Establishing Slow Fashion- Made in NorwaySummary This report describes the work that has been done...

Author(s): Clara Valente, Synnøve Rubach and Cecilia Askham (Ostfold

Research/Østfoldforskning) and Gunnar Andersson (Østfold University

College/Høgskolen i Østfold)

Report no.: OR.10.15

ISBN: 978-82-7520-734-8

ISBN: 82-7520-734-7

Establishing Slow Fashion- Made in Norway A business model for a more sustainable value chain for clothing. Sluttrapport fra et kvalifiseringsprosjekt med støtte fra RFF Oslofjordfondet

Establishing Slow Fashion- Made in Norway

Business model towards a more sustainable value chain for clothes



© Ostfold Research

Report no.: OR 10.15 ISBN no.: 978-82-7520-734-8 Report type:

ISBN no.: 82-7520-734-7 Commissioned report

ISSN no.:

Report title:


A business model for a more sustainable value chain for clothing. Sluttrapport fra et kvalifiseringsprosjekt med støtte fra RFF Oslofjordfondet

Author(s):

Clara Valente, Synnøve Rubach and Cecilia Askham (Ostfold

Research/Østfoldforskning) and Gunnar Andersson (Østfold University

College/Høgskolen i Østfold)

Project number: 1632 Project title: Establishing Slow Fashion- Made in Norway

Commissioned by: Company contact:

RFF Oslofjordfondet Lill Irene Cressey, project no. 229863

Keywords: Confidentiality: Number of pages:

Slow fashion

Business models

LCA (life cycle assessment)

SLCA (sustainability life cycle

assessment)

Open 55+10

Approved:

Date: 31.08.2015

Project Manager

(Sign)

Research Manager

(Sign)



© Ostfold Research

Contents

Summary ................................................................................................................................................... 1

1 Background and structure of the report ............................................................................................. 2

2 State-of-the-art of the textile value chain ........................................................................................... 3

2.1 The concept of Sustainability ................................................................................................... 5

2.1.1 Sustainability and the fashion industry: a contradiction? ................................................. 6

2.2 The supply chain in the fashion industry .................................................................................. 8

2.3 The principal environmental and social challenges in the fashion supply chain ...................... 11

2.4 Some facts about textile waste .............................................................................................. 14

3 Methodologies ................................................................................................................................ 16

3.1 Assessing sustainability ......................................................................................................... 16

3.2 Life Cycle Assessment .......................................................................................................... 17

3.3 Social LCA ............................................................................................................................. 18

3.4 Customers survey .................................................................................................................. 19

3.5 Case study ............................................................................................................................ 20

3.5.1 General assumptions .................................................................................................... 23

4 Results ........................................................................................................................................... 24

4.1 LCA results ............................................................................................................................ 24

4.2 Discussion ............................................................................................................................. 28

4.3 Social LCA results ................................................................................................................. 29

4.4 Customer survey results ........................................................................................................ 33

4.4.1 Interviews with people stopped in the streets of Fredrikstad and Sarpsborg ................. 33

4.4.2 Heines Design Haute Couture ...................................................................................... 35

4.4.3 Romarheim Design ....................................................................................................... 37

4.4.4 Lindas og Heges systue ............................................................................................... 41

4.5 Requirements and opportunities for business development ................................................... 42

4.5.1 Opportunities to create a certification scheme .............................................................. 42

4.5.2 Business model for sustainable value chains within the slow fashion concept .............. 43

5 Communication activities ................................................................................................................ 49

6 Conclusions .................................................................................................................................... 50

7 References ..................................................................................................................................... 53

Appendix 1 Example of customer questionnaire ...................................................................................... I

Appendix 2 Example telephone interview used in case studies ................................................................ VI

Appendix 3 Interview guide for use in the street .................................................................................. VIII



© Ostfold Research 1

Summary

This report describes the work that has been done in the pre-project «Etablering av Slow Fashion - Made in

Norway. Forretningsmodell knyttet til en mer bærekraftig verdikjede for klær» (Establishing Slow Fashion

- Made in Norway. Business model for a more sustainable value chain for clothing) which has received

financial support from Regionale Forskningsfond Oslofjordfondet (in 2013-2014). The project's long term

goal is to establish new business based on the design and production of high quality clothing in Norway. The

primary aim of the pre-project has been to produce a knowledge base for the establishment of a business

model relating to a more sustainable value chain for clothes. The question as to what might persuade

consumers to choose more sustainable options in fashion has been explored. In addition, the project has

involved the collection and generation of data relating to the documentation of specific garments using life

cycle assessment, LCA, and social life cycle assessment, SLCA. The project has led to an increased

understanding of challenges relating to data generation throughout the value chains of clothing, and how

SLCA can be used in practice in studies.

The project has involved Heines design Haute Couture, Linda og Heges Systue, og Romarheim Design as

business actors, and Østfoldforskning and Høgskolen i Østfold as research partners.

During the project period one large research project proposal was worked up, developed and delivered to the

Norwegian Research Council's programme “Klimaforsk” in late autumn 2013. Although the project received

a good evaluation, it was not granted financial support. However, the knowledge and ideas which it

generated will be used in future applications. The project has also been a significant door opener to an

international network.




1 Background and structure of the report

This project aims to increase knowledge with regard to the establishment of a business model linked

to a more sustainable value chain for clothing. This involves exploring the factors leading consumers

to choose the more sustainable fashion option. In addition, throughout the data collection phase,

specific garments will be assessed using life cycle analysis (LCA) and SLCA (social-life cycle

assessment). This work should highlight challenges and opportunities along the fashion clothing

supply chain as well as create innovative systems. An essential part of the project has been the

collaboration with suppliers and importers of textiles.

The project aims to take a first step in the acquisition of knowledge which can then be used to create

new business based on the design and manufacturing of quality clothing in Norway. In order to

achieve this goal it is necessary to understand, influence and alter the current market, and to build a

business model for a sustainable value chain for clothing. A first step is to understand and document

current value chains. Secondly, the state-of-the-art will be of help in understanding key elements of

the fashion clothing supply chain. The long term goal is to alter consumer behavior and the market

by increasing the consumer awareness through documentation and communication. The

methodology and business model developed in the project will be transferable to other industries.

The report is structured as follows:

Chapter 2 looks at the State-of-the-art of the fashion clothing value chain by presenting concepts

of slow fashion, sustainability and clothes/fashion supply chains

Chapter 3 presents the methodology of Life Cycle Assessment (LCA), Sustainability, Social

LCA and the customer surveys.

Chapter 4 shows the results for LCA and Social LCA analysis for specific garments, the results

of the customer surveys (N.B. This part is written in Norwegian) and some preliminary studies

of business models.

Chapter 5 presents methods of communication with the public.

Chapter 6 concludes the work, highlighting challenges and opportunities in the establishment of

sustainable slow fashion value chains and the creation of a business model.


Business model towards a more sustainable value chain for clothing

3

2 State-of-the-art of the textile value chain

The consumption of clothing has increased dramatically in recent years, for reasons of increased purchasing

power and easy access to cheap clothes (Gardetti and Torres, 2013). The import of clothes into Norway has

more than doubled since 2010 (www.ssb.no/avfregno) and in 2010 117.000 tonnes of textiles were discarded

in Norway. Prices are so low that many consumers now regard clothes as disposable, resulting in so- called

"fast fashion", as in "fast food" (Niinimäki and Hassi, 2011). Cline's book, “Overdressed”1 highlights the

way in which cheap fashion has changed people's dressing habits. It poses questions regarding what we do

with cheap clothes and their impacts on the environment, the economy and society.

There is, however, an increase in media coverage and a growing awareness of the consequences of our high

consumption for the achievement of sustainability. The production of clothes in Norway is very small when

compared with the consumption, and the import of clothes is therefore very high. Exports of clothes and

textiles account for around 7% of total world exports and have a market of 1 trillion US dollars. In the UK,

for example, the clothes industry is considered to be extremely successful with an annual turnover of £500

billion, and £23 billion is spent annually on clothes in the fast fashion sector.

A high proportion of exporters and producers of clothes come from developing countries, in particular those

in Asia, which specialise in mass production and have low production costs. China is first among these

countries (Gardetti and Torres, 2013). 75% of all clothing exports are from developing countries, as well as

around 50% of textile production (Gardetti and Torres, 2012).

There are about 26.5 million employees in the textile and clothing industry worldwide (ILO, 2006). It is

however difficult to give a precise figure because of the significant number of small enterprises and

subcontractors etc. within the industry.

The clothes industry has an important role as a job creator. This is particularly the case for women in

developing countries and for unskilled workers in both developed nations and those under development.

Both types of countries utilise modern technology because of low initial investment costs, but labour costs

are significantly higher in developed nations than in those that are under development.

1 http://www.overdressedthebook.com



4

Design and marketing are fundamental to the fashion industry. Fashion is defined as “the way in which our

clothes reflect and communicate our individual vision within society, linking us to time and space (Fletcher

2008), where clothes give the contextual vision in society” (Cataldi, Dickson, and Grover, 2010). The very

word 'fashion' has connotations of superficiality, continuous change and trend. These have been the basic

elements of fast fashion in recent years

The slow fashion movement, on the other hand, has its roots in an analogous movement known as 'slow food'

(http://www.slowfood.com/) which first arose in Italy in 1986 as an alternative to fast food. The idea behind

it is to maintain traditional and regional cuisine and to stimulate the farming of plants, seeds and livestock

within the local ecosystem. “I choose slow food because [if you want] to change the world you have to

change the menu first” says a member of this movement. In the years since 1986 many slow movements

have emerged, such as 'slow money', 'slow cities', 'slow travel', 'slow design'. All of them aim to slow down

society and to shift towards a more sustainable lifestyle. More recently, in 2007, Fletcher at the Centre for

Sustainable Fashion in the UK, invented the term “slow fashion” as a strategy for moving the fashion industry

towards sustainability (Cataldi, Dickson and Grover, 2010).

According to NICE (Nordic Initiative Clean and Ethical2), the global fashion and textile industry is the

world’s third largest industry and the one which creates the greatest environmental and social problems.

Public pressure on the clothing and textile industries has gained in importance, particularly because of the

high visibility of their impacts. One example is the recent scandal of transgenic cotton at H & M fashion

(Caniato et al., 2012). Other fashion companies affected by public scandals are Nike, Levi Strauss, Benetton,

Adidas and C&A as a result of poor working conditions and the intensive use of natural resources.

The clothing industry outsources almost all its manufacturing activities to developing countries. The reason

for this being lower production costs, which are a primary factor in the selection of suppliers. In addition,

clothes have become so cheap that consumer attitudes have changed within the fashion sector and more

clothes are bought than ever before (Gardetti and Torres, 2012, p. 70-71). The production of clothes has been

given a very low score by the UK Environmental Agency and the industry is also linked to poor wages, long

working hours, forced overtime and lack both of job security and employment rights (Fletcher, 2008, p. 41-

42).

2 http://nordicfashionassociation.com/content/learn-how-be-nice



5

In order to establish a business model for a sustainable fashion clothing value chain, it is important to clarify

the terminology, concepts, current knowledge and literature relating to clothing and fashion. The

consumption of clothing and its impacts on the environment, economy and society are also important factors.

The export of textiles and clothing from the EU to the rest of the world represents 29% of the world's exports

in this industry, while China occupies first place with 40% of world exports. The industry in general can be

defined as “a diverse and heterogenous industry, covering large range of activities from the transformation

of fibres to yarns and fabrics, and from these to clothing, which may be either fashion and not fashion

clothes”3.

2.1 The concept of Sustainability

The concept of sustainability has its origin in forestry. Already in 1713, Hans Carl von Carlowitz talked

about the sustainable yield of forest resources in Sylvicultura oeconomica (Carlowitz, 1713) defining

sustainability thus: “not more wood should be removed as can grow in the long run”. However, the

terminology gained popularity after the Brundtland report came out in 1987. Here the concept of sustainable

development is defined as one that “ensures that society meets the needs of the present without compromising

the ability of future generations to meet their own needs” (WCED, 1987). Sustainability can be considered

to be an alternative to neoliberal economics, and to the socio-economic paradigm, both of which tend to

focus on short term profitability without a long term vision (Lozano and Huisingh, 2011).

