Alison Gwilt
I am a fashion design researcher, author and consultant. I am interested in exploring and promoting a range of innovative design methods and approaches that enable the fashion and textiles community, from educators, to producers, and consumers, to adopt more sustainable and ethical practices. My work focuses on the use of positive/sustainable design interventions that challenge the current production and consumption paradigm. My books include ‘Shaping Sustainable Fashion’ (2011), ‘A Practical Guide to Sustainable Fashion’ (2014), ‘Fashion Design for Living’ (2015) and ‘Global Perspectives on Sustainable Fashion’ (2019).
I hold a PhD from RMIT University, Melbourne and a BA (Hons) Fashion & Textiles Design from Central St Martins College of Art in London, and I have worked in academia in the UK, New Zealand and Australia. Following my role as Reader in Fashion and Sustainability at Sheffield Hallam University, UK, I relocated to Australia in 2017. I am Associate Professor in Design at the University of New South Wales, in Sydney, Australia, and Adjunct Associate Research Professor at the University of South Australia, Adelaide.
I hold a PhD from RMIT University, Melbourne and a BA (Hons) Fashion & Textiles Design from Central St Martins College of Art in London, and I have worked in academia in the UK, New Zealand and Australia. Following my role as Reader in Fashion and Sustainability at Sheffield Hallam University, UK, I relocated to Australia in 2017. I am Associate Professor in Design at the University of New South Wales, in Sydney, Australia, and Adjunct Associate Research Professor at the University of South Australia, Adelaide.
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Papers and book chapters by Alison Gwilt
In this essay we explore the notion of circularity as an alternative to the linear production and consumption model that currently dominates the UK high street. We highlight some of the new business concepts and industry initiatives that are supporting UK producers and consumers to transform their perception and behavioural patterns towards the creation and use of fashion products. Further, we reflect on how engaging with circularity may be able to provide new opportunities for the UK high street.
ISBN: 9781350058170
To date no evidence exists on the benefit of innovative clothing interventions for keeping older adults warm (and healthy) in the home. Our aim therefore was to first understand the behaviours of older adults at risk of indoor cold, living in different domestic environments. Focus groups/semi-structured interviews were used to identify body regions where old/frail older people feel cold and to learn about their attitudes to traditional and modern fabrics and garments for keeping warm at home. Findings from a funded pilot study (RDSYH, Public Involvement grant) are presented. The body regions most vulnerable to thermal discomfort are trunk and extremities (feet, hands). Given the anxiety, discomfort, pain, reduced activity (including taking to their bed to keep warm in early evening) design/engineering-led solutions for a 'smart' warm clothing 'wardrobe' for today's and tomorrow's older people are needed. Feedback suggests that older people are open to fresh ideas about garments and technology; important to them being fabric weight. Older people do not, as often thought, wear outdoor clothes (hats, gloves, scarves) indoors, and are not averse to 'modern' fabrics and garments. Style remains important to many. These findings provide the first step towards identifying 'candidate' fabric, material and garment designs preferred and acceptable to older people for the next stage of work; development of 'smart' personalised thermal comfort solutions for health and wellbeing at home.
GWILT, Alison, LEAVER, Jackie, FISHER, Mark and YOUNG, Gordon (2015). Understanding the caring practices of users. In: Product Lifetimes and the Environment (PLATE), Nottingham Trent University, 17-19 June 2015. Nottingham Trent University
GWILT, Alison (2015). Exploring a framework for fashion design for sustainability. In: Handbook of Sustainable Apparel Production. CRC Press.
Until the mid 20th century in Western society cloth was considered to be a valuable commodity and clothes were regularly maintained and repaired to prolong garment use. Today the value attributed to clothing has dramatically changed and the practice of repairing or altering clothing has largely disappeared. While there is renewed interest in the creative potential of mending or altering garments amongst the online and offline craft communities, within mainstream society damaged clothing is typically discarded to landfill rather than repaired. Drawing on the findings of an empirical study conducted by an interdisciplinary team of researchers at Sheffield Hallam University this paper discusses what is needed to encourage and support people to engage in clothing repair.
