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DOI: https://doi.org/10.34069/AI/2023.65.05.20
How to Cite:
Lahoda, O., Tokar, M., Hurdina, V., Bondarenko, B., & Ieremenko, I. (2023). Ecodesign and initiatives of sustainable development
in the dimension of passion of artistic and design creativity. Amazonia Investiga, 12(65), 212-218.
https://doi.org/10.34069/AI/2023.65.05.20
Ecodesign and initiatives of sustainable development in the dimension
of passion of artistic and design creativity
Ecodiseño e iniciativas de desarrollo sostenible en la dimensión de la pasión de la
creatividad artística y del diseño
Received: April 6, 2023 Accepted: May 30, 2023
Written by:
Oksana Lahoda1
https://orcid.org/0000-0003-1808-7119
Maryna Tokar2
https://orcid.org/0000-0002-3666-0604
Vladyslava Hurdina3
https://orcid.org/0000-0002-9040-3676
Bohdan Bondarenko4
https://orcid.org/0000-0002-2470-4518
Iryna Ieremenko5
https://orcid.org/0000-0002-3676-4892
Abstract
The fashion industry under modern
circumstances is one of the most developed
industries, which determines its tangible impact
on people and nature. The purpose of the article
is to analyze ecodesign and sustainable
development initiatives through the dimension of
passion for artistic and educational creativity.
The theoretical and empirical methods of
scientific research were used. In the results, it
was established that previously the requirements
of environmental friendliness were perceived to
a greater extent as limitations in the creative
process. They are the basis and a kind of impetus
for the generation of new creative ideas. The
novelty of the work consists in proving the
development of clothing design as an element of
the designer's personality development as a
leading specialist not only in design matters, but
also in creating an organic combination of all
components of the product creation process. The
practical significance of the work is to determine
the future of the fashion industry in the use of
1
Doctor of Study of Art (Design), Head of Department of Design of Textiles and Clothes, Professor KSADA – Kharkiv State
Academy of Design and Arts, Ukraine.
2
PhD (Arts), As. Prof., First Deputy rector for Research and Education KSADA – Kharkiv State Academy of Design and Arts,
Ukraine.
3
Candidate of Study of Art (Design), Ph. D., Docent KSADA – Kharkiv State Academy of Design and Arts, Ukraine.
4
Candidate of Study of Art (Design), Ph. D., Assistant Professor of the Department of Design, KSADA – Kharkiv State Academy of
Design and Arts, Ukraine.
5
Candidate of Study of Art (Design), Ph. D., Head of the Design Department, Docent, Kharkiv State Academy of Design and Arts,
Ukraine.
Lahoda, O., Tokar, M., Hurdina, V., Bondarenko, B., Ieremenko, I. / Volume 12 - Issue 65: 212-218 / May, 2023
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environmentally friendly and technological
fabrics. In the conclusions, it is noted that new
creative searches are due to the vital need for a
new philosophy of world perception, which will
influence ecodesign in the future.
Keywords: textile and clothing design, art and
design creativity, design-project ethics,
sustainable development, individual passion of
the designer, ecological paradigm.
Introduction
Turning to ecodesign and studying it is an urgent
issue in the modern fashion industry, as it is
important for society not only from an aesthetic
but also from a practical point of view. However,
the global challenges of humanity have a
negative impact on the artistic and design sphere,
neglecting environmental standards and
requirements. Therefore, clarifying the
possibilities of ecodesign through the prism of
modern transformations in the perception of
society and the corresponding artistic trends is an
important part of understanding the current world
of consumption.
Problem statement
The issues of sustainable development,
conscious consumption, environmental ecology
affect all aspects of human life in the modern
world. Mankind is increasingly aware of its
responsibility to future generations for the
conservation of the natural resources of our
planet. The fashion industry occupies a
significant niche in modern life - in the economy,
production, consumption. The issues of clothing
design are raised by various specialists,
considered in the context of various problems of
modern society (Goyal, 2016). Ecodesign is an
approach to creating clothing that takes into
account its environmental impact (Flannery &
Smith, 2014, p. 5). It focuses on using
environmentally friendly materials, reducing
waste, and reducing energy use in the production
process (Flannery & Smith, 2014). A fashionable
eco-designer creates clothes that are beautiful,
stylish, and environmentally friendly at the same
time. Such clothes compare favorably with others
because they are created using eco-friendly
materials such as cotton, linen, hemp, silk,
bamboo, and other natural fabrics. Therefore,
addressing the issue of using eco-friendly
materials to confront the challenges of our time
is important, especially given current
globalization trends. Therefore, it is important to
trace the influence of modern environmental
factors on design thought. It is a current trend not
only in the aesthetic but also in the ethical
dimension of contemporary design. Turning to
eco-friendly materials and recyclability, the
difference from real fur and leather is an open
message from designers about the importance of
ecology for society. Contemporary designers
around the world openly demonstrate their
ethical considerations and civic views in this
way, which generally affects the renewal of
environmental trends in design and art.