There are more than 300 definitions of sustainability since the Brundtland report (Johnston et al., 2007) and

the spread of terms and definitions has widened via various sources, authors and organisations (Glavič and

Lukman, 2007). It can be confusing and difficult to understand when different terminologies are applied to

concepts which are the same, and different concepts are described using the same terminology. This can

frequently lead to confusion over the concepts of sustainable development and sustainability. For this reason

a general definition of sustainability is proposed in accordance with Heijungs, Huppes, and Guinée (2010,

p. 423)

“A thing is sustainable when it can be maintained in a specific state for an indefinite (or very long) time.

Hence, sustainability is the property of a thing being sustainable.”

3 http://www.ec.europa.eu/enterprise/sectors/textiles/external-dimension/index_en.htm



6

A general definition of sustainable development is proposed in accordance with Glavič and Lukman (2007,

p. 1884):

“Sustainable development is a timeline, where principles, approaches, strategies and policies may help

one to develop and implement a future vision of a sustainable society that will require different thinking

patterns and changes in lifestyles to achieve.”

In spite of varying definitions, most authors agree or appear to agree that the development of sustainability

comprises the integration and interaction between environmental, economic and social factors (Lozano and

Huisingh, 2011). These are the so-called three pillars or dimensions of sustainability, and they can be defined

as follows:

1) environmental sustainability is the capacity to preserve indefinitely rates of renewable resource harvest,

pollution creation, and non-renewable resource depletion ,

2) economic sustainability is the capacity to maintain indefinitely a definite level of economic production ,

and

3) social sustainability is the capacity of a social system to operate indefinitely at a definite level of social

well being.

A definition of the term “sustainable production” is also required when analyzing value chains. Glavič and

Lukman’s (2007, p. 1883) proposed definition derived from Lowell Center for Sustainable Production4 is:

“Sustainable production is creating goods by using processes and systems that are non-polluting, that

conserve energy and natural resources in economically viable, safe and healthy ways for employees,

communities, and consumers and which are socially and creatively rewarding for all stakeholders for the

short- and long-term future.”

2.1.1 Sustainability and the fashion industry: a contradiction?

According to Fletcher (2008), fashion is “the way in which our clothes reflect and communicate our vision

within society, linking to time and space” and clothing is “the material thing that gives fashion a contextual

vision in society” (Cataldi, Dickson, and Grover, 2010). The word fashion intrinsically implies constant

change and when looked at from a long term perspective, it conflicts with the sustainability principle. The

action of buying and throwing away clothes generates an unsustainable amount of waste.

4 http://www.sustainableproduction.org/

http://www.sustainableproduction.org/



7

Fashion, however, need not be dangerous for the environment or in conflict with sustainability, but rather its

use should improve the welfare of the people (Gardetti and Torres, 2012). Furthermore, the individual

behavior of consumers with regard to clothing consumption within the fashion sector, is a significant factor.

Social and psychological mechanisms such as the need for possessions, one's appearance, and constant

comparison with other people tend to make consumers “blind” (Gardetti and Torres, 2012). Responsible

consumption (the conscious choice of the consumer) on the other hand, can help minimise fashion's impacts

on the environment and society.

In the fashion industry, sustainability can be achieved in the following ways: in the production phase, in

business policy, in the management of the supply chain etc. and in relation to the triple bottom line (TBL)

principle (Elkington,1997): planet, profit and people (environment, economy and society).

Sustainable production makes products more marketable and they have more economic advantages.

Sustainability should be looked at along entire value chains (suppliers and sub-suppliers, manufactures,

retailers and fashion bureaus consumers, post consumers actors etc.) and product and supply chain design,

and manufacturing and supply chain management should be taken into consideration (Caniato et al., 2012).

As can be seen, sustainability concerns the financial, social and environmental performance of the product,

the supply chain and the process. The slow fashion industry is often driven by internal policies, market

strategies and regulations. Its counterpart is the fast fashion industry which is often principally driven by the

economy (a cost reduction strategy with outsourcing of production).



8

Figure 1 Sustainability in the slow fashion industry, adapted from Caniato et al. (2012)

2.2 The supply chain in the fashion industry

The supply chain of fashion clothes includes several steps, from the extraction of raw materials to the

disposal phase at the end of the garment's life, and the transformation of fiber to yarn and from yarn to

garments. The clothing industry includes the manufacture and production of natural and synthetic raw

materials, the production of yarn, the manufacture of textiles, finished clothes, the distribution to retailers

and then consumption (Gardetti and Torres, 2013; Hansen and Nybøle, 2013). Thus, a fashion clothes supply

chain can be defined as “a system or network of organisations, people, technology, activities and resources

engaged in transferring a product from supplier to customer” (Nagurney, 2006).

Environmental impacts associated with the fashion industry are global, and relate to both the manufacturing

plant site and the demand market, as well as to product distribution by land and sea. In the fashion and

clothing industry, intensive use of natural resources and poor working conditions are the principal issues

associated with the sustainability of the supply chain (Caniato et al., 2012). The movement of production to

Product Supply chain

Process

Environment

Social

Econo

my

Internal Market

Regula tions

DRIVERS DIMENSIONS

STAGES



9

Asia because of lower production costs generates social issues such as child labour and poor wages. Long

transport distances are another source of impact. As an example the Scandinavian fast fashion company H

& M, produces more than 50% of its emissions from shipping transportation (Guardian, 2010).

An example of a clothing supply chain is presented in Figure 2 where the main environmental and social

impacts are highlighted for each stage (Gardetti and Torres, 2013). In clothing production, environmental

impacts are associated with high water consumption and the use of pesticides (particularly in the production

of wool and cotton fibres) and the high use of energy, while synthetic fibers are based on non-renewable

fossil fuel resources and require high-energy consumption. Waste generation is another relevant impact.

Figure 2. Clothing supply chain with environmental and social impacts (Gardetti and Torres, 2013, p. 72)

Figure 3 shows an example of a textile supply chain (Hasanbeigi and Price, 2012). The supply chain for

textile production is very complicated because there are many different factors and phases involved during

the manufacturing process. These include substrates, processes, machinery and components and several

types of fibers, methods of fabric production and finishing processes such as dyeing and coating. Dyeing,

drying and finishing in particular, are often characterized by a significant use of chemicals and natural

resources.

The principal environmental issues can be summarised by referring to the report “Well Dressed?” (Allwood,

2006):

1) Energy use in laundry, production of primary materials especially man-made fibres and in yarn

manufacturing of natural fibres.

2) Use of toxic chemicals which may harm human health and the environment – in particular in

conventional cotton production

3) Release of chemicals in waste water – especially in wet pre-treatment, dyeing, finishing and

laundry – which may harm water based life.



10

4) Solid waste arising from yarn manufacturing of natural fibres and disposal of products at end of

life

Furthermore, these environmental issues, have social dimensions with their effect on occupational health.

This is due to exposure to:

1) Hazardous chemicals particularly in cotton production, wet pre-treatment, dyeing, finishing and

making up.

2) Fibre dust, especially when processing cotton, giving rise to the respiratory disease termed

byssinosis.

3) Noise associated with yarn manufacturing, knitting and weaving.

4) Monotonous repetitive processes in making up, leading to injuries amongst sewing machinists

Figure 3 Textile supply chain (Hasanbeigi and Price, 2012, p. 3650)



11

2.3 The principal environmental and social challenges in the fashion

supply chain

The challenges associated with the fashion supply chain, including the data collection stage are shown in

Figure 4 with an explanation below. In general, the textile and clothing industry can be said to be closely

related to agriculture in the third world with regard to the production of natural fibres, and to the chemical

and plastics industry in the case of synthetic fibres. All the production processes involve significant use of

chemicals and auxilliary materials, as well as energy and waste water. The aforementioned challenges are

together with issues relating to a lack of worker's rights and poor health conditions.

Figure 4 Challenges in the fashion clothes supply chain (figure made by S. Rubach, Østfoldforskning)

By using the term use of materials we refer to the extraction of textile fibre. The UK Department for

Environmental Food and Rural Affairs (DEFRA)5 states that there are key data gaps and inconsistencies in

the reporting of the environmental and social impacts of fibres/fabrics. The various different systems of data

collection may make some textile fibres seem better than others, and thus create inequalty in a comparison.

In LCA analysis, wool fibre has, for example, good background data, while other fibers, such as emerging

fibres, have insufficient or no data, especially concerning chemical and biodiversity impacts. The sustainable

5 http://www.defra.gov.uk/

Use of materials

• DEFRA states: key data gaps and inconsistency in reporting of the environmental and social impacts of fibres/fabrics

Production processes

• Resources used to produce fabrics

• Amount of offcuts

• Use of left-over fabric for byproducts

Fashion design processes

• Decision processes not documented

Garment production processes

• Resources used to produce fabrics

• Amount of offcuts

• Use of left-over fabrics for byproducts

Distribution/ transportation

• Choice of packaging

• Choice of transportation

• Resource efficiency

Retail/stores

• store management data

• education/knowledge of store personnel

Consumer use

• The actions taken by the consumer, use (number of times), washing/cleaning

Textiles and fashion in the disposal phase, end of life

• The actions taken by the consumer

• Landfill, incineration, recycling (re-manufacturing), reuse



12

production process is the transformation of raw material into finished fabrics. The challenge here is to use

fewer resources to produce fabrics sustainably by reducing offcuts and by using left-over fabrics.

Within the fashion design processes the decision processes are not documented. The challenges here are

minimising waste in the cutting process, utilising sustainable fabrics, homogenising fibre composition,

inhibiting disassembly in garment design and construction and in considering existing options for end-of-

life management. There is some data availability in design tools and online sourcing tools, such as textile

catalogues and in self-assessment tools such as the Higg Index. Other tools focus on ecodesign such as

NIKE’s Environmental Apparel Design Tool and HÅG’s EcoDesign Tool. The HÅG EcoDesign Tool

combines LCA data for materials and specific data for suppliers with design information about the materials

required for different modules of seating solution design (developed and provided by Ostfold Research).

Sustainable garment production processes identifies sewing and assembling as an area where there are

challenges. These can be met by minimising waste when cutting and in using sustainable sources for fabrics.

There is a lack of data for this garment production stage.

At the distribution and transportation stage it is important to optimise the type and amount of packaging,

and to ensure that it is recyclable. With regard to transportation, the type of vehicle and the degree to which

it is filled, are among important considerations. Data should be collected for the type of packaging used for

fashion garments and for their disposal.

In the area of retail and stores the challenges are related to understanding the amount of garments sold and

to what happens to the unsold items. Data collection is aimed at understanding the market dynamic with

regard to consumers and the differences to be found between consumers of high fashion and low fashion,

slow fashion and fast fashion.

In the consumer phase the challenges are to be found in reducing energy, water and chemicals consumed in

the washing and cleaning processes. This requires better labelling of the product and that the washing

recommendations are followed. It is still open to question as to how the consumer might be informed of the

garment's history and to what degree the designer should tell that history.

In the disposal phase and end of life of textile and fashion, the challenge lies in the avoidance of clothes

waste to landfill through solutions such as donation schemes and improved recycling systems. Data can vary



13

in relation to, for example, consumer habits, economy and disposal opportunities. Clothes should be

separated for reuse and recycling.

The recent trend in consumer behaviour is for an increase in awareness of the environmental and social

impact of clothing. Data collection concerns the types of discount and promotions on offer and the

continuous shifting of trends in clothes.

One can summarise the environmental and social aspects associated with the life cycle stage of clothes in

accordance with the sustainable clothing action plan in Figure 5 (DEFRA, 2010).

Figure 5 Environmental and social aspects associated to life cycle stage of clothing (DEFRA, 2010)

The primary social challenges are associated with poor working conditions, child labour, low wages,

violation of human rights, poor health and safety conditions, poor trading conditions and low attention to

animal welfare in the product stages (from the raw material extraction and processing to clothing production

and garment assembly). Further social problems are connected with precarious employment conditions



14

(often temporary contracts) and sexual harassment (generally women dominate the working force in this

sector). The principal environmental challenges of LCA stages from cradle to gate are, however, linked to:

climate change throughout most of the life cycle stage, from raw material to end of life, but excluding

the retail phase;

solid and hazardous waste in the raw material processing, the construction stage and end of life;

resource consumption in the raw material extraction and use, and

other environmental issues such as biodiversity, soil degradation, and air and water pollution in the

product stage, from raw material extraction to clothing production.

