SLOC 

principles have become a key framework for sustainability. As expressed by others, the SLOC model 

emphasizes local expertise and community involvement as essential foundations for sustainable solutions. 

Although technological innovation in design is vital, it alone cannot ensure total sustainability. Genuine 

sustainability, as suggested by various scholars, requires a comprehensive approach that includes 

cosmopolitan localism, merging global trends with localized production by utilizing environmentally friendly 

resources and ethical manufacturing methods. Consequently, the SLOC approach emphasizes the crucial 

contributions of local communities and small-scale production. While the existing literature often prioritizes 



 

47 

 

 

technology for achieving sustainability in the fashion sector, this study advocates a more comprehensive 

strategy, asserting that incorporating SLOC principles is essential to tackle the diverse sustainability issues 

facing the industry effectively. 

 

Conclusion  

Effective local initiatives and community collaborations can implement sustainable design practices, such  

as sourcing eco-friendly materials, ensuring ethical production and applying circular economy principles. 

Moreover, fusing traditional craftsmanship and local cultural elements into contemporary designs leads  

to unique and sustainable fashion products. However, challenges such as a lack of awareness, limited 

resources and infrastructure constraints may hinder the implementation of sustainable design practices  

in South Africa. Promoting education and awareness campaigns, providing financial support and incentives 

and investing in sustainable infrastructure are essential to overcome these challenges. By working together, 

designers, manufacturers, consumers and policymakers can drive the fashion industry towards a more 

sustainable and equitable future. 

 

Future research should expand upon the newly defined sustainable fashion design practices. Despite the 

useful framework provided by Mukendi et al. (2020), pinpointing a precise definition of sustainable fashion 

in the existing literature proved challenging. Their definition serves as a solid foundation, yet it solely 

addresses social sustainability in design, omitting the potential for achieving social sustainability through 

design. After conducting this literature review, we propose that sustainable fashion design practices 

encompass designs that enhance individual well-being and support societal prosperity now and in the 

future, thereby establishing a framework for guiding future studies. The literature points to the complex 

but essential process of developing relevant metrics, strategies and tools necessary for implementing 

sustainable design principles (see Bonsu et al., 2022; Fiala, 2019; Kossoff, 2019; Opoku et al., 2022; 

Schismenos et al., 2020). 

 

For example, Smal (2017) re-evaluates the strategies for environmentally sustainable fashion design 

practices. Hanusch and Birkhofer (2010) emphasize the necessity for practical tools and approaches that 

support social sustainability during product development. Although they do not provide a detailed 

methodology, their analysis of socially sustainable products offers a valuable starting point. Gomes de 

Oliveira et al. (2022) highlight the substantial gap between sustainability practices and their attractiveness 

to consumers. While their emphasis on health and safety is significant, it is essential to include a broader 

perspective on social sustainability, covering aspects such as community health, fair labour practices and 

cultural preservation, as emphasized by Bonsu et al. (2022), for a more comprehensive understanding.  

This limited focus highlights the urgent need for broader frameworks, such as the SLOC model, which 

acknowledges the interconnectedness of social, cultural, economic and environmental aspects  

within sustainable fashion design. 

 

This study examines how interconnected local strategies shape design decisions in the fashion industry, 

displaying their potential to reduce environmental impact while remaining globally relevant. It provides  

a comprehensive summary of sustainable fashion design approaches, supported by an extensive literature 

review. However, it is important to recognise the constraints of the selected research method. Further 

investigation into the practical applications of cosmopolitan localism is essential. Designers must critically 

assess its various facets and address its implementation challenges. Considering the current emphasis on 

qualitative case studies, interviews, literature reviews, quantitative experiments and survey research in 

sustainable design, developing a unique theoretical framework offers a promising avenue for future 



 

48 

 

 

research. A theory-based approach could significantly enhance the understanding and application  

of sustainable fashion design practices. 

 

References 

Adamkiewicz, J., Kochańska, E., Adamkiewicz, I., & Łukasik, R. M. (2022). Greenwashing and sustainable fashion industry. 

Current Opinion in Green and Sustainable Chemistry, 38, Article 100710. 

https://doi.org/10.1016/j.cogsc.2022.100710  

Agarwal, S. (2020). Experimental sustainable practices in fashion education. In M. Mateev & J. Nightingale (Eds.), Sustainable 

development and social responsibility--Volume 1 (pp. 95–102). Springer International Publishing AG. 

https://doi.org/10.1007/978-3-030-32922-8_8  

Arrigo, E. (2021). Collaborative consumption in the fashion industry: A systematic literature review and conceptual 

framework. Journal of Cleaner Production, 325, Article 129261. https://doi.org/10.1016/j.jclepro.2021.129261  

Ayatullah Hosne Asif, A. K. M. (2017). An overview of sustainability on apparel manufacturing industry in Bangladesh. 