Research focus
The need to match the development of fashion
with general trends provides certain positive
results. Designers are increasingly turning to
environmental trends, due to which the
possibilities of their creativity are expanding.
Ecodesign of the future is an innovative and
promising direction that ensures the preservation
of natural resources and the environment, while
maintaining style and fashion, which requires
detailed study.
Research aim and research questions
The purpose of the article is to analyze
ecodesign and sustainable development
initiatives through the dimension of passionate
artistic and educational creativity.
In accordance with this goal, the main tasks of
the work are:
1. To identify the environmental problems of
the modern fashion industry.
2. To characterize the main styles that eco-
designers work with.
3. to analyze the main directions of work of
modern popular brands through the prism of
artistic and project creativity.
Theoretical Framework or Literature Review
Fashion design as an activity, inherently
combines different practices, skills and materials.
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Williams (2018) explores the practice of design
in the fashion world from a global perspective -
establishing connections between people, people
with their environment. She positions the
designer as an owner who is able to create
conditions for interactive interaction between
man and fashion, thereby contributing to the
implementation of sustainable development
practices. From these positions, we will consider
design activities in this work, studying the
creative potential of a designer as a passionate
personality in the process of working on various
projects in the fashion industry of a sustainable
direction (Lahoda, 2021).
Kvasnica (2019) explores ecological and ethical
trends in the design of spaces to showcase
fashion innovations. She focuses on
environmental issues in the fashion industry,
which are also reflected in the design of fashion
shows. The paper analyzes in detail a large
amount of scientific literature reflecting current
research in this area. Pokhodenko (2020) also
addresses the topic of sustainable fashion. She
analyzes the study of this topic in the Ukrainian
scientific literature. The main attention is paid to
the issues of terminology, in particular, the terms
"eco fashion" and "sustainable fashion".
Hakhova &Yeremenko (2021) researched the
place and role of clothing design in the system of
general environmental measures. It reveals the
issues of the influence of socio-cultural factors
on the development of eco-design in the fashion
industry, conceptual approaches and techniques
for creating eco-friendly clothing. In addition,
the author pays special attention to the trends in
the further development of the ecological
direction in the fashion industry (Hakhova &
Yeremenko, 2021).
Bakalinska & Kolosnichenko (2018) conducted
an analysis of design practices, which made it
possible to determine the compliance of the
principles and methods of designing fashionable
clothes with environmental standards. They
defined the concept of an eco-trend and
developed a classification of principles for its
creation (Bakalinska & Kolosnichenko, 2018).
Tkanko & Tkanko (2019) in their research
emphasize the importance of eco-design in the
global fashion industry. They determine the main
challenges that society receives in the cultivation,
processing, coloring of raw materials,
environmental pollution, and the destruction of
flora and fauna on the planet. Researchers
consider the processes of the emergence of
ecological style in fashion in the middle of the
twentieth century, determine the main directions
for the development of ecological clothing
design. They identify as the most relevant areas:
limited consumption, wardrobe minimization,
natural materials, natural colors, waste-free
production technologies, loose fit, the use of eco-
prints, niche design, alternative eco-friendly
fabrics, and so on. In addition, the authors
describe the "conscious" methods that domestic
and foreign designers use in designing
collections: "careful", "re-use", "recycling" of
waste (Tkanko & Tkanko, 2019).
All of these works touch upon certain issues of
sustainable fashion, which are more related to the
choice of materials and technologies for the
production of clothing. Features of the creative
process, the influence of the ecological
orientation of modern fashion on it were left
without attention. The purpose of the study is to
determine the features of the creative process,
directly design design, in a sustainable fashion.
Methodology
General background
This study belongs to theoretical (involves the
use of the results obtained from previous
studies), fundamental (the article contains new
results that will help solve the problems of
ecodesign development as an important
component of the fashion industry of the future)
research. The work is based on the complex
application of general scientific and special
research methods (historical-comparative,
formal-typological and artistic-compositional).