Further challenges in making the supply chain sustainable relate to eco-materials and ethical issues

(Niinimäki and Hassi, 2011). In order to build a sustainable fashion supply chain, it is important to increase

focus on ethical, social and cultural values. Green certification by bodies such as Ecolabel, Global Organic

textile Standards, and the Global Reporting Initiative can be applied in order to change consumers' behaviour

and attitudes to clothing. In addition green product and process design in the selection of technology,

materials and characteristics, are all tools which can contribute to this.

2.4 Some facts about textile waste

The amount of textile waste in Norway increased significantly throughout the 1990s. In 1998 there was an

estimated 106,000 tonnes of textile waste in Norway. In the same year, almost 80% of textile waste came

from private homes, where clothes constituted over 40 percent of the total amount (Hansen and Nybøle,

2013; www.ssb.no). The average textile waste in the EU is 26 kg per person in EU, and 23 kg per person in

Norway. The amount of textile and clothes imported into Norway has increased, with a consequent rise in

waste. This is shown in Figure 6.



15

Figure 6 Import of textile and clothes, textile waste in Norway6

According to the Norwegian ministry of trade and industry7 trading rules regarding textiles and ready-made

clothing with countries outside the EU/EFTA areas have been relaxed and competition has increased for

Norwegian manufactures. At the same time, some Nordic initiatives such as NICE8 (Nordic Initiative Clean

& Ethical) and the Nordic Fashion Association are working to create a more ethical and environmentally

friendly clothing and textile industry.

6 http://morerecycling.no/wp-content/uploads/2012/06/TextileWasteasresource.pdf 7 http://www.regjeringen.no/en/dep/nhd/documents/Handbooks-and-brochures/2001/Business-and-industry-in-Norway---The-

textile-and-ready-made-clothing-industry.html?id=419360 8 http://nordicfashionassociation.com/nice

http://morerecycling.no/wp-content/uploads/2012/06/TextileWasteasresource.pdf

http://www.regjeringen.no/en/dep/nhd/documents/Handbooks-and-brochures/2001/Business-and-industry-in-Norway---The-textile-and-ready-made-clothing-industry.html?id=419360

http://www.regjeringen.no/en/dep/nhd/documents/Handbooks-and-brochures/2001/Business-and-industry-in-Norway---The-textile-and-ready-made-clothing-industry.html?id=419360

http://nordicfashionassociation.com/nice



16

3 Methodologies

3.1 Assessing sustainability

There are hundreds of tools and approaches which can be used for assessing sustainability, and it is crucial

that the appropriate assessment tool is selected (Poveda and Lipsett, 2011). The assessment of sustainability

has become increasingly connected to the group of environmental methods which include Environmental

Impact Assessment (EIA), Strategic Environmental Impact Assessment (SEA), Life Cycle Assessment

(LCA) and Ecological Footprint (Pope, Annandale, and Morrison-Saunders, 2004). Life Cycle Assessment

has been firmly established as a method for tracking environmental impacts through a product’s life cycle,

but one can question whether it is applicable for capturing all the dimensions of sustainability. Recently,

attempts have been made to include social and economic, as well as environmental factors in the LCA

methodology. The methodology includes a framework for studying product life cycles and should be able to

expand in order to cover additional dimensions of sustainability. LCA can be used, for example, in

understanding whether changes in a part of a product's life cycle can lead towards greater sustainability

(Cooper, 2003). The focus on sustainability from political and industrial decision makers has been expanded

in various different directions: a) assessment of costs and benefits from private to societal; b) inclusion of

environmental and social aspects in economic assessments; and c) development of concepts such as supply

chain, life cycle etc. (Heijungs, Huppes, and Guinée, 2010). The introduction of additional dimensions into

LCA will help in assessing whether products, activities or services are moving towards sustainability and in

making strategic decisions (De Benedetto and Klemeš, 2009). Life Cycle Sustainability Assessment (LCSA)

is a recently developed methodology for the assessment of sustainability based on LCA methodology. This

method is being developed for “evaluating all environmental, social and economic negative impacts and

benefits in decision-making processes towards more sustainable products throughout their life cycle”

(UNEP/SETAC 2011). It therefore takes into account the triple bottom line (TBL) aspects of products from

raw material extraction to recycling or waste disposal. The TBL captures an expanded spectrum of values

and criteria for measuring ecological, economic and social aspects. Klöppfer (2008) has proposed a formula

for LCSA, where three methods, Life Cycle Assessment (LCA), Life Cycle Costing (LCC) and Social Life

Cycle Analysis (SLCA) are expressed thus:

LCSA= LCA+LCC+SLCA

These three tools should be considered as three ways of looking at the same system.



17

In this project, the focus is solely on environmental and social dimensions, using their respective

methodologies, LCA and S-LCA. A detailed description of these two methods follows in sections 3.2. and

3.3.

3.2 Life Cycle Assessment

Life Cycle Assessment (LCA) evaluates the environmental burdens associated with a product system or

activity." This is carried out by identifying and describing the energy and material uses and releases into the

environment. An LCA includes the entire life cycle of the product, from raw material extraction, through

materials processing, use and disposal at the end of the product's life (from "cradle to grave"). All

transportation steps involved are also considered. LCA assesses the environmental impacts of the system in

the areas of ecological systems, human health and resource depletion. It does not address economic or social

effects.

Life cycle assessments give a more holistic approach to environmental aspects of products. LCA can help

the producer understand more about which environmental problems are associated with a product. The

producer can also see where in the product's life cycle the main environmental burdens arise. Environmental

impacts (global warming, acidification, eutrophication and photochemical oxidation) have been calculated

through the use of the software SimaPro, version 7.3.3., together with the Ecoinvent 2.2 database.

The environmental impact categories assessed were climate change, acidification, eutrophication, and

photochemical oxidation, with their corresponding indicators, global warming potential, acidification

potential, eutrophication potential and photochemical oxidation potential (see the explanation below). These

categories are the most commonly assessed in LCA studies.

Global warming potential (GWP): the relative measure of how much infrared radiation (heat) a

greenhouse gas traps in the atmosphere. It is measured in kg CO2-equivalents.

Acidification potential (AP): emissions of gasses (SO2, NOx, HCL, NH3) into the air combine with

other molecules in the atmosphere and result in acidification of ecosystems. Acidification is

measured in kg SO2 equivalents.

Eutrophication potential (EP): includes emissions of substrates and gasses to water and air, affecting

the growth pattern of ecosystems. EP is expressed in kg PO4-3equivalents.



18

Photochemical oxidation potential (POP): often defined as summer smog, is the result of reactions

that take place between nitrogen oxides (NOx) and volatile organic compounds (VOC) exposed to

UV radiation. It is expressed in kg C2H4-equivalent.

Other environmental impacts such as natural resource depletion and human- and eco-toxicity, were not

included in the analysis.

The system boundary included the process stages involved in the creation of one garment from the production

site to the boutique/studio where the fabrics were assembled in a dress. The functional unit was referred to

the production of one garment.

3.3 Social LCA

Social LCA is a more recent methodology than LCA and LCC. It is also currently arousing interest and is

an emerging tool for measuring the social impact of a product (Benoit-Norris, Cavan, and Norris 2012). The

idea of integrated social and socio-economic criteria in LCA was born out of the SETAC conference in 1999

(UNEP/SETAC 2009), where social welfare was recommended as a social impact category in environmental

LCA studies. In recent decades, however, only a few studies have been published that have aimed to develop

frameworks in social impact assessment (Norris 2006, Dreyer et al. 2005 and Benoît et al., 2007).

In 2009, UNEP/SETAC (2009b) published guidelines for the social life cycle of products, where Social LCA

was defined as: “a social impact (and potential impact) assessment technique that aims to assess the social

and socio-economic aspects of products and their potential positive and negative impacts along their life

cycle, encompassing extraction and processing of raw materials; manufacturing; distribution; use; re-use;

maintenance; recycling and final disposal”.

In S-LCA, the geographical dimension is very important, because social issues vary from country to country.

The time frame is another key element, because social impacts change over time. Social impacts are

perceived to be very complex and subjective, and they are strictly dependent on both geographical location

and socio-economic conditions.

The social guidelines for products from UNEP (2009) classify social impacts in five different areas of

protection, corresponding to five stakeholder categories: workers, users, local community, society, and value



19

chain actors. These are categories of stakeholders who are potentially affected by the life cycle of a product.

In social science, data collection is usually made using questionnaires and interviews and these can be time

consuming.

Because of time restriction in this project, we have performed a screening social LCA using a tool known as

the Social Hotspot Database (SHDB, www.socialhotspot.org). This was created by New Earth with the aim

of:

1. surveying a wide range of data sources relating to relevant issues and organised in a single location;

2. providing country and, when applicable and available, sector data for complex supply chains for

which the information can be difficult to access.

3. building a quantitative social assessment based on input/output (I/O)9 data and workers' hours to

evaluate risks in the supply chain.

In this tool, every sector in every country is addressed by unit process data by some process in the SHDB

database. Every detailed sector is represented by one of the 57 GTAP sectors (Global trade analysis project),

including the textile sector.

All regions of the world, including Norway, have also been regarded by the SHDB countries and regions as

individual specific countries. Other countries, such as small island states with relatively smaller economies

have been represented by regions where the data represents aggregates of several countries. This tool helps

in identifying hotspots for a specific sector involved in the assessed supply chain. Hotspots are defined as “

unit processes along supply chains where companies may want to take action to improve or highlight their

social responsibility (e.g. site specific audits); issues that need to be considered when doing business in a

certain sector in a certain region/country, and risks of violations or opportunities to improve

reputation”(Benoit-Norris, Cavan, and Norris, 2012).

3.4 Customers survey

9 “an input/output model is a quantitative economic technique that represents the interdependencies between different branches

of a national economy or different regional economies” https://en.wikipedia.org/wiki/Input%E2%80%93output_model

https://en.wikipedia.org/wiki/Input%E2%80%93output_model



20

The customer surveys were carried out using telephone interviews and internet surveys. Examples of the

survey questions can be found in Appendix 1 (Example of questionnaire to customers) and Appendix 2

(Example of survey performed by telephone interview of customers).

The consumer survey was carried out in the summer of 2013 by stopping random respondents in the main

shopping streets in Sarpsborg and Fredrikstad. The questions asked can be found in Appendix 3 (Interviews

performed with citizens out in the city streets).

3.5 Case study

Case studies concern the environmental and social assessment of the value chains of specific clothes

produced at local boutiques in the Ostfold region of Norway.

Case study 1: Romarheim Design is a design studio and shop in the old town of Fredrikstad. The company

has been owned and operated by designer Frøydis Romarheim, since 2007. Data collected with regard to the

dress illustrated in Figure 7 came from the bachelor thesis of Hansen and Nybøle (Hansen and Nybøle 2013).

Figure 7 Romarheim Design dress

The dress illustrated is made of a velvet fabric. This velvet consists of 92 % polyester and 8 % elastan. The

dress weighs 460g. Romarheim Design buys the textile from a supplier located in Oslo, named Gazelle.

From Oslo to Fredrikstad the fabric is sent by post, wrapped in plastic and transported by road over a distance

of 101 km. Gazelle buys the fabric from a sub-supplier named Schwarzschild Ochs who sends the textile,

wrapped in plastic and cardboard, by freighter from England to Norway, being a distance calculated in



21

Google maps of 1135 km. The production site is not however located in England, but in China. Data from

China are assumed as being from the Haining Warp Knitting Co. Qushi Ltd. The textile is transported by

freighter from China to England, being a transport distance as calculated in Google maps of 19583 km. The

whole value chain is represented by (Hansen and Nybøle 2013) in Figure 8.

Figure 8 Value chain of the Romarheim Design dress (supplier, sub-supplier and production of fabric)

Case study 2: Linda og Heges Systue is a small company located in Tønsberg. The sales point is a shop in

the same town, where data for the Norwegian traditional “bunad” dress, shown in Figure 9, was collected by

research assistants in the summer of 2013.

Figure 9 Heges’ bunad dress

The “bunad” dress is made of 1,5 linear meters of 100 % wool fabric weighing 765 g. Heges Systue buys

the wool fabric from the supplier, “Skaar textile”, located in Ålesund. (Ålesund to Tønsberg by van 662 km).