Science Journal of Energy Engineering, 5(1), 1–12. https://doi.org/10.11648/j.sjee.20170501.11  

Ban, L. (2020). Sustainable solutions for fashion design: Adjusting the fashion design process for a more sustainable industry. 

Arts and Design Studies, 81, 21–30. https://doi.org/10.7176/ads/81-03 

Bonsu, G. A., Chisin, A. V., & Cronje, J. (2022). Cosmopolitan localism as a research framework for sustainability in graphic 

design practices. International Journal of Design Creativity and Innovation, 10(2), 123–140. 

https://doi.org/10.1080/21650349.2021.2024092  

Braungart, M. (2021). Cradle to cradle. Wochenblatt Für Papierfabrikation, 149(12), 700. https://doi.org/10.51202/0043-

7131-2021-12-700  

Ceschin, F., & Gaziulusoy, I. (2016). Evolution of design for sustainability: From product design to design for system 

innovations and transitions. Design Studies, 47, 118–163. https://doi.org/10.1016/j.destud.2016.09.002  

Clark, H. (2008). SLOW + FASHION—an oxymoron—or a promise for the future...? Fashion Theory, 12(4), 427–446. 

https://doi.org/10.2752/175174108x346922  

Corsini, L., & Moultrie, J. (2021). What is design for social sustainability? A systematic literature review for designers  

of product-service systems. Sustainability, 13(11), Article 5963. https://doi.org/10.3390/su13115963  

Daukantienė, V. (2023). Analysis of the sustainability aspects of fashion: A literature review. Textile Research Journal, 93(3–

4), 991–1002. https://doi.org/10.1177/00405175221124971  

De Brito, M. P., Carbone, V., & Blanquart, C. M. (2008). Towards a sustainable fashion retail supply chain in Europe: 

Organisation and performance. International Journal of Production Economics, 114(2), 534–553. 

https://doi.org/10.1016/j.ijpe.2007.06.012  

Di Monte-Milner, G., & Breytenbach, A. (2014). Addressing the needs of the other 90%: The role of cycling in developing the 

sustainable agenda in Johannesburg. In Design with the other 90%: Cumulus Johannesburg conference 

proceedings (pp. 359–367). Greenside Design Center and the University of Johannesburg. 

https://tinyurl.com/3fn85k9b  

Dickson, M. A., Blissick, M., Silverman, J., & Cao, H. (2016). Retailer involvement in sustainability and demand for sustainable 

apparel and textiles from South Africa. In International Textile and Apparel Association (ITAA) annual Conference 

Proceedings, 73(1). https://www.iastatedigitalpress.com/itaa/article/id/3035/  

Fiala, A. (2019). On thinking globally and acting locally: Resurgent nationalism and the dialectic of cosmopolitan localism. 

Dialogue and Universalism, 29(1), 37–56. https://doi.org/10.5840/du20192914  

Fletcher, K. (2008). Sustainable fashion and textiles: Design journeys. Earthscan. 

Fletcher, K. (2010). Slow fashion: An invitation for systems change. Fashion Practice, 2(2), 259–265. 

https://doi.org/10.2752/175693810x12774625387594  

Fletcher, K. (2012). Durability, fashion, sustainability: The processes and practices of use. Fashion Practice, 4(2),  

221–238. https://doi.org/10.2752/175693812x13403765252389  

Fletcher, K., & Vittersø, G. (2018). Local food initiatives and fashion change: Comparing food and clothes to better 

understand fashion localism. Fashion Practice, 10(2), 160–170. https://doi.org/10.1080/17569370.2018.1458496  

Gomes de Oliveira, L., Miranda, F. G., & de Paula Dias, M. A. (2022). Sustainable practices in slow and fast fashion stores: 

What does the customer perceive? Cleaner Engineering and Technology, 6, Article 100413. 

https://doi.org/10.1016/j.clet.2022.100413  

https://doi.org/10.1016/j.cogsc.2022.100710
https://doi.org/10.1007/978-3-030-32922-8_8
https://doi.org/10.1016/j.jclepro.2021.129261
https://doi.org/10.11648/j.sjee.20170501.11
https://doi.org/10.7176/ads/81-03
https://doi.org/10.1080/21650349.2021.2024092
https://doi.org/10.51202/0043-7131-2021-12-700
https://doi.org/10.51202/0043-7131-2021-12-700
https://doi.org/10.1016/j.destud.2016.09.002
https://doi.org/10.2752/175174108x346922
https://doi.org/10.3390/su13115963
https://doi.org/10.1177/00405175221124971
https://doi.org/10.1016/j.ijpe.2007.06.012
https://tinyurl.com/3fn85k9b
https://www.iastatedigitalpress.com/itaa/article/id/3035/
https://doi.org/10.5840/du20192914
https://doi.org/10.2752/175693810x12774625387594
https://doi.org/10.2752/175693812x13403765252389
https://doi.org/10.1080/17569370.2018.1458496
https://doi.org/10.1016/j.clet.2022.100413