Data analysis
The use of the historical and comparative method
made it possible to trace the stages of change in
the perception of the importance of eco-materials
in the fashion world in recent times. On the basis
of the formal-typological method, the following
paradigms of development were identified. In
addition to theoretical (analogy, comparison,
classification, generalizations) and the method of
studying objects in the temporal dimension
(retrospective) were used. This made it possible
to analyze the trends in the development of
design thinking within the framework of the
ecological and ethical direction of the fashion
industry. A systematic approach was also used,
which made it possible to study the process of
creativity in fashion design, to identify features
and changes in accordance with the personal
position of the designer as a passionate person.
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Results and Discussion
The fashion industry is actually the second most
polluting industry in the world, behind only the
oil industry (Pozniak, 2019). In recent years, the
development of fashion brands has shown a trend
towards a shift in emphasis towards ecology and
sustainable production. What is happening in the
fashion industry now points to real changes in a
positive direction: not only small artisanal
productions have joined the climate movement,
but also big fashion houses with history (Dior,
Chloé, Gucci, Prada, Balenciaga, etc.).
At Paris Fashion Week, 2020, Christian Dior
emphasized its sustainable spring-summer show
with specific design. A “Green Inclusive
Garden” was created on the podium – 164 trees
were placed here, which were then planted
around the French capital. The author of the idea
was the brand's creative designer Maria Grazia
Chiuri (together with Coloco). In an interview
before the show, Chiuri said: "The tree is an
important symbol because it is about investing in
nature. Landing on the future is a positive action"
(Singer, 2019).
An important event in the fashion industry is the
Green Carpet Fashion Awards, because it
actually marked the beginning of a new era in
fashion – the Eco era. The organizers at the
highest state level were the National Chamber of
Fashion of Italy (CNMI), with the support of the
Municipality of Milan, together with the
organization Eco-Age, which advises brands on
environmental strategy. CNMI takes a proactive
stance on the sustainable development of fashion,
promoting large-scale initiatives in the field of
communication, education and training. The
main goal is to achieve guarantees of
sustainability as an integral part of the perception
of Italy and Italian fashion around the world.
Thus, Italian designers were the first to assume
global responsibility for the development of the
luxury industry in this direction.
Stella McCartney is one of the first in the fashion
industry to adopt and implement a sustainable
attitude in her business model. Her company is
constantly looking for new ways to achieve
sustainability, recognizing the responsibility for
the resources used and the impact of activities on
the planet. This is expressed in the development
of collections, the manufacture of clothes, and
the opening of new stores.
All Stella McCartney studios, offices and stores
in the UK and abroad are powered by renewable
energy. Stella McCartney prefers organic cotton
and viscose in her collections. Viscose is made
from environmentally friendly and certified
wood imported from Sweden. The company's
principled position was demonstrated by the
termination of a contract with a manufacturer that
produces viscose from an endangered forest.
In addition, research is constantly being
conducted to find new environmentally friendly
materials and technologies. One of the key points
in the company's philosophy is the use of textiles
created from recycled materials for the
production of clothing. Stella McCartney was the
first of its kind to participate in the NRDC Clear
by Design Program.
Clothing making is still, to a certain extent, a
skilled handicraft industry. Nevertheless, the
latest achievements in the field of digital,
engineering, and chemical technologies are
increasingly being used here. The results of the
research find their application both in functional
clothing and in high fashion.
It is possible to single out the key features of the
modern direction of creativity in fashion design.
Previously, the possibilities of materials limited
design thought. Their choice was determined by
the geometric, spatial, functional characteristics
of the clothes being created (Oliveira et al.,
2022). Currently, it is the characteristics of the
materials that can set the concept of the entire
collection. Ecological orientation in the
technologies of creating materials dictates
solutions in the design of clothing and
accessories. They form a new vision of fashion,
its functionality and semantic load - what it
broadcasts to the masses.
The emergence of the term "eco fashion" dates
back to the early 1990s and is associated with
fashion that has a minimal impact on the
environment. First of all, it was about the choice
of materials for creating collections (natural,
organic, durable fibers). Additionally, cutting
methods were taken into account that contribute
to the economical use of fabric during cutting
(for example, Zero Waste). Ecological fashion
trends also include upcycle and recycle. At the
moment, the concept of eco-fashion covers the
entire process of creating, manufacturing and
selling products. It is this integrated approach
that is directly related to the concept of
"sustainability". The term appeared in 1987 – it
was used in the work of the Brundtl and Report
and was defined as development that meets the
needs of the present without compromising
future generations in meeting their own needs
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(Hakhova & Yeremenko, 2021; Jochamowitz
Yriberry et al., 2023).