22

Skaar, in turn, uses a sub-supplier for the wool fabric located in an unknown country in Europe. This is

assumed to be Great Britain (Aberdeen to Ålesund 827 km by freighter). A small portion of the wool fabric,

assumed to equal 10%, comes from Australia, (Australia to Aberdeen: 21152 km, calculated using

www.searate.com; transoceanic freighter). The “bunad”-shirt is made of 1.3 linear meters of 100% yarn

cotton, with a weight of 314 g.

The value chain of cotton fabric involves the following sub-suppliers: Solberg spinning mill located in

Drammen (Drammen-Tønsberg: 63 km, transport by van), and a sub-supplier from Great Britain (Great-

Britain- Drammen: 1135 km; transoceanic freighter) and a production site in China (China- Great Britain:

19583 km, transoceanic freighter).

Case study 3: Heines design Haute Couture, a design studio and boutique located in Sarpsborg, specialized

in the design of wedding and ceremony dresses (http://www.heinesdesignhautecouture.no). Data for the

wedding dress shown in Figure 7 was collected during the summer of 2013 by research assistants.

Figure 7 Heines design’s wedding dress

The wedding dress is made of 100% polyester fabric. The dress has a weight of around 1 kg. 1.240 kg is of

Duchesse fabric (240g of off cuts) and 810g Satin lining fabric (154 g of off cuts) used for making wedding

gowns. Inside the dress there is also 50g of rigid ribbon (polyester) and 100g of vliseline G 740 (20 g off

cuts).

http://www.heinesdesignhautecouture.no/



23

The Duchesse and Satin fabrics are transported from Grimsrud (Oslo) to Heines Design in Sarpsborg

(transport distance by van: 89 km). The petticoat/underskirt was bought from an unspecified supplier.

Transport of the rigid ribbon and vliseline G 740 is from Drammen (Hjelmtvedt) to Heines Design Haute

Couture studio (104 km; transport by van). In the absence of any other information, it was assumed that the

production sites were located respectively as follows for each material:

• rigid ribbon in Switzerland (transport distance by lorry Zurich-Drammen: 1642 km)

• vliseline G740 in Germany (Munchen-Drammen: 1601 km, transport by lorry)

• Duchesse and Satin fabrics in China, assuming a sub supplier in England, as in Case 2 (China-Great

Britain: 19583 km, transoceanic freighter).

3.5.1 General assumptions

In all three case studies, the weaving process of a synthetic fabric such as Duchesse, is assumed to be similar

to that of cotton fibre. Packaging and energy used by the supplier and the wholesalers were excluded from

the analysis because of lack of data; as were manufacture of the yarn and dyes.

The raw material chosen for modelling polyester in SimaPro was “polyester resin, unsaturated, at the plant”.

This was used for both the Romarheim Design dress and the Heines Design wedding dress. The raw material

chosen for modelling elastane was “Polyols, at the plant”, since there was no specific elastane data in the

databases available.

“Wool, sheep on the farm, US” and “yarn, cotton production at the plant, Global” were the assumed process

unit datasets used for modelling wool and cotton respectively. Data for weaving cotton was used for wool,

due to the absence of any specific data with regard to processing for wool. According to a personal

communication with the company Camira, it is not possible to distinguish the energy use for different types

of fabrics that they produce. Camira produces fabrics with varying blends of wool and synthetic materials

(some mostly wool, and some mostly synthetic, as well as many blends in-between). This is the basis for the

assumption that producing fabrics from different types of yarns can use similar amounts of energy.



24

4 Results

4.1 LCA results

LCA results are shown for global warming potential in Figure 8 and for other environmental impact

categories (acidification, eutrophication and photochemical oxidation potential) in Figure 9.

Figure 8 GWP for the Norwegian clothes value chains case studies 1, 2 and 3

Case study 1 shows a better GWP profile (9,3 kg CO2 eq per garment produced) than case study 2 (42,5 kg

CO2 eq. per garment produced) and case study 3 (33.7 kg CO2 eq. per garment produced).

0

5

10

15

20

25

30

35

40

45

kg CO2 eq kg CO2 eq kg CO2 eq

Romarheim Design Heines systue Heges design

Global warming potential of Norwegian clothes value chains



25

Figure 9 Other environmental impacts (acidification, eutrophication, photochemical oxidation potential) for case studies

1, 2 and 3

Heines Design (case study 3) had the highest AP and EP among the three case studies. The environmental

impact category POCP showed a different trend, where case study 2 showed the highest emissions of kg

C2H4 eq.

Table 1, Table 2 and Table 3 present the results for GWP, AP, EP and POCP, showing each stage involved

in the supply chain for case studies 1, 2 and 3 respectively. Figure 13, Figure 14 and Figure 15 on the other

hand, show the results for GWP in percentage for raw material assembly, transport and the production stage

for case studies 1, 2 and 3 respectively (pie charts).

0

0,05

0,1

0,15

0,2

0,25

0,3

0,35

0,4

0,45

0,5

kg C2H4 kg C2H4 kg C2H4 kg SO2 eq kg SO2 eq kg SO2 eq kg PO4--- eq kg PO4--- eq kg PO4--- eq

RomarheimDesign

Heines systue Heges design RomarheimDesign

Heines systue Heges design RomarheimDesign

Heines systue Heges design

Acidification, eutrophication and photochemical oxidation potential in Norwegian clothes value chains



26

Table 1 Romarheim Design (velvet dress: case study 1)

Impact category Unit Raw material, processing

Transport, van, Oslo-

Fredrikstad

Transport, transoceanic

freighter, UK-

Norway

Transport, China-UK,

freighter

Manufacturing (production)

Total

Global warming

(GWP100)

kg CO2 eq 3,290

0,176

0,006

0,097

5,722 9,290

Photochemical

oxidation (POCP)

kg C2H4 0,002

0,000

0,000

0,000

0,003 0,005

Acidification kg SO2 eq 0,008

0,001

0,000

0,002

0,053 0,064

Eutrophication kg PO4---

eq

0,004

0,000

0,000

0,000

0,007 0,011

Figure 10 GWP of Romarheim (velvet dress: case study 1), total emissions for the raw material assembly, transport and

production stages

The GWP for case study 1 was dominated by the production stage (63%), followed by the assembly process

(36%). A small percentage of the emissions was due to transportation (1%).

36 %

1 %63 %

Global warming (GWP100) kg CO2 eq

Dress, assembly

Total, transport

Total, production



27

Table 2 Heges Systue (bunad: case study 2)

Impact category Unit Dress assembly

Weaving, cotton,

processing

Transport, van,

cotton,

Drammen- Tønsberg

Transport, cotton,

transoceanic

freighter, UK-Oslo

Transport, cotton,

transoceanic

freighter, China-UK

Transport, wool,

lorry 16-

32t, EURO4,

Ålesund-

Tønsberg

Transport, wool,

transoceanic

freighter, UK-

Ålesund

Transport, wool,

transoceanic

freighter, Australia-

UK

Weaving, wool,

processing

Total

Global warming

(GWP100)

kg

CO2

eq

20,045 3,906 0,037 0,004 0,066 0,084 0,006 0,017 9,515 33,681

Photochemical oxidation

kg C2H4

eq.

0,007 0,002 0,000 0,000 0,000 0,000 0,000 0,000 0,004 0,014

Acidification kg SO2

eq

0,315 0,036 0,000 0,000 0,001 0,000 0,000 0,000 0,088 0,441

Eutrophication kg

PO4--- eq

0,123 0,005 0,000 0,000 0,000 0,000 0,000 0,000 0,011 0,139

Figure 11 GWP of Heges Systue (bunad: case study 2), total emissions amount for the raw material assembly, transport

and production stages

The GWP for case study 2 was dominated by the dress assembly process stage (59%), followed by the

production (40%). A small percentage of the emissions was due to transportation (1%).



28

Table 3 Heines design, wedding dress (case study 3), emissions for each product stage for GWP, AP; EP and POCP

Heines

design

Unit Wedding

dress,

assembly

Transport,

van <3.5t,

Oslo-Sarpsborg

Weaving,

Duchesse

and Satin

Transport,

van,

ribbon and vliseline,

Drammen-

Sarpsborg

Transport,

lorry 16-

32t, EURO4,

ribbon,

Zurich-Drammen

Transport,

transoceanic

freighter, Duchesse and

Satin, UK-

Drammen

Transport,

transoceanic

freighter, China-UK

Transport,

lorry 16-

32t, EURO4,

vliseline,

Munchen-Drammen

Total

Global

warming (GWP100)

kg

CO2 eq.

16,4018 0,3457 25,4989 0,0296 0,0136 0,0099 0,1700 0,0265 42,4959

Photo-

chemical

oxidation (POCP)

kg

C2H4

eq.

0,0120 0,0004 0,0119 0,0000 0,0000 0,0000 0,0003 0,0000 0,0247

Acidifica-

tion

kg

SO2 eq.

0,0414 0,0013 0,2348 0,0001 0,0001 0,0002 0,0037 0,0001 0,2818

Eutrophica

-tion

kg

PO4-

-- eq.

0,0173 0,0004 0,0303 0,0000 0,0000 0,0000 0,0004 0,0000 0,0485

Figure 12 GWP of Heines design (wedding dress: case study 3), total emissions for the raw material assembly, transport

and production stages

The GWP for case study 3 was dominated by the production stage (60%), followed by the assembly process

(39%). A small percentage of the emissions was due to transportation (1%).

4.2 Discussion

Using the SimaPro database, we assumed the data for weaving cotton in China could be used for the weaving

of synthetic fibre, because no data for weaving synthetic threads were available. The data for weaving cotton

39 %

1 %

60 %

GWP, kg CO2 eq

Wedding dress, assembly

Total transport

Total, production



29

in China, found in the Ecoinvent database in SimaPro, has emissions of 5,72 kg CO2/kg woven fabric. This

is because the electricity consumption is 10 kWh/kg. The alternative set of weaving data available in SimaPro

was for the weaving of blast, natural fibre, in India. This creates lower emissions, because of an electricity

consumption of only 0,7 kWh/kg woven material. It is therefore questionable whether the weaving of cotton

can be assumed to be similar to that of synthetic fibre

.

The limitations inherent in LCA are generally to be found in an absence of database data and specific data

concerning both the suppliers and sub-suppliers of fabrics, and manufacturers, especially with regard to

Chinese production. There was a lack of transparency throughout the entire product value chains.

In all three case studies, there was uncertainty as to how synthetic fibres should be modelled. In case study

3 (Heines Design) the modelling of offcuts was also unclear. Previous data comparisons performed by

Østfold Research (Innochem project, 2007 data) have shown wool having a higher global warming potential

than synthetic fabrics. It is uncertain whether this is due to data gaps, or focus on data in the wool industry

meaning that higher quality / more data are available.

The GWP for case study 2 was dominated by the dress assembly process stage (59%), followed by production

(40%). These results contrasted with those of case studies 1 and 3, where it was the production stage which

contributed the greatest GWP emissions. A small percentage of the emissions was due to transportation (1%).

4.3 Social LCA results

Results for the social LCA are shown for the textile, wool, and chemical and plastics sectors associated with

the stakeholder categories in different countries. The countries involved as suppliers and sub-suppliers are

selected individually and are shown graphically on a geographic map obtained from the social hotspot

database (SHD). Different colors, based on the characterised results, illustrate the degree of risk for each

sector in each country (green: low, yellow: medium, orange: high, red: very high, pink: no evidence). The

sector representative of the synthetic fabric was “chemical, rubber and plastic products” while in the case of

wool material, it was the “wool and silkworm” sector.



30

The SHD was used to analyse the value chains for the three case study garments show four social themes

relating to the stakeholder category “worker” with regard to “labour rights and acceptable working

conditions”:

1) Child labour, single issue: “risk of child labour in sector”.

2) Working time, single issue: “risk of excessive working time”.

3) Poverty, single issue: “risk of wage under 2 dollars”.

The last social theme concerns the issue “health and safety” for the stakeholder category “worker”:

4) Occupation injury and deaths, single issue: “fatal injuries”

These indicators were analysed for Norway, Great Britain and China, being the countries involved in the

value chains for the three case studies. The following figures (17-20) show some interesting results obtained.

In the case of child labour (Figure 17), few quantitative database data sources were available in the SHD,

thus justifying the qualitative assessment. The parts of the synthetic textile value chain occurring in China

carry a very high risk of child labour, whereas there is no evidence of child labour in these sectors in England,

or Norway.