 

49 

 

 

Gupta, R., Sinha, V., & Damania, A. (2021). Sustainable masks: Revisiting the design and amp; features of eco-friendly cost 

effective masks. 2021 international conference on advance computing and innovative technologies in engineering 

(ICACITE), Greater Noida, India, 2021 (pp. 287–292). https://doi.org/10.1109/ICACITE51222.2021.9404765  

Hanusch, D., & Birkhofer, H. (2010). Creating socially sustainable products– Examinating influence and responsibility of 

engineering designers. In International design conference - Design 2010 Dubrovnik - Croatia, May 17 – 20, 2010 

(pp. 771–778). https://tinyurl.com/y4ah5nym  

Hur, E., & Cassidy, T. (2019). Perceptions and attitudes towards sustainable fashion design: Challenges and opportunities for 

implementing sustainability in fashion. International Journal of Fashion Design, Technology and Education, 12(2), 

208–217. https://doi.org/10.1080/17543266.2019.1572789  

Jung, S., & Jin, B. (2014). A theoretical investigation of slow fashion: Sustainable future of the apparel industry. International 

Journal of Consumer Studies, 38(5), 510–519. https://doi.org/10.1111/ijcs.12127  

Kam, S., & Yoo, Y. (2022). Practice of sustainable fashion design considering customer emotions and personal tastes. 

Frontiers in Psychology, 13. https://doi.org/10.3389/fpsyg.2022.976471  

Khan, Z. R., Rodrigues, G., & Balasubramanian, S. (2016). Ethical consumerism and apparel industry - Towards a new factor 

model. In Proceedings from the 33rd international business research conference, January 4 – 5, Dubai, UAE.  

http://dx.doi.org/10.13140/RG.2.1.3513.8647  

Kossoff, G. (2019). Cosmopolitan localism: The planetary networking of everyday life in place. Cuadernos del Centro  

de Estudios en Diseño y Comunicación. Ensayos, 73, 51–66. https://dx.doi.org/10.18682/cdc.vi73.1037    

Manzini, E. (2011). The new way of the future: Small, local, open and connected. Social Space, 100–105. 

https://ink.library.smu.edu.sg/lien_research/75  

Manzini, E., & Cipolla, C. (2021). DESIS and Covid-19: It’s time to hit the reset button. Strategic Design Research Journal, 

14(1), 391. https://doi.org/10.4013/sdrj.2021.141.33  

Manzini, E., & M’Rithaa, M. K. (2016). Distributed systems and cosmopolitan localism: An emerging design scenario  

for resilient societies. Sustainable Development, 24(5), 275–280. https://doi.org/10.1002/sd.1628  

Mazotto, A. M., de Ramos Silva, J., de Brito, L. A. A., Rocha, N. U., & de Souza Soares, A. (2021). How can microbiology help 

to improve sustainability in the fashion industry? Environmental Technology & Innovation, 23, Article 101760. 

https://doi.org/10.1016/j.eti.2021.101760  

Medcalfe, S., & Miralles Miro, E. (2022). Sustainable practices and financial performance in fashion firms. Journal  

of Fashion Marketing and Management, 26(1), 141–158. https://doi.org/10.1108/JFMM-10-2020-0217  

Monyaki, N. C., & Cilliers, R. (2023). Defining drivers and barriers of sustainable fashion manufacturing: Perceptions  

in the global south. Sustainability, 15(13), Article 10715. https://doi.org/10.3390/su151310715  

Moorhouse, D., & Moorhouse, D. (2018). Designing a sustainable brand strategy for the fashion industry. Clothing Cultures, 

5(1), 7–18. https://doi.org/10.1386/cc.5.1.7_2  

Mukendi, A., Davies, I., Glozer, S., & McDonagh, P. (2020). Sustainable fashion: current and future research directions. 