"
GWILT, Alison (2013). Sustainable and ethical fashion. In: FOGG, Marnie, (ed.) Fashion : the whole story. London, Thames and Hudson, 486-489.
Few designers located within micro- or small- to medium-sized fashion companies consider a life cycle approach to the design of fashion garments. Moreover, many do not appear to appreciate the significance of the wearer as a participant in the success of sustainable fashion. Within the design process there is scope for the designer to develop garments that can assist the wearer to extend the life cycle of a garment during the use phase. In acknowledging the use phase as an important area for consideration in the design process, it becomes apparent that the responsibility for the success of sustainable fashion might lie with the designer, the producer, the wearer or all of these. This issue is a key point that will be raised and discussed at intervals throughout the paper.
"
Fashion designers who are unfamiliar with the principles of sustainable design often consider it as an after thought to design practice, relying upon computerised tools to reduce the negative environmental impact associated with the production and use of a garment (Black, Eckert and Eskandarypur, 2009). However this solution-focused approach does not challenge or encourage designers to seek alternative strategies for designing and making clothes. Furthermore, few designers consider a lifecycle approach to design, and yet there is great scope for integrating sustainable strategies in fashion design practice where the engagement of the wearer becomes critical.
While the fashion designer needs to be empowered to behave and think sustainably, the wearer also needs to become an active participant in the use phase of a garment’s lifecycle. Within the luxury sector the creation of a couture garment provides the wearer with an experience and a means of engaging in the world on both a rational and emotional level. Through the lens of ‘emotionally durable design’ (Chapman, 2005) the lifecycle of a garment relies upon developing a relationship between the garment and the wearer, and historical case studies can be drawn from couture that demonstrate such a relationship can exist. Moreover, by revisiting the historic techniques and processes of the luxury sector that are relative to sustainability, this paper intends to reveal and recontextualise the notion of traditional craftsmanship within contemporary sustainable thinking.
"
Innovation in high fashion has typically been attributed to the phenomenon of ‘the genius’, the creative fashion designer whose artistry is an expression of innovation and vision (Breward, 2003: 50). It is here that this role of fashion designer becomes one of creative director, where leadership and direction is imparted across the varied stages of design and production. From this position the actions of the designer could provide positive intervention that enriches the process of creative authorship in conjunction with sustainable objectives.
If we seek to direct the fashion industry towards a position of responsibility, the designer’s role needs to be redefined in order to encompass innovative sustainable solutions for fashion. Whilst other design practitioners regularly consider the life cycle of a product, within the fashion discipline the process of design often disregards, for example, patterns of consumption, user participation, and end-of-life strategies. Rather than see sustainability as a constraint for design this paper suggests that sustainability can provide the designer with a new methodology for innovation.
Breward, C. (2003), Fashion (London: Oxford University Press)
"
Books by Alison Gwilt
This book sets out to question and challenge the dominant, conventional process of fashion design that as a practice has been under-researched. While the fashion designer in industry is primarily concerned with the creation of the new seasonal collection, designed, produced and measured by economic driven factors, society increasingly expects the designer to make a positive contribution to our social, environmental and cultural life. Consequently an emergent set of designers and research-based practitioners are beginning to explore new ways to think about fashion designing. The contributors within the book argue that fashion designing should move beyond developing garments that are just aesthetically pleasing or inexpensive, but also begin to consider and respond to the wearers experiences, wellbeing, problems, desires, situations, and engagement with and use of a garment.
The practitioners and researchers that have contributed to this book share different perspectives on how fashion design can support individual and social enhancement. These accounts foreground approaches to fashion design that focus on users, lived experiences, actual and everyday problems or scenarios, which traditionally have remained unfamiliar or aside from the fashion design process applied in industry or in the educational fashion design studio. Fashion Design for Living champion’s new approaches to fashion practice by uncovering a rich and diverse set of views and reflective experiences, which explore the changing role of the fashion designer and inspire fresh, innovative and creative responses to fashion and the world we live in.