Figure 16 Risk of child labour in the synthetic textile sector (Romarheim design case study)



31

Figure 1713 China: Risk of excessive working time in the synthetic textile sector

As for the previous social indicator, China shows up as the part of the synthetic textile sector with a

very high risk of excessive working time.

Figure 18 Risk of wage under 2 dollars in the synthetic textile sector for different components of the wedding dress (ribbon,

vliselin and Duchesse, Satin): Heines design case study

Ribbon

Vliseline

Duchesse, Satin



32

The green arrow shows the flow of material for ribbon, the red arrow for vliseline and the blue for Duchesse

for the Heines Design case study (case study 3). The risk of wages of under 2 dollars per day being paid to

workers in the value chains for these materials are low, except for the duchesse material produced in China.

Figure 19 Risk of fatal injuries in Norway in wool and silkworm sector, health and safety category.

The risk of fatal injuries in the wool and silkworm sector in Norway was charactarised in the SHD as very

high. This result is shown for Case study 2 (Heges Systue) in Figure 19.

Various different data sources have been used as background data in the SHD. The statistic used for a specific

country relates therefore to the selected source and the availability of data. The results from this preliminary

screening require further evaluation, and discussion with the stakeholder involved in the specific value chain.

In figure 20, for example, the risk of fatal injuries appears to be very high for the wool sector in Norway.

This is an interesting result and begs several questions:

1) Why is the risk of fatal injuries so severe in Norway?

2) Has Norway a better reporting system of injuries and availability of data than other countries?

3) Are there economic incentives for reporting injuries in Norway?

Answers to these questions lie beyond the scope of this project, but the questions themselves can be starting

points for future research. The type of source used for highlighting the social hotspots defines the results



33

relating to their identification. In many countries, the statistics concern only specific types of workers, such

as just employees, or, for example certain economic activities. Thus limiting the reliability of the results. As

with the LCA results discussed above, if a given sector or region has good data and statistics, there can be a

high focus. Further analysis would be required to see whether the differences in regions and sectors arise

due to differing methods of statistics gathering and reporting.

4.4 Customer survey results

4.4.1 Interviews with people stopped in the streets of Fredrikstad and Sarpsborg

Undersøkelsen ble gjennomført ved å stoppe og intervjue helt vanlige og tilfeldige mennesker i gågatene i

Fredrikstad og Sarpsborg sommeren 2013. Det var 24 personer som deltok i undersøkelsen som bestod av

18 spørsmål (Appendix 3).

Av de 24 intervjuobjektene var det 17 kvinner og 7 menn. 10 personer var i alderen 20-35 år, to personer var

under 20 år, seks personer var i alderen 35-45 år og seks var over 60 år. Av intervjuobjektene hadde 19

personer høyere utdanning, fire personer hadde videregående skole som høyeste fullførte utdanning, samt en

som hadde bakgrunn fra grunnskole.

På spørsmålet om hva personen forbinder klesindustrien med svarte intervjuobjektene mye forskjellig. Dette

omfattet blant annet: Barnearbeid, design, dyrt, fabrikker i U-land, fashion, forfengelighet, ha på seg klær,

klær, mote, billig arbeidskraft, ødeleggelse av miljøet, mye billige klær sydd i Kina, produseres for mye,

råttenskap, se pen ut, masseproduksjon, bruk og kast kleskjeder og utnyttelse av fattig arbeidskraft.

Ni av intervjuobjektene svarte at de handler klær sjeldent, åtte svarte hver måned og syv stykker svarte at de

handler klær hver uke. Hvilke butikker de pleier å handle i omfattet: Bikbok, Urban, H&M, B-Young, Chez

Lillian, Gina Tricot, butikker med moderate priser, butikker som ligger i nærheten, Designforum,

Dressmann, Match, Boys of Europe, Wagner/Savoy, Ferner Jacobsen, Vero Moda, Individ Prestige, ingen

faste, kjedebutikker, Lykke, Boomerang, Mango, Risøe, miljøprofilerte butikker, Muzt, NU, Kriho Sko,

Støy, Lækkert, Villa og Zara.



34

11 av intervjuobjektene svarte at de noen ganger ser bevisst etter klær med god kvalitet, åtte ser alltid etter

klær med god kvalitet, fire svarte nei og en hadde aldri tenkt på dette før. Nesten halvparten svarte at det er

viktig for dem å vite hvilket materiale det er i klærne de kjøper, åtte svarte nei. Tre av de som svarte nei,

svarte også at de kunne tenke seg å bli mer bevisst på det. 16 av de spurte svarte ja til at de kunne tenke seg

å fokusere mer på miljøegenskapene til et plagg når de skal handle klær, mens åtte svarte nei.

22 av de 24 intervjuobjektene svarte ja til at de var villige til å betale mer for et klesplagg som er etisk

produsert. Intervjuobjektene svarte forskjellig på spørsmålet om hvor mye mer de var villige til å betale for

en hvit t-skjorte. Seks stykker svarte 20 til 50 kr, seks svarte 50 til 100 kr og ti stykker ville betalt over 100

kr. Det var ikke like mange som var villige til å betale mer for et klesplagg som er miljøvennlig produsert,

her var det 18 som svarte ja og seks som svarte nei. De svarte annerledes på spørsmålet om hvor mye mer

de ville betalt for en t-skjorte som var miljøvennlig produsert. Fire stykker svarte 20 til 50 kr, åtte svarte 50

til 100 kr og bare seks svarte over 100kr.

Mannen i gata gjør mye forskjellig med klærne sine når han/hun generelt sett ikke har bruk for dem lengre.

23 svarte at de gir bort klær til organisasjoner, 12 svarte at de kaster dem, syv svarte at de bytter bort klær

med venner eller bekjente, to stykker svarte at de reparerer klærne sine eller selger klærne sine. Ingen svarte

at de re-designer klærne sine.

Hva de mente er det viktigste etikkaspektet med tekstiler var blant annet: Dårlige arbeidsforhold, dårlig lønn,

giftig sprøyting ved dyrking av bomull, ikke utnyttelse av arbeidskraft, ikke barnearbeid, grusomme forhold,

masseproduksjon, produksjon, produsert på en god måte, ta vare på de mindre butikkene, to stykker svarer

vet ikke og forteller om et ønske om at det ble produsert flere klær i Norge enn i utlandet, hvor vi bør venne

oss til å betale mer. Det de mente er det viktigste miljøaspektet med tekstiler var: at klær bør være organisk,

bruke fornybare ressurser, farging, forurensing i transport og produksjon, ikke kaste men gjenbruk,

masseproduksjon, ikke reflektert over dette, mindre utslipp, naturmaterialer, kjemikalier, sprøyting ved

dyrking, innsatsfaktorer, innpakking, vet ikke, ingen formening om dette, lange transportstrekninger – mye

drivstoff og minst mulig belastning gjennom utslipp.

De hadde mange tips til hvordan man enkelt kan bidra til å hjelpe miljøet når man handler klær. Dette var

blant annet: som kunde bør man begynne å spørre om opprinnelse, spørre om info om hvordan stoffene er

produsert, bruke klærne lengre, butikker må ikke ha så mye salg hele tiden, fokuserer mer på hvor og hvordan



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det er laget, gi til Fretex, gjenbruk, re-design, ha med egne poser, handle mindre klær, gi til andre, ikke

handle hos H&M, ikke tenkt på dette, oppfordre til å ta med gjenbruksposer og gi belønning for det, tre

svarte nei til spørsmålet, få butikkene til å ta tilbake klær, sammenligne pris og kvalitet. En sa at vi

konsumenter er pådrivere og at vi må slutte å handle så mye, at media må bli satt på banen, politisk styre,

hensyn i politikken og at man må kunne bidra fra statsbudsjettet.

På spørsmålet om de har kjennskap til eller vet om en eller flere lokale designere i Østfold, og eventuelt

hvem, så svarte fire stykker Romarheim Design, en fortalte om en smykkedesigner som heter Emilie – Buy

New, tre nevnte designeren Merete Nyegaard Dehn og en nevnte klesmerket Steam. Ellers svarer 15 stykker

nei på spørsmålet.

4.4.2 Heines Design Haute Couture

I dette sammendraget har vi valgt å slå sammen den nettbaserte undersøkelsen og telefonintervjuene da det

var såpass få som svarte på begge disse. Totalt seks kunder deltok i kundeundersøkelsen om Heines Design

Houte Couture. To deltok på den nettbaserte og fire på telefonintervju.

De fleste av kundene til Heines Design Haute Couture oppdaget henne ved å få henne anbefalt av venner og

bekjente eller ved å søke etter "brudekjoledesigner" på nett. Hvorfor kundene akkurat valgte å handle hos

Heines Design Haute Couture var fordi de fikk inntrykk at det var høy kvalitet, fleksibelt, gode referanser,

kreativt og nytenkende. En av kundene sier hun brukte Heines Design fordi da kunne hun få være med på

hele design prosessen ved å velge ut stoff til kjolen var ferdig sydd, og få akkurat den kjolen hun villa ha.

Hvis kundene ikke hadde oppdaget Heines Design Haute Couture på internett eller fått tips om henne ville

to av dem forventet å oppdage henne på sosiale medier som Facebook eller Twitter. Fire av kundene er usikre

på om de hadde funnet fram til Heines Design Haute Couture hvis de ikke hadde blitt tipset om henne.

Alle kundene opplevde at de fikk valuta for pengene i forhold til kvaliteten på klærne de kjøpte hos Heines

Design Haute Couture. To av kundene nevner at de syns det er dyrt for en kjole, men at det er verdt det siden

det er en brudekjolen som skal være spesiell og i god kvalitet. De fleste av kundene til Heines Design sa de

var bevisst på kvaliteten i klærne de kjøper. Det var kun en som ikke tenkte noe over dette ellers og som



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kjøper mye billige klær. Men kunden mente at en brudekjole skulle være i god kvalitet. En annen kunde sa

at hun blir spesielt bevisst på kvalitet når klærne koster mye. Flere av kundene til Heines Design gjør

miljøvennlige tiltak med tanke på klær. De er flinke til å levere brukte klær til organisasjoner, ikke kjøpe

mye klær, ikke kjøpe syntetiske klær, selge på loppemarkeder og gi det til familie og venner.

Fem av seks av kundene til Heines Design Haute Couture mente det hadde vært interessant å vite om

tekstilene Heines Design bruker til å sy klær av er etisk riktige. En av kundene syntes ikke dette er noe

interessant da hun ikke interesserte seg noe for dette. Fem av seks var også villige til å betale mer for etisk

riktige klær. De kunne tenkte seg å betale fra 500 - 1000 kr og opp til 50% mer av kjøpesummen for f.eks.

en brudekjole hvis de visste den var produsert i etisk riktige tekstiler.

Tre av seks mente det hadde vært interessant å vite om tekstilene som Heines benytter seg av er

miljøvennlige. De tre andre opplyste at de ikke tenker noe over dette og ikke ville ha spurt etter miljøvennlige

materialer hvis ikke designeren hadde nevnt det. En av kundene sa at det er viktig å kunne stole på

designeren. Når man går til et sted det er såpass dyrt regner man med at dette er noe designeren har en

oversikt over. Fem av kundene var likevel interessert i å betale mer for dette hvis de visste det var lagt av

miljøvennlige tekstiler. De var villig til å betale fra 500-1000 kr helt opptil 50% mer enn kjøpesum for et

klesplagg produsert i miljøvennlig materiale.

Kundene mente at de viktigste etikkaspektene ved tekstiler er at det er laget av personer som har det bra,

ikke er underbetalt, ikke barnearbeid, handler klær fra alle deler av verden, vite hvor klærne kommer i fra,

at de sikres grunnleggende rettigheter som lønn, arbeidsmiljø og arbeidstider. Kundene mente de viktigste

miljøaspektene med tekstiler er at de er laget på en måte som ikke skader miljøet, at produksjonen er

miljøvennlig, produsert av naturlige materialer, kortreiste klær og produsert av god kvalitet så det varer

lenge.

Kundene hadde ideer om hvordan Heines Design Haute Couture kunne markedsføre seg i framtiden ved

munn til munn markedsføring, bedre webside, benytte seg mer av sosiale medier, brudemagasiner og økt

synlighet på bryllupssider. En av kundene fortalte at hun strevde med å finne en i Osloområdet som kunne

sy brudekjolen hennes og hun mente at det er et stort marked for dette i Oslo.