The definition of sustainable fashion is based on
ethical, noble goals. In using this term (and its
related "ethical fashion", "green fashion" and
"eco fashion"), activists and experts consider a
fashion industry that is able to manage its impact
on the environment throughout the planet, it
guarantees the well-being of people and other
animals throughout the entire cycle of work with
the fashion object (Jochamowitz Yriberry et al.,
2023). This calls for a rejection of business
models that lead to overproduction,
overconsumption, waste, worker exploitation
and the climate emergency. Also here, terms
describing the systemic changes necessary to
achieve a sustainable fashion become relevant:
“growth slowdown”, “circular economy”, and so
on. However, lately, the vagueness, uncertainty
of this term, the lack of attention to purely design,
creative aspects lead to the fact that many
designers prefer to independently formulate its
understanding from the standpoint of their own
philosophy. Ecofashion was formed at the
intersection of the environmental movement, the
fashion industry and marketing (Kiurski et al.,
2017). Sustainable fashion is a system of factors
and conditions for the creation, production and
sale of clothing.
The implementation of the sustainable
characteristics of fashion in creativity is
developing in different directions. A significant
niche is occupied by work directly with
materials: the development of completely new
textile products for the manufacture of clothing,
technologies for the production and processing of
raw materials. Another direction is working with
cutting technologies to obtain a minimum
amount of waste or the possibility of using them
to create other products. Separately, you can
consider the process of organizing the design,
production, presentation and sale of products.
The theme of design from the perspective of
realizing the creative potential of a designer as a
passionate personality includes the first two
directions. Let us consider in more detail their
features and possibilities for creating a creative
product. Each designer finds his own way of
working to realize his own creative philosophy.
Thanks to this, we are getting the development of
the concept of sustainable fashion, and it is
associated with the emergence of new semantic,
figurative and technological niches.
Design duo Vin+Omi (Britain - Singapore)
produces fabrics from weeds (nettle, hydrangea,
willow, ash and others). Prince Charles joined the
project, offering to use nettles from his garden at
Highgrove House. A fabric was made from it,
resembling fleece or wool in appearance. Models
made from this fabric were presented at London
Fashion Week 2018, some of them are on display
at the Victoria and Albert Museum. From the
very beginning, the fundamental principle of the
brand has been environmental friendliness
(Cartner-Morley, 2019; Van Doorsselaer &
Koopmans, 2020).
The younger generation of designers have
become actively involved in the movement for
sustainable fashion, broadcasting ecological and
ethical principles in their collections. Young
foreign designers include Collina Strada,
ChopovaLowena, Rave Review and Ahluwalia.
All of them form their own style, demonstrate
their understanding of sustainable development,
implement new ideas and meanings on this basis.
Tolu Coker (Great Britain) is known for its use
of the upcycle technique. The designer first of all
says that it is necessary to educate culture.
Sustainability is not only working with certain
materials and technologies. The human factor is
important here, the successful implementation of
the ecological concept and creative idea largely
depends on it. Appeal to "man" can be identified
in different eras, all of them were marked by
crisis phenomena, and the way out of them was
reflected in art and culture. Fashion is no
exception here. And eco-orientation is expressed
not only in materials and technologies that
preserve natural resources, but also in forms and
images.
Alexandra Sipa (Romania) has developed her
own technique for creating lace from used
electrical wires. She intends to further develop
her idea. A feature is not only the use of waste,
but also the process of creation itself - a return to
handicraft production. This turned out to be less
costly in terms of resources and made it possible
to obtain exclusive items.
The SS Daley brand (London-Liverpool) also
conveys sustainability in its work. One of the key
techniques is the use of upcycling technology.
Available raw materials are used for production -
old tablecloths, remnants of fabrics. Collections
can be called artisonal, since all materials are
produced in the same place where things are
created, the concept of collections, respectively,
is based on an authentic culture.
Kevin Germanier (France) creates bright clothes
for parties by recycling unclaimed materials:
leftover fabrics, sequins, beads, Swarovski
crystals. Gradually, the designer came to
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understand the importance of non-waste
technology. The basic element of any model is a
rectangle, it is quite difficult to work with such a
figure, but it helps to avoid waste. It is waste-free
production that becomes the basis for the
formation of future models. He emphasizes that
at the moment it is not enough just to use certain
materials to create clothes, it is important to
innovate in the design process: creating patterns,
developing finishes, processing, and so on.