A Practical Guide to Sustainable Fashion proposes that it is imperative for the fashion designer to understand the key phases within the life cycle of a garment and that, armed with this knowledge, it becomes possible to improve the environmental and ethical performance of a garment. Drawing on examples from both well-known fashion brands and companies, and innovative, emerging designers, the book explores a variety of ways in which designers can bring sustainability into the fashion design process, from those focusing on designing garments for disassembly and recycling at the point of disposal, to garments that are developed to be energy efficient during the use phase.
Editions available in English, Portuguese, Spanish and Mandarin.
In this essay we explore the notion of circularity as an alternative to the linear production and consumption model that currently dominates the UK high street. We highlight some of the new business concepts and industry initiatives that are supporting UK producers and consumers to transform their perception and behavioural patterns towards the creation and use of fashion products. Further, we reflect on how engaging with circularity may be able to provide new opportunities for the UK high street.
ISBN: 9781350058170
To date no evidence exists on the benefit of innovative clothing interventions for keeping older adults warm (and healthy) in the home. Our aim therefore was to first understand the behaviours of older adults at risk of indoor cold, living in different domestic environments. Focus groups/semi-structured interviews were used to identify body regions where old/frail older people feel cold and to learn about their attitudes to traditional and modern fabrics and garments for keeping warm at home. Findings from a funded pilot study (RDSYH, Public Involvement grant) are presented. The body regions most vulnerable to thermal discomfort are trunk and extremities (feet, hands). Given the anxiety, discomfort, pain, reduced activity (including taking to their bed to keep warm in early evening) design/engineering-led solutions for a 'smart' warm clothing 'wardrobe' for today's and tomorrow's older people are needed. Feedback suggests that older people are open to fresh ideas about garments and technology; important to them being fabric weight. Older people do not, as often thought, wear outdoor clothes (hats, gloves, scarves) indoors, and are not averse to 'modern' fabrics and garments. Style remains important to many. These findings provide the first step towards identifying 'candidate' fabric, material and garment designs preferred and acceptable to older people for the next stage of work; development of 'smart' personalised thermal comfort solutions for health and wellbeing at home.
GWILT, Alison, LEAVER, Jackie, FISHER, Mark and YOUNG, Gordon (2015). Understanding the caring practices of users. In: Product Lifetimes and the Environment (PLATE), Nottingham Trent University, 17-19 June 2015. Nottingham Trent University
GWILT, Alison (2015). Exploring a framework for fashion design for sustainability. In: Handbook of Sustainable Apparel Production. CRC Press.
Until the mid 20th century in Western society cloth was considered to be a valuable commodity and clothes were regularly maintained and repaired to prolong garment use. Today the value attributed to clothing has dramatically changed and the practice of repairing or altering clothing has largely disappeared. While there is renewed interest in the creative potential of mending or altering garments amongst the online and offline craft communities, within mainstream society damaged clothing is typically discarded to landfill rather than repaired. Drawing on the findings of an empirical study conducted by an interdisciplinary team of researchers at Sheffield Hallam University this paper discusses what is needed to encourage and support people to engage in clothing repair.
"
GWILT, Alison (2013). Sustainable and ethical fashion. In: FOGG, Marnie, (ed.) Fashion : the whole story. London, Thames and Hudson, 486-489.
Few designers located within micro- or small- to medium-sized fashion companies consider a life cycle approach to the design of fashion garments. Moreover, many do not appear to appreciate the significance of the wearer as a participant in the success of sustainable fashion. Within the design process there is scope for the designer to develop garments that can assist the wearer to extend the life cycle of a garment during the use phase. In acknowledging the use phase as an important area for consideration in the design process, it becomes apparent that the responsibility for the success of sustainable fashion might lie with the designer, the producer, the wearer or all of these. This issue is a key point that will be raised and discussed at intervals throughout the paper.
"
Fashion designers who are unfamiliar with the principles of sustainable design often consider it as an after thought to design practice, relying upon computerised tools to reduce the negative environmental impact associated with the production and use of a garment (Black, Eckert and Eskandarypur, 2009). However this solution-focused approach does not challenge or encourage designers to seek alternative strategies for designing and making clothes. Furthermore, few designers consider a lifecycle approach to design, and yet there is great scope for integrating sustainable strategies in fashion design practice where the engagement of the wearer becomes critical.