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Når kundene ikke hadde bruk for brudekjolen/selskapsantrekket lengre hadde fire av kundene dog den

fremdeles i skape. En av disse lurte på om hun skulle sy den om, en hadde sydd den om og den siste hadde

tenkt til å selge den.

4.4.3 Romarheim Design

Kundeundersøkelse – Telefon

Det var totalt ni kunder av Romarheim Design deltok på telefonundersøkelsen.

De fleste kundene oppdaget Romarheim Design fordi de kjente klesdesigneren Frøydis Romarheim fra før,

eller at de hadde blitt introdusert for klesdesigneren via venner og familie. To av kundene oppdaget

Romarheim Design ved at de så lokalet til klesdesigneren. En av kundene hadde vært mentor for

klesdesigneren, Frøydis, og ble deretter kunde. Hvorfor kundene valgte å handle hos Romarheim Design var

blant annet fordi de hadde sett noen av de fine klærne til Frøydis Romarheim og dermed ville kjøpe noen

selv. De fleste av kundene nevnte at hun er så flink til å lage klær med god kvalitet, samtidig som at hun kan

lage noe spesielt og unikt til hver kunde. De opplevde også at hun er flink til å se hva som kler hver enkelt

kunde basert på stoffer, farger og fasonger. En kunde nevnte at hun handler hos henne på grunn av Frøydis

Romarheim sin design. En annen kunde begynte å handle hos henne fordi hun ville ha en kjole som

klesdesigneren kunne hjelpe henne med å lage et nytt design på. Dette med størrelse var også viktig - dette

at Romarheim Design kunne hjelpe kunden med å designe klær som passet ens egen kropp.

Kundene forventet å finne Romarheim Design blant annet i sosiale medier på nettet og i aviser. Mange syntes

at dette var et litt vrient spørsmål og dermed ikke visste hva de skulle si. Men de synes at hun passer godt

inn i lokalene i gamlebyen i Fredrikstad. En nevnte at hun trodde at hun ikke hadde passet inn i et kjøpesenter

eller i forskjellige kjedebutikker. En kunde sa at hun vet at Romarheim Design er en liten virksomhet og at

det dermed ikke er like lett. Det neste spørsmålet var alle entydige på, at de var veldige fornøyde med

kvaliteten på klærne til Romarheim Design, hvor de føler en trygghet med at de får valuta for pengene. En

kunde sa at dette er designklær, så såpass må man betale. En annen kunde hadde mye å fortelle på dette

spørsmålet. Plaggene til Romarheim Design ble beskrevet som klassiske og samtidig spesielle. Plaggene

holder seg år etter år og har et tidløst design.



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Kundene til Romarheim Design hadde delte meninger når det kom til om de generelt sett er bevisst på

kvaliteten på klærne de kjøper. Noen synes det er litt opp og ned, hvor det kommer an på hva man skal ha.

De fleste sa at de er villige til å betale mer for kvalitet, med tanke på tekstiler, søm, form og at de liker

plagget. En kunde fortalte at hun hadde en filosofi der hun heller har færre, men dyrere plagg og dermed har

gått vekk fra bruk og kast. Noen synes at de burde være mer opptatt av kvalitet enn det de er i dag, hvor en

svarte at hun ikke var opptatt av kvaliteten i det hele tatt, men at det skulle være billig.

Spørsmålet om det hadde vært interessant å vite om klærne som de handler av Romarheim Design er etisk

riktige svarte alle bortsett fra en ja på. Den siste hadde ikke tenkt på dette. De fleste syntes at det hadde vært

spennende å få vite om tekstilene som blir brukt ikke har vært med på en prosess som kan skade miljøet, at

det ikke har inngått barnearbeid, at det er gode arbeidsforhold og riktige lønninger. En nevnte at hvorfor skal

vi produsere ting som gjør oss rike, mens andre lever i fattigdom? Noen syntes at dette er viktige tema særlig

når det er så mye i media om dette, men at det kan være vanskelig for Romarheim Design i og med at det er

en liten bedrift. Nesten alle kundene ville betalt mer for et klesplagg som var laget med etiske riktige tekstiler.

Noen la til at de ville betale mer, men da innenfor en rimelig grense. En synes at hos Romarheim Design

ville det blitt for dyrt, men hun kunne betalt mer hos en billigere butikk. En annen sa at ja hun ville betale

mer, det må hun gjøre. Det er tross alt konsekvensen. De fleste ville betalt mellom 10-20 % mer for en

designkjole til 2999 kr. Noen ville betalt 500 kr mer, mens to svarte at de ikke ville betalt mer. Dette

spørsmålet var vanskelig for noen av kundene å svare på. To fortalte at det ikke spilte noen rolle så lenge de

likte plagget.

Det var delte meninger rundt spørsmålet om det hadde vært interessant å vite om tekstilene som Romarheim

Design benytter seg av er miljøvennlige. Seks av ni syntes det ville være interessant å vite om tekstilene er

miljøvennlige. Dette viser tydelig at kundene er mer fokuserte på det etiske i tekstilindustrien. De som svarte

ja syntes det er greit å vite at klærne de bruker ikke har skadet blant annet skogen med kjemiske stoffer. En

kunde tror til og med at designeren Frøydis Romarheim bevisst jobber med slike temaer rundt sine

designplagg. Samme kunde fortalte at det ikke bare er vår jord, men at den må bevares for ettertiden og at vi

kun tar det vi trenger og ikke overforbruker. De som svarte nei på dette spørsmålet begrunnet det med at de

enten ikke har tenkt over dette, tror ikke dette ville gjelde Romarheim Design ellr at de burde bli mer

interesserte. En kunde legger til at det er interessant å vite, men at dette ikke er viktig for henne. Det er

tydelig at noen kunder er mer bevisste og opplyste enn andre kunder rundt miljøaspektet i klesindustrien.

Alle bortsett fra to var villige til å betale mer for et plagg av miljøvennlige tekstiler. Den ene kunden som

svarte nei ville betalt mer i en billigere butikk, men ikke hos Romarheim Design som allerede har dyre priser.



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Den ene kunden synes at miljøaspektet er mye viktigere for henne enn etikkaspektet. Kundene ville betalt

rundt 200 til 500kr eller mellom 10-20 % mer for en designerkjole til 2999kr.

På spørsmålet om hva de mente er det viktigste etikkaspektet med tekstiler var det mange svar. Mange synes

at det er viktig at det ikke blir benyttet barnearbeid, underbetalte arbeidere, bør ha riktige lønninger i forhold

til lønnsnivået i landet, at arbeiderne har det bra og ikke blir utsatt for fare. En av kundene fortalte at hun

visste om fabrikkarbeidere som jobber mer enn de sover, alt for lange dager og lite betalt. Rundt spørsmålet

hva de mente var det viktigste miljøaspektet med tekstiler ble det nevnt blant annet at produksjonen ikke må

forurense, at det ikke er tilsatt farlige stoffer der arbeiderne jobber, må produsere miljøvennlig. Det var en

kunde som nevnte at man heller burde prøve å hente inn fra nærmiljøet. Tre kunder svarte at de enten ikke

kunne noe om dette med miljøet eller at de ikke hadde tenkt på dette. Dette tyder på at det kan ha en

sammenheng med at så mange ikke synes at miljøaspektet er like interessant som etikkaspektet i

tekstilindustrien. Hvis kundene hadde hatt mer innsyn om miljøutfordringene rundt tekstil produksjon og

tekstil bransjen, ville de muligens svart noe annet.

På spørsmålet om hvordan Romarheim Design kan markedsføre seg i fremtiden kom det opp mange

forskjellige tips. Dette var blant annet: selge på nettet, komme inn på en ny arena med potensielle kunder,

skrevet en artikkel om Romarheim Design lokalt og i Oslo, blogg, Facebook, delta på en messe i Seljord.

Ikke minst ble det nevnt at det er viktig at Frøydis Romarheim forsetter med visninger. En syntes hun gjør

det bra slik hun gjør det i dag, hvor en annen ikke hadde noen formening om dette spørsmålet. Det siste

spørsmålet om kundene handler av andre designere enn Romarheim Design, svarte flesteparten nei. Men to

av kundene handler hos andre designere, dette var designeren Heines Design haute couture og av andre

designere som ikke er fra Østfold.

Kundeundersøkelse - Nettundersøkelse

Totalt ti kunder av Romarheim Design deltok på nettundersøkelsen.

I denne undersøkelsen svarte to av ti kunder at de oppdaget Romarheim Design i avisen og tre kunder svarte

venner. Resten av kundene valgte alternativet annet hvor de skrev at de oppdaget Romarheim Design ved:

deltagelse på moteshow 2010, personlig kjennskap, så butikken på Gressvik i Fredrikstad og en skrev

mentorprogrammet i Etableringsservice Østfold. Alle kundene svarte forskjellig på spørsmålet om hvor de

hadde forventet å oppdage Romarheim Design. Her svarte kundene: annonse, avis, internett, Facebook,

butikk i Fredrikstad by og i det lokalet som blir brukt i dag.



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Kundene valgte å handle hos Romarheim Design fordi Frøydis Romarheim lager fine klær, kjenner

designeren fra før av, fikk et klesplagg i gave, god service hvor kundene blir sett i forhold til kundenes behov.

Frøydis Romarheim designer spennende kvalitetsklær som er tilpasset kunden og kundens personlighet. Det

er flott håndarbeid med plagg som har mange funksjoner. En av kundene skrev at hun designer spesielle

designklær og en annet at hun handlet klærne på salg. En annen kunde skrev at hun ønsket en spesiell og

egen drakt som ikke alle andre har. Alle kundene til Romarheim Design er enige om at de alle opplever at

de får valuta for pengene i forholde til kvaliteten på klærne som de har kjøpt der.

Det var delte meninger rundt spørsmålet om kundene er generelt sett bevisst på kvaliteten i klærne som de

kjøper. Seks av kundene svarte at de er generelt sett bevisst, der en svarte nei og de siste tre svarte nei, men

at de kunne tenke seg å bli mer bevisst. Åtte av kundene syntes at det er interessant å vite om klærne som de

handler hos Romarheim Design er etiske riktige, der bare to svarte nei. De fleste av kundene var også villige

til å betale mer for et klesplagg med etiske riktige tekstiler, der bare to kunder svarte nei. Det var stor

variasjon i hvor mye kundene er villige til å betale for en etisk korrekt designkjole til 2900kr. Fem av kundene

svarte 200 til 500 kr, der en kunde svarte under 200kr. Det var også bare en som svarte over 1000kr og en

kunde svarte 500 til 1000kr.

Det var nesten samme svar rundt spørsmålet om det er interessant for kundene å vite om tekstilene som

Romarheim Design benytter seg av er miljøvennlige. Syv av kundene svarte ja, tre av kundene svarte nei.

Det var også lik fordeling på spørsmålet om de var villige til å betale mer for et klesplagg med miljøvennlige

tekstiler, der tre svarte nei og syv svarte at de er villige til å betale mer. De som var villige til å betale mer

for en designkjole til 2900kr som er laget av miljøvennlige tekstiler hadde ulike meninger på hvor mye de

er villige til å betale. Fire av kundene svarte 200 til 500kr, to av kundene svarte under 200kr og en kunde

svarte over 1000kr.

Kundene hadde forskjellige svar når de besvarte hva de mente er det viktigste etikkaspektet med tekstiler.

Kundene svarte alt i fra at de som produserer stoffet får gode levevilkår og ordentlige arbeidsforhold, at det

ikke er barnearbeid, gode lønnsforhold og godt arbeidsmiljø. En av kundene svarte at hun ikke hadde

reflektert noe over dette, men at det er viktig med gode arbeidsforhold og ikke noe barnearbeid. Kundenes

viktigste miljøaspekt med tekstiler var blant annet at: produksjonen ikke fører til mer forurensing, at

arbeidere påvirkes av giftutslipp når de produserer, forurensing av miljø og særlig forurensing av vannet. En

svarte at hun ikke hadde tenkt på tekstiler som forurensing.