European Journal of Marketing, 54(11), 2873–2909. https://doi.org/10.1108/EJM-02-2019-0132 

Murzyn-Kupisz, M., & Hołuj, D. (2021). Fashion design education and sustainability: Towards an equilibrium between 

craftsmanship and artistic and business skills? Education Sciences, 11(9), Article 531. 

https://doi.org/10.3390/educsci11090531  

Opoku, J., Amankwah, A. M., & Bonsu, G. A. (2022). Advancing unconventional bridal gowns detailing designs through 

cosmopolitan localism to promote environmental sustainability. Journal of Science and Technology, 40(3), 113–

127. https://www.ajol.info/index.php/just/article/view/239770  

Peirson-Smith, A., & Craik, J. (2020). Transforming sustainable fashion in a decolonial context: The case of redress in Hong 

Kong [Article]. Fashion Theory, 24(6), 921–946. https://doi.org/10.1080/1362704X.2020.1800985  

Radclyffe-Thomas, N. (2018). Designing a sustainable future through fashion education. Clothing Cultures, 5(1),  

183–188. https://doi.org/10.1386/cc.5.1.183_1  

Ræbild, U. (2021). Sustainable collection practices and life cycle strategies: A fashion design perspective. Artifact, 7(12), 

14.1–14.19. https://doi.org/10.1386/ART_00014_1  

Rahman, O., & Gong, M. (2016). Sustainable practices and transformable fashion design – Chinese professional and 

consumer perspectives. International Journal of Fashion Design, Technology and Education, 9(3), 233–247. 

https://doi.org/10.1080/17543266.2016.1167256  

Sachs, W. (1999). Globalization and sustainability. Institut for Historie, Internationale Studier og Samfundsforhold, Aalborg 

Universitet. https://vbn.aau.dk/ws/files/20055705/DIR_wp_71  

https://doi.org/10.1109/ICACITE51222.2021.9404765
https://tinyurl.com/y4ah5nym
https://doi.org/10.1080/17543266.2019.1572789
https://doi.org/10.1111/ijcs.12127
https://doi.org/10.3389/fpsyg.2022.976471
http://dx.doi.org/10.13140/RG.2.1.3513.8647
https://dx.doi.org/10.18682/cdc.vi73.1037
https://ink.library.smu.edu.sg/lien_research/75
https://doi.org/10.4013/sdrj.2021.141.33
https://doi.org/10.1002/sd.1628
https://doi.org/10.1016/j.eti.2021.101760
https://doi.org/10.1108/JFMM-10-2020-0217
https://doi.org/10.3390/su151310715
https://doi.org/10.1386/cc.5.1.7_2
https://doi.org/10.3390/educsci11090531
https://www.ajol.info/index.php/just/article/view/239770
https://doi.org/10.1080/1362704X.2020.1800985
https://doi.org/10.1386/cc.5.1.183_1
https://doi.org/10.1386/ART_00014_1
https://doi.org/10.1080/17543266.2016.1167256
https://vbn.aau.dk/ws/files/20055705/DIR_wp_71


 

50 

 

 

Schismenos, A., Niaros, V., & Lemos, L. (2020). Cosmolocalism: Understanding the transitional dynamics towards post-

capitalism. TripleC, 18(2), 670–684. https://doi.org/10.31269/triplec.v18i2.1188  

Semi, G. (2021). Making cosmopolitan spaces: Urban design, ideology and power. In C. Lejeune, D. Pages-El Karoui,  

C. Schmoll, & H. Thiollet (Eds.), Migration, urbanity and cosmopolitanism in a globalized world (pp. 29–40). 

Springer. http://www.springer.com/series/13502  

Simpson, D. (2005). The limits of cosmopolitanism and the case for translation. European Romantic Review, 16(2), 141–152. 

https://doi.org/10.1080/10509580500123316  

Smal, D. (2017). Re-thinking the approach to environmentally sustainable fashion design praxis. In A. L. Bang,  

M. Mikkelsen, & A. Flinck (Eds.), In Cumulus REDO conference (pp. 399–411). 

Smith, A., Fressoli, M., & Thomas, H. (2014). Grassroots innovation movements: Challenges and contributions.  

Journal of Cleaner Production, 63, 114–124. https://doi.org/10.1016/j.jclepro.2012.12.025  

Sull, D., & Turconi, S. (2008). Fast fashion lessons. Business Strategy Review, 19(2), 4–11. https://doi.org/10.1111/j.1467-

8616.2008.00527.x  

Thomas, K. (2020). Cultures of sustainability in the fashion industry. Fashion Theory, 24(5), 715–742. 

https://doi.org/10.1080/1362704X.2018.1532737  

Yang, S., Song, Y., & Tong, S. (2017). Sustainable retailing in the fashion industry: A systematic literature review. 

Sustainability (Switzerland), 9(7), Article 1266. https://doi.org/10.3390/su9071266  

 

https://doi.org/10.31269/triplec.v18i2.1188
http://www.springer.com/series/13502
https://doi.org/10.1080/10509580500123316
https://doi.org/10.1016/j.jclepro.2012.12.025
https://doi.org/10.1111/j.1467-8616.2008.00527.x
https://doi.org/10.1111/j.1467-8616.2008.00527.x
https://doi.org/10.1080/1362704X.2018.1532737
https://doi.org/10.3390/su9071266