While the fashion designer needs to be empowered to behave and think sustainably, the wearer also needs to become an active participant in the use phase of a garment’s lifecycle. Within the luxury sector the creation of a couture garment provides the wearer with an experience and a means of engaging in the world on both a rational and emotional level. Through the lens of ‘emotionally durable design’ (Chapman, 2005) the lifecycle of a garment relies upon developing a relationship between the garment and the wearer, and historical case studies can be drawn from couture that demonstrate such a relationship can exist. Moreover, by revisiting the historic techniques and processes of the luxury sector that are relative to sustainability, this paper intends to reveal and recontextualise the notion of traditional craftsmanship within contemporary sustainable thinking.
"
Innovation in high fashion has typically been attributed to the phenomenon of ‘the genius’, the creative fashion designer whose artistry is an expression of innovation and vision (Breward, 2003: 50). It is here that this role of fashion designer becomes one of creative director, where leadership and direction is imparted across the varied stages of design and production. From this position the actions of the designer could provide positive intervention that enriches the process of creative authorship in conjunction with sustainable objectives.
If we seek to direct the fashion industry towards a position of responsibility, the designer’s role needs to be redefined in order to encompass innovative sustainable solutions for fashion. Whilst other design practitioners regularly consider the life cycle of a product, within the fashion discipline the process of design often disregards, for example, patterns of consumption, user participation, and end-of-life strategies. Rather than see sustainability as a constraint for design this paper suggests that sustainability can provide the designer with a new methodology for innovation.
Breward, C. (2003), Fashion (London: Oxford University Press)
"
This book sets out to question and challenge the dominant, conventional process of fashion design that as a practice has been under-researched. While the fashion designer in industry is primarily concerned with the creation of the new seasonal collection, designed, produced and measured by economic driven factors, society increasingly expects the designer to make a positive contribution to our social, environmental and cultural life. Consequently an emergent set of designers and research-based practitioners are beginning to explore new ways to think about fashion designing. The contributors within the book argue that fashion designing should move beyond developing garments that are just aesthetically pleasing or inexpensive, but also begin to consider and respond to the wearers experiences, wellbeing, problems, desires, situations, and engagement with and use of a garment.
The practitioners and researchers that have contributed to this book share different perspectives on how fashion design can support individual and social enhancement. These accounts foreground approaches to fashion design that focus on users, lived experiences, actual and everyday problems or scenarios, which traditionally have remained unfamiliar or aside from the fashion design process applied in industry or in the educational fashion design studio. Fashion Design for Living champion’s new approaches to fashion practice by uncovering a rich and diverse set of views and reflective experiences, which explore the changing role of the fashion designer and inspire fresh, innovative and creative responses to fashion and the world we live in.
A Practical Guide to Sustainable Fashion proposes that it is imperative for the fashion designer to understand the key phases within the life cycle of a garment and that, armed with this knowledge, it becomes possible to improve the environmental and ethical performance of a garment. Drawing on examples from both well-known fashion brands and companies, and innovative, emerging designers, the book explores a variety of ways in which designers can bring sustainability into the fashion design process, from those focusing on designing garments for disassembly and recycling at the point of disposal, to garments that are developed to be energy efficient during the use phase.
Editions available in English, Portuguese, Spanish and Mandarin.
http://www.shu.ac.uk/research/c3ri/projects/make-do-and-mend
A project funded by the NSW Australian Government's 'Environmental Trust' Education program.
1. Re:Textile - Feasibility of conditional design (this report)
2. The feasibility of re:design manufacturing
3. The feasibility of service innovations We are grateful to VGR for the opportunity to carry out these studies based on the directions set in the current project proposal. The trend towards circularity is fast, and pre-conditions for the feasibility of project ideas are changing rapidly. The report takes this into consideration and has been designed to allow feasibility to be measured with variable parameters in the models. The report contains a summary in Swedish but is otherwise written in English to cater to an international interest.
Authors: Jan Carlsson; Alison Gwilt; Jonas Larsson; Heikki Mattila; Rudrajeet Pal; Håkan Torstensson; Design author: Anna Lidström.