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Syv av kundene valgte å svare på spørsmålet om de hadde noen ideer til hvordan Romarheim Design kan

markedsføre seg i fremtiden. De syv svarte at Frøydis Romarheim bør ha flere moteshow, være i avisa, la

«jungeltelegrafen» gjelde, ha avisannonser, bør ha en god Facebook strategi, ha stand i Torvbyen eller i

Fredrikstad by og be kunder dele ut visittkort til venner eller familie. En av kundene syntes at Frøydis

Romarheim gjør det bra, men hvis denne undersøkelsen kan bidra til at hun selger klær med grønn merkelapp

og garantert gode arbeidsforhold for alle i produksjonsleddene, kunne hun også bruke det i markedsføringen.

En annen kunde svarte at etikk og kvalitet er viktig, og hvis man faktisk kan spore tilbake og sjekke

tekstilene, vil hun som kunde føle seg sikker på at hun bidrar positivt både for miljø og menneskeverdet.

4.4.4 Lindas og Heges systue

Denne undersøkelsen har blitt utført annerledes enn de to andre undersøkelsene da Lindas og Heges Systue

ikke fører noe register over kundene sine. Dermed var ikke mulig å sende mail eller ringe de. De driver noe

annerledes enn de to andre designerne, da dette er en systue man kan få reparert, redesignet, kjøpe ferdig

design eller få designet en ønsket kjole slik man akkurat vil ha den. De har derfor en annerledes kundekrets

enn de andre designerne. Måten undersøkelsen har blitt gjennomført på er at de har spurt kunder som har

kommet innom og handlet om de vil delta i en undersøkelse i butikken. Fem kunder deltok i denne

undersøkelsen.

Fire av fem hadde oppdaget Lindas og Heges systue igjennom venner og bekjente, mens en av dem kjente

designerne fra før. De hadde forventet å oppdage Lindas og Heges Systue via kjente, gulesider eller annonse

i en avis.

Kundene hadde fått utført arbeid som skiftet glidelås, reparert klesplagg, redesignet klesplagg, sydd inn

klesplagg, og handlet designerklær hos dem. De valgte å gå til akkurat Lindas og Heges systue fordi de får

klær som passer til kroppen, bekvemt å bruke, passer perfekt, god service, god håndverk, god kvalitet, fordi

de er bekjente, og fordi de kan reparere klær eks. glidelås. Ingen av kundene svarte at de benytter seg av

andre designere.

Tre av kundene var generelt bevisst på kvaliteten på klærne de handler. De to andre oppga at de ikke så

bevisst på kvalitet, men kunne tenke seg å bli mer bevisst på det. Tre av fem syntes at det hadde vært



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interessant å vite om klærne de handler hos Heges og Lindas systue er etisk riktige. De to siste syntes ikke

dette er noe interessant. En av disse to har krysset av på at vedkommende er bevisst på kvaliteten i klærne

som kjøpes, mens den andre ikke var det.

Alle ville betalt mer for et klesplagg med etisk riktige tekstiler. Tre av kundene kunne tenke seg å betale

mellom 1% -25% mer enn den ordinære summen for et etisk klesplagg, mens de to andre kunne tenke seg å

betale 26 % – 50 % mer enn den ordinære summen. Fire av fem syntes at det hadde vært interessant å vite

om tekstilene som Linda og Hege benytter seg av er miljøvennlige, og de var alle interessert i å betale mer

for et klesplagg som er det. Fire av dem var villige til å betale 1 % - 25 % mer, mens en av dem var villig til

å betale 26 % - 50 % mer. Det var stor usikkerhet knyttet til det viktigste etikkaspektet til tekstiler og det var

kun en som har svart barnearbeid, de andre har svart at de ikke vet. På hva det viktigste miljøaspektet er har

derimot tre av fire svart at det viktigste er beskyttelse av regnskog, kvaliteten på klær, varighet av klær,

bærekraftig produksjon, og at fabrikker ikke forurenser miljøet.

På tips til hvordan man enkelt kan hjelpe miljøet når man handler klær var det kun redesign som kom opp

hos en, ellers så var alle de andre usikre.

Ideer til hvordan Linas og Heges systue kan markedsføre seg i fremtiden var Facebook, internett,

jungeltelegrafen, og bra rykte.

Når kundene til Heges og Linas systue ikke har bruk for klærne lengre kaster de dem, men kun hvis de er

ødelagte. Ellers oppgis: bytter med venner og bekjente, gir de bort til organisasjoner, gir de bort til familie,

eller reparerer dem.

4.5 Requirements and opportunities for business development

4.5.1 Opportunities to create a certification scheme

There are (at least) two types of sustainable certification schemes that are relevant to fashion value chains:

1) General certification schemes and 2) industry specific certification schemes.



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Relevant general approaches include the popular Eco-Lighthouse certification scheme10. Eco-Lighthouse

describes itself as the “most widely used certification scheme for enterprises seeking to document their

environmental efforts and demonstrate social responsibility” in Norway. This certification scheme includes

specified industry standards that supplement the general requirements. Dry cleaning and laundry have

separate standards but there are none linked to fashion value chains.

OPPORTUNITY 1: Contributing to the establishment of separate industry standards for fashion value chains

as part of the Eco-Lighthouse certification scheme.

There are no relevant specific certification schemes for sustainable fashion value chains. Examples from

other industries include Building Research Establishment Environment Assessment Method (BREEAM),

Leadership in Energy and Environmental Design (LEED) for sustainable buildings and construction, and the

Marine Stewardship Council (MSC) and Aquaculture Stewardship Council (ASC) for sustainable seafood.

It is difficult for both end users and stakeholders to navigate between, and evaluate the various different

existing schemes, and not least to manage and maintain them.

OPPORTUNITY 2: Contributing to the creation of a specific sustainable fashion certification scheme

4.5.2 Business model for sustainable value chains within the slow fashion concept

Today’s business models are incapable of addressing the challenges of sustainable development.

The World Economic Forum reminds us of the limitations regarding current initiatives on sustainability:

Unfortunately, these current trends towards sustainability are welcome but insufficient. The shifts

above are focused on Incremental, rather than transformative, change. While they may improve

sustainability at the margins, they are rooted in a model of consumption that is itself unsustainable.

Working within the existing paradigm means that, despite best efforts, incentives for business

investment are not sufficient. Collaboration across value chains is deficient. Public policy

10 http://miljofyrtarn.no/

http://miljofyrtarn.no/



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frameworks are neither ambitious enough nor adequately coordinated at the global level. The shifting

consumer agenda is too limited. (WEF, 2010, p. 15)

The World Economic Forum tells us that the existing initiatives and models are part of the old paradigm and

thus the old paradigm’s solutions. There is need for a new paradigm and new business models to effectively

support efforts towards sustainability.

This challenge is recognised in the literature and illustrated in, for example, the call for research papers from

Greener Management International:

The intention of this Greener Management International Special Issue is to explore as broad a range

as possible of new business models for sustainable fashion and textiles. Osterwalder and Pigneur's

(2010) business model canvas (see below) can serve as useful inspiration for potential topics to be

included. For instance, a retailer collaborating with a charity organisation on a recycling scheme can

be seen as a new Key Partnership. Likewise, a fashion company entering the clothing leasing market

is developing new Revenue Streams. And a textile manufacturer developing new and more

sustainable materials may be developing innovative Key Resources. («Call for papers on ‘New

Business Models for Sustainable Fashion’», not dated)

This call for papers links our problem statement, new business models and fashion value chains. But it also

adds a rigid framework (the Business Model Canvas (BMC)) reducing the diversity in the generation of the

business model to nine building blocks (Figure 21).



45

Figure 20: Business Model Canvas: nine business model building blocks, Osterwalder, Pigneur & Clark (2010)

The canvas is a simple and popular framework for developing and documenting business models

(Osterwalder, Pigneur, & Clark, 2010). It is a general framework (single reference model) where

sustainability is neither a building block nor a structural part of the canvas.

Innovasjon Norge has adopted this simple canvas and made it a part of their business model development

template («Forretningsplan og forretningsmodell - Innovasjon Norge», not dated) and it is therefore

particularly relevant in the Norwegian context.

One might ask, however, whether the canvas addresses the problems identified by The World Economic

Forum.

While being well conceived and academically grounded, it has a narrow view of the value proposition

focusing only on the customer. As such, it seems poorly suited for assisting a firm in generating wider

sustainability across the full stakeholder network including suppliers, local communities, and the

wider society and the environment (which may be represented by NGOs or the government). Expert

facilitation would be required to adapt the tool to different (i.e. sustainability) contexts. (Short, Rana,

Bocken, & Evans, 2013, s. 487)



46

Short, Rana, Bocken, & Evans argue that the canvas is too narrow and limited in its representation; that the

canvas embeds the old paradigm and thus pervades the old paradigm’s solutions, which fail because they are

too little, too narrow and too limited for the task.

With regard to the challenges presented by the World economic forum, however, there are still questions to

be asked?

Baden-Fuller and Morgan show that the business model concept includes several types of models and argue

that the various models pervade certain paradigms

We point out that they act as various forms of model: to provide means to describe and classify

businesses; to operate as sites for scientific investigation; and to act as recipes for creative managers.

We argue that studying business models as models is rewarding in that it enables us to see how they

embody multiple and mediating roles. (Baden-Fuller & Morgan, 2010, p. 160)

The models must therefore be treated as biased artifacts influenced by specific paradigms and effects.

This preliminary discussion suggests that one must look beyond the simple and general canvas that includes

the old paradigm’s solutions.

A business model can be defined as a depiction of the content, structure and governance of transaction

designed so as to create value through the exploration of business opportunities (Amit and Zott, 2001, ref.

in Verhulst, Dewit & Boks, 2012). There are generally four main areas that need to be covered in a business

model: value proposition, infrastructure, financial viability and customer interface (Verhulst, Dewit & Boks,

2012, p. 47). In addition, a sustainable business ought to show how sustainability is embedded in these four

main areas, with regard to the content, structure and governance of a firm and its partners (ibid, p. 47). Rather

than adding social and environmental costs and social and environmental benefits as separate attributes

beside these four main attributes, a more holistic approach could be beneficial, in order to achieve a full

integration of the sustainability criteria within the business model and also within the firm (ibid). An example

of an emerging sustainable business model is shown in Figure 22. Here the canvas proposed by Osterwalder

and Pigneur (2010) is used to illustrate the sustainable business model. It shows the four main areas of a

business model, further divided into nine building blocks. In Figure an extended business model canvas is

shown, with 13 building blocks. Here, social costs, ecological costs, social revenues and ecological revenues

have been added to the model (Vastbinder, Kroesen, Blom and Ortt, 2012, p. 196).



47

Figure 21 Example of an emerging sustainable business model (Verhulst, Dewit & Boks, 2012, p. 51)

Figure 22 Extended business model canvas (Vastbinder, Kroesen, Blom and Ortt, 2012, p. 196)



48

Berkhout (2014) points out that for sustainable innovation to occur, in general, competition needs to be

matched by cooperation. It needs to be conceived of as open, collaborative, dynamic, and uncertain,

stretching far beyond the boundaries of individual firms. Thus, a business model for a sustainable fashion

actor has to cover the whole value chain and should not be limited to the “normal” boundaries and limits of

the single firm. It also requires new capabilities linked to environmental management, intensified

collaboration across supply and value chains, improved management of relationships with a range of

stakeholders beyond suppliers, customers, and shareholders, and the management of intangibles linked to

reputation, risk, and brand value (Berkhout, 2014, p. 311).

In addition, Verhulst, Dewit & Boks (2012, p. 33) point out that the most challenging part of applying

sustainable product innovations does not occur during the development and formulation of a sustainable

strategy and vision, but in the implementation of this new strategy within the firm. This is when the

theoretical strategy must be translated from theory into practice. This translation process may be supported

by a well-developed approach, but the individual changes need to be carried out by the firm’ employees

(ibid). If we add this to the previous arguments put forward in this report, it can be seen that a sustainable

business model calls for individual changes to be made by those employed in multiple firms across supply

and value chains.



49

5 Communication activities

Poster corner presentation at SETAC Europe conference in Basel, 11-15th May 2014.

Title: “Social Life Cycle Assessment: case study from the textile to the nanotechnology sector”

Authors: Clara Valente, Ingunn Saur-Modahl, Synnøve Rubach

Abstract published at http://meetings.setac.org/frontend.php/presentation/listForPublic. For further

information see the SETAC conference website: http://www.basel.setac.eu/?contentid=763

Presentation materials were prepared for each participating company in order that they could be used for

publicity. See Figure for an example.