The researchers note that at the moment the
segment of eco-clothing in the Ukrainian fashion
industry is underdeveloped (Hakhova &
Yeremenko, 2021). It is represented by
individual designers and brands, among which
are Slowme, DevoHome, Zerno, Roussin,
Litkovskaya, Golub Upcycled Denim Project,
RevicloBy Markova, Klaptyk fashion,
Preapoclo, RCR Khomenko, Postushna, Rehash,
Natasha Fishchenko, Chereshnivska, Ksenia
Schnaider, Bevza, Imagine, Atelier Handmade,
NCYZIP, DZHUS, Avoska, Urbanko, Ochis
Coffee and others.
(Hakhova & Yeremenko (2021) identified four
main concepts proposed by Ukrainian designers
in the direction of eco-fashion, use of organic
materials; introduction of upcycling techniques;
use of recycled fabrics and recycling techniques;
fashion design with elements of transformation.
According to them, these areas most clearly
reveal the philosophy and essence of brands,
their "main environmental concept." Another
important feature is the fact that Ukrainian
designers are primarily oriented towards the
European market, which allows them to develop
their brands. The researchers also note that in
Ukraine, among the innovations, the most
developed technologies are upcycling and
recycling (Hakhova & Yeremenko, 2021, p. 69).
Nevertheless, Ukrainian brands are increasingly
joining global environmental initiatives, this can
be seen in the rejection of natural fur and leather,
the choice of innovative materials for their
products.
At the beginning of 2020, the A.M.G. brand also
launched its own sustainable line, the leading
designer of which is Alena Bettiar. The line is
called IMAGINE and is based on the use of
materials that do not harm the environment
(organic or recycled). Sustainability is one of the
most significant trends in the modern fashion
industry.
The first IMAGINE collection demonstrates that
a sustainable approach to the creation of clothing
and its appearance can be in perfect harmony
with each other.
Bakalinska & Kolosnichenko (2018) wrote, that
modern brand should not change its appearance
every season, as this leads to the loss of the core,
the erosion of the core of the brand. In addition,
the brand fundamentally does not use low-quality
fabrics, on which the fast-fashion system is now
based. The designer notes that it is important for
her to show that clothes can be fashionable even
after many years, there is no need to change them
often. It is on this that the idea of launching a
sustainable brand is based, which will not harm
the planet and will meet the spirit of the times.
At the moment, an important step is to bring the
scientific base under the practical developments
of designers (Duriez et al., 2022). In this area, it
is necessary to determine the conceptual
apparatus, to fix uniform norms and
requirements. The publishing house Condé Nast
is one of the leading media outlets bringing
together diverse print and online media. The
Sustainable Fashion Glossary was created in
collaboration with the Sustainable Fashion
Centre, the London College of Fashion and the
University of the Arts London.
All publications of Condé Nast have a significant
impact in the global community, as they
constantly cover the state of affairs in industries
related to overcoming the climate crisis. The
position of the publishing house is clear and
precise - the emphasis is on public awareness of
current problems, the development of a dialogue
that contributes to the search for possible
solutions. The Glossary aims to provide a
science-based terminology that everyone can
refer to for a productive dialogue on fashion
sustainability.
Conclusions
The relevance of following the norms of
professional ethics and ecology in the modern
world is beyond doubt. The fashion industry, as
one of the most developed in the world
community, demonstrates its desire to raise the
level of requirements for all processes and
products. This is connected not only with the
production and consumption of goods in the
fashion industry, but also with other aspects of
activity. Thus, sustainable development in the
global fashion industry covers more and more
aspects every year. However, the personality of
the designer, that is, the one who is one of the
leaders in most processes, remains practically
unattended.
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A professional designer in itself is a creative
person, a passionary. He sets the development
vector for his brand, forms his own philosophy,
which is fully projected on his activities and is
reflected in the global society. That is why it is
so important to explore the processes of
implementing sustainable technologies directly
through the creative self of the designer. It is his
understanding of sustainable fashion that largely
forms the general civic position and can
influence the level of demand for eco-initiatives
in society.
The design process, at certain points in its
development, has treated environmental
requirements as a kind of constraint. Currently,
we can safely talk about the opposite trend - all
eco-innovations actually become catalysts for the
active development of design ideas. This
contributes to reaching a new level of creativity,
allows you to balance the ethical and practical
side of the issue with the requirements of modern
aesthetics.
Thus, it can be argued that the further
development of clothing design is increasingly
determined by the personality of the designer as
a leading specialist not only in design issues, but
also in creating an organic combination of all
components of the product creation process. New
creative searches are due precisely to the vital
need for a new philosophy of perception of the
world.
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