Figure 23 Example flyer

The results were used in an application for a project to Klimaforsk in October 2013, with partners Romarheim

Design and Pure Fashion Lab. Although the project application was well received, it did not receive funding

because of the large number of applicants.

http://meetings.setac.org/frontend.php/presentation/listForPublic

http://www.basel.setac.eu/?contentid=763



50

6 Conclusions

The case study regarding textile production for the manufacture of clothes shows that in addition to high

energy use and emissions, there might well be social hotspots such as poor working conditions, child labour,

low wages, violation of human rights, poor health and safety conditions, poor trading conditions and low

attention to animal welfare (this last in the case of wool production) during the acquisition of raw materials

and the production of fibres and clothing. Use of the social hotspot database (SHDB) developed by New

Earth has made it easier to carry out a social analysis, and in a shorter time. Social factors have been assessed

for specific case studies relating to three Norwegian design studios. These include the social topics of "labour

rights and decent working conditions" and "health and safety" for the stakeholder category "worker".

Preliminary results show varying social performance in the textile production chain, for the countries

involved as suppliers and sub-suppliers of textiles.

Data collection for environmental and social LCA were, however, very challenging and time consuming.

Data proved often to be confidential and difficult to obtain. In the case of social impacts, it was possible to

visualise the risk at country level for the textile sector by identifying the principal hotspots and challenges

within the social dimension. As these were, however, not always quantifiable, it is recommended that

additional analysis, including surveys and statistical analysis), be carried out.

In conclusion, it can be said that the main challenges and consequently areas in need of improvement, for

the achievement of a sustainable supply chain in the fashion industry, can be summarised as shown in Figure

25.

1. Improvement in general environmental performance across the supply chain by:

Sustainable Design;

Fibres and Fabrics (e.g. use of materials: more organic fibres);

Maximising reuse, recycling and end of life management;

Clothes cleaning (e.g. washing practices.)

2. The production process:

The reduction of energy by increasing energy efficiency and improving technology; the use of

renewable energy

The reduction of water use (e.g. increased use of organic agriculture)

The reduction of chemical use (limitation by law; increased use of organic fibres )

The reduction of waste (through reuse of products, parts and recycled materials)



51

3. Fashion design (environmental friendly solutions and the use of recycled materials etc.)

4. Transportation and distribution (reduction of transport of raw materials etc.)

5. Changes in consumer use, trends and behaviour by increasing awareness through the media, education

and networks.

6. End of life management (waste reduction through recycling etc.)

It is also important to create market drivers for sustainable clothing and to introduce instruments for

improving the traceability of products along the supply chain.

Figure 24 Sustainability challenges in the fashion supply chain



52

A sustainability assessment of the three case studies is still under development. It is still possible, however,

to be competitive in the marketplace, when a small fashion company or studio introduces sustainable

strategies as a result of drastic changes in the entire supply chains. This is shown in the study by Caniato et

al. (2012). These changes might, among other measures, include the use of local suppliers and the

introduction of natural drying processes. Green products and green design, together with certifications such

as that of Ecolabel Global textile Standards, are also key elements in the establishment of sustainable fashion

marketing strategies. Another important requirement is the rethinking of cultural and ethical values, if a shift

from fast fashion to slow fashion consumption is to be achieved.

According to the NICE website, LCA and Corporate Social Responsibility can also be considered to be “old

methodologies” for assessing the sustainability of the fashion industry. A new tool called Natural Capital

Accounting (NCA) was presented to delegates who included policy makers, organisations and designers at

the Sustainable Fashion Summit (http://nordicfashionassociation.com/news/move-over-csr-and-lca). NCA

is a “method of evaluating the finite stock of natural assets (air, water and land) provided free of charge by

nature, which are used by a range of industries in the provision of consumer goods and services”. It is likely

that new methodologies will appear in the next few years.

The customer and consumer surveys indicate opportunities for business actors who adopt a sustainable

business model. In addition to financial considerations, this would also embrace social and environmental

issues. One customer responded thus: “It is important that the designer is trustworthy. If you go to a very

expensive place, one expects that the designer is aware of these aspects [referring to the environmental and

social aspects of the fabrics and materials used in the garments produced]”.

In order that new business models for sustainable, slow fashion firms can be created, a new way of thinking

must be implemented. This transcends the “normal” boundaries of a firm; a sustainable business model calls

for individual changes carried out by employees in firms right across supply and value chains.



53

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© Ostfold Research I

Appendix 1 Example of customer questionnaire

Spørreundersøkelse – Linda og Heges systue

Del 1: Introduksjon

Linda & Heges systue har holdt på siden året 1999. Det er to designere bak systuen; Linda Novy

Holth og Hege Isaksen. Begge designerne har lang erfaring og

kompetanse innen kjole-, drakt- og kostymefaget. De holder til

i en sjarmerende butikk i Tønsberg hvor kunden er i fokus. De

tilbyr kundene sine alt i fra omsøm, leier ut antrekk, re-

designer eller designer helt nye antrekk etter kundes mål,

fasonger og ønsker. Det unike med deres virksomhet er at de

begge er lidenskapelige opptatte av faget de jobber med.

Samt at de designer og syr unike plagg som hver enkelt kunde

blir fin i. Linda & Heges systue gjør også en del miljøvennlige

tiltak. Dette er blant annet at de gir tekstilrester til barnehager,

spretter av knapper som de bruker på nytt, men de tar også

vare på større tekstilrester som de bruker i designene sine.

Linda & Heges systue deltar i prosjektet Slow Fashion – Made in Norway. Prosjektet er et samarbeid

mellom Østfoldforskning og designere på Østlandet. Hensikten med prosjektet er å skape en ny

næring basert på design og produksjon av kvalitetsklær i Norge. En del av prosjektet består i å spore

opp tekstilet til et klesplagg som Linda & Heges systue har designet. Sporingen vil skje ved å samle

inn informasjon fra alle leddene i tekstilproduksjonsprosessene. Med fokus på å kartlegge

klimautslippene som påvirker jorden og arbeidsforholdene til menneskene som jobber i bransjen.

Dette gjøres for å finne ut hvilke utfordringer som er knyttet til produksjonen av tekstiler og hvordan

disse kan utvikles til bærekraftige muligheter.



II

Del 2: Spørsmål

1. Hvordan oppdaget du Linda og Heges systue?

Avis

Lokalene

Venner og / eller bekjente

Kjenner designerne

Annet:

2. Hvor hadde du forventet å oppdage Linda og Heges systue?

3. Hva har du gjort hos Linda og Heges systue?

Handlet design klesplagg

Reparasjon av klesplagg

Gjort endringer/Re-design av klesplagg

Sydd inn klesplagg

Annet:

4. Hvorfor valgte du å benytte deg av Linda og Heges systue?

5. Benytter du deg av andre designere?

Ja

Nei 6. Hvis ja, hvilke designere benytter du deg av?



III

7. Er du generelt sett bevisst på kvaliteten i klærne du kjøper?

Ja

Nei

Nei, men kunne tenke meg å bli mer bevisst på dette 8. Er det interessant for deg å vite om klærne du handler hos Linda og Heges systue er etiske riktige? (Eks. gode arbeidsforhold, ikke barnearbeid, gode lønnsbetingelser osv.)

Ja

Nei

9. Er du villig til å betale mer for et klesplagg med etiske riktige tekstiler?

Ja

Nei

10. Hvis ja, hvor mye mer er du villig til å betale for dette?

0 %

1 % 25 %

26 % 50 %

51 %

11. Er det interessant for deg å vite om tekstilene som Linda og Heges systue benytter seg av er miljøvennlige? (Eks. forurenser mindre, dokumenterte utslipp av miljøfarlige gasser og mindre miljøpåvirkninger osv.)

Ja

Nei

12. Er du villig til å betale mer for et klesplagg med miljøvennlige tekstiler?

Ja

Nei 13. Hvis ja, hvor mye mer er du villig til å betale for dette?



IV

0 %

1 % 20 %

21 % 50 %

51 % 14. Hva mener du er det viktigste etikkaspektet med tekstiler?

15. Hva mener du er det viktigste miljøaspektet med tekstiler?

16. Har du noen tips til hvordan man enkelt kan bidra til å hjelpe miljøet når man handler klær?

17. Har du noen ideer til hvordan Linda og Heges systue kan markedsføre seg i fremtiden?

18. Hva gjør du med dine klær når du ikke har behov for å bruke det lengre? (Mulig å velge flere alternativer)

Kaster dem

Kaster dem, men bare hvis de er ødelagte

Bytte klær med venner/bekjente

Gi de bort til organisasjoner (Eks. Fretex)

Reparerer du klærne

Re-designer klærne

Selger klærne

Annet:



V

Takk for at du tok deg tid til å gjennomføre undersøkelsen!



VI

Appendix 2 Example telephone interview used in case studies

1. Hvordan oppdaget du Heines Haute Couture?

2. Hvorfor valgte du å handle hos Heines Haute Couture? 3. Hvor hadde du forventet å oppdage Heines Haute Couture? 4. Opplever du at du får valuta for pengene i forhold til kvaliteten på klærne du har kjøpt hos Heines Haute Couture? Hvorfor? 5. Er du generelt sett bevisst på kvaliteten i klærne du kjøper? Hvorfor? 6. Gjør du noen miljøvennlige tiltak? Med tanke på klær og ellers. 7. Er det interessant for deg å vite om klærne du handler hos Heines Haute Couture er etiske riktige? Hvorfor? Hvorfor ikke?

8. Er du villig til å betale mer for et klesplagg med etiske riktige tekstiler?

9. Hvis ja, hvor mye mer er du villig til å betale for dette? Eks. en designkjole til 19000kr

10. Er det interessant for deg å vite om tekstilene som Heines Haute Couture benytter seg av er miljøvennlige? Hvorfor? Hvorfor ikke?

11. Er du villig til å betale mer for et klesplagg med miljøvennlige tekstiler? 12. Hvis ja, hvor mye mer er du villig til å betale for dette? Eks. en designkjole til 2999kr



VII

13. Hva mener du er det viktigste etikkaspektet med tekstiler?


15. Har du noen ideer til hvordan Heines Haute Couture kan markedsføre seg i fremtiden?’

16. Hva gjør du med brudekjolen/selskapsantrekket når du ikke har behov for å bruke det lengre?



VIII

Appendix 3 Interview guide for use in the street

1. Hva forbinder du med klesindustrien?

2. Hvor ofte handler du klær?

Hver uke

Hver måned

Sjeldent 3. Hvilke butikker pleier du å handle klær i? 4. Ser du bevisst etter klær med god kvalitet?

Alltid

Noen ganger

Nei

Aldri tenkt på dette før

5. Er det viktig for deg å vite hvilket materiale det er i klærne du kjøper?

Ja

Nei

Nei, men kan tenke meg å bli bevisst på dette

6. Er miljøegenskapene til plagget noe du kunne tenke deg å fokusere mer på når du handler klær?

Ja

Nei

7. Er du villig til å betale mer for et klesplagg som er etisk produsert? (Eks. gode arbeidsforhold, ikke barnearbeid, gode lønnsbetingelser osv.)

Ja

Nei 8. Hvis ja, hvor mye mer er du villig til å betale for dette? Eks. Hvit t-skjorte



IX

20 – 50

50 - 100

100

9. Er du villig til å betale mer for et klesplagg som er miljøvennlig produsert? (Eks. forurenser mindre, dokumenterte utslipp av miljøfarlige gasser og mindre miljøpåvirkninger osv.)

Ja

Nei 10. Hvis ja, hvor mye mer er du villig til å betale for dette? Eks. Hvit t-skjorte

20 – 50

50 - 100

100

11. Hva gjør du generelt sett med klærne når du ikke ønsker å bruke dem lenger?

Kaster dem

Kaster dem, men bare hvis de er ødelagte

Bytte klær med venner/bekjente

Gi de bort til organisasjoner (Eks. Fretex)

Reparerer du klærne

Re-designer klærne

Selger klærne

Annet:

12. Hva mener du er det viktigste etikkaspektet med tekstiler?


14. Har du noen tips til hvordan man enkelt kan bidra til å hjelpe miljøet når man handler klær?



X

15. Har du bekjentskap til eller vet om en eller flere lokale klesdesignere i Østfold, eventuelt hvem?

16. Kjønn?

Kvinne

Mann

17. Alder?

20

20 - 35

35 - 45

45

18. Høyeste fullførte utdanning?

Grunnskole

Videregående

Høyere utdanning

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