01: Intro // Design Question
Broad Design Question: How might communication design be leveraged to facilitate the fashion industry's sustainability shift, fostering stronger connections between brands, communities, and the planet while integrating principles of decolonization?
Narrowed Design Question: How might communication design foster deeper connections between communities and the natural world, cultivating a sense of peace, belonging, and shared responsibility to protect the environment?
01: Intro // Goals + Intentions
My project explores how communication design can be leveraged to drive the fashion industry’s sustainability shift. This work stems from my broader thesis focus on sustainable fashion, community, and decolonization. With the current fashion system contributing heavily to environmental degradation and social inequities, I aim to re-frame the role of communication design in fostering deeper connections between brands, communities, and the planet. The central question guiding this project is: How might communication design foster deeper connections between communities and the natural world, cultivating a sense of peace, belonging, and shared responsibility to protect the environment? To answer this, I draw inspiration from the Earth Logic Fashion Action Research Plan by Fletcher and Tham (2019), which calls for prioritizing planet over profit, and systems thinking as outlined by Meadows (1997), emphasizing the importance of interconnectedness in shaping ecological, cultural, and socio-technical systems.
01: Intro // Creative Approach
Creatively, I am using handmade paper as the canvas, dyed pale blue, symbolizing calmness and our vital relationship with water. On this, I’ve embroidered geometric and circular patterns using thin sticks of wood collected from Chilliwack river and top of Joffre Lakes in Pemberton, BC. These shapes represent the interconnected systems we belong to. The use of hands in creating this piece is intentional—the palm, as the symbol of touch and connection, mirrors the human ability to heal and build relationships through tangible actions. Each of the five frames I’ve created represents a finger of the hand, collectively emphasizing the role of human agency in driving sustainability. My work challenges traditional fast-fashion paradigms by embodying a slower, more intentional form of production that emphasizes sustainability, community, and respect for nature’s materials.
01: Intro // Problem Statement:
Lack of Transparent Communication: Brands struggle to clearly communicate their sustainability efforts, leading to consumer mistrust and confusion, slowing the transition to sustainable practices.
Disconnection with Communities: Brands often fail to engage with communities affected by their practices, limiting collaboration and inclusive, equitable sustainability initiatives.
Slow Adoption of Circular Fashion Models: The fashion industry is slow to embrace circular models like recycling and repair, worsening waste and environmental harm.
Overemphasis on Green-washing: Exaggerated sustainability claims undermine genuine efforts, eroding consumer trust and weakening the impact on sustainability goals.
Cultural Barriers to Decolonized Design: Colonial systems in fashion prioritize profit over cultural responsibility, hindering decolonized, community-centered design approaches.
Limited Accessibility to Sustainable Fashion: High costs and limited availability make sustainable fashion inaccessible to many consumers, keeping unsustainable options as the norm.
Inadequate Support for Indigenous Communities: Fashion brands often overlook Indigenous knowledge and practices, missing opportunities for deeper sustainability and further marginalizing these communities.
Incomplete Sustainability Across the Supply Chain: Sustainability efforts are often limited to specific areas, like materials or packaging, rather than being implemented across the entire supply chain.
01: Intro // Keywords:
02: Process // Summary & Insights: Dialogue with My Creative Process
1. Earth Logic Plan (Fletcher & Tham, 2019): The Earth Logic Fashion Action Research Plan proposes a radical rethinking of the fashion industry by prioritizing the health of the planet over economic growth. This framework challenges the dominant fashion paradigm that emphasizes profitability and constant production, advocating instead for what the authors term degrowth—a deliberate reduction in production and consumption aimed at preserving planetary resources (Fletcher & Tham, 2019). The Earth Logic approach urges designers to fundamentally rethink their creative processes by centering care for the planet and the interconnectedness of all systems. Central to this framework is the concept of relational thinking, which encourages a holistic view of fashion, seeing it as interconnected with social, environmental, and economic systems. This perspective is critical in shifting the fashion industry away from being a purely consumer-driven entity toward one that recognizes its ecological and social responsibilities. As Fletcher and Tham (2019) argue, "caring for the planet requires us to look beyond individual growth and profit motives and instead consider the relationships we cultivate between industry, community, and ecosystems" (p. 12).
Key Insights: One of the key insights from Earth Logic is that sustainability should not just be an afterthought in fashion production but must be integrated into the core of design practices. This aligns with my creative process, where the handmade blue paper—symbolizing the vastness of the planet—acts as the foundation for a sustainable design approach, mirroring Earth Logic's emphasis on making care for the Earth a central design value.
2. Systems Thinking (Meadows, 1997): Systems Thinking provides a valuable lens for analyzing and addressing complex, interrelated problems, particularly those related to sustainability. According to Meadows (1997), systems thinking teaches us to view the world as a series of interconnected components, where changes in one area inevitably affect others. This framework is especially relevant in fashion, where the environmental impacts of production, labor practices, and waste are all part of a larger system. Meadows (1997) highlights the importance of identifying leverage points—places within a system where small, strategic changes can have large, systemic effects (p. 15). In my work, systems thinking informs the way I approach the relationship between natural materials and design. By incorporating found wood pieces from alpine and river environments into my handmade paper designs, I highlight the interconnectedness between humans and nature. These materials, carefully chosen and thoughtfully integrated, symbolize how every design choice contributes to a broader environmental impact. As Meadows notes, "systems are dynamic and responsive, and small shifts in key areas can create large ripples across the entire system" (Meadows, 1997, p. 21). This insight applies directly to my design approach, where intentional choices around materials reflect my commitment to sustainability and harmony with natural systems.
Key Insights: Meadows’ discussion on feedback loops is crucial in understanding how the fashion industry can respond to consumer behavior and environmental regulations. In my design process, I explore how these loops—both positive and negative—can either drive unsustainable practices or foster resilience and regeneration within the system. For instance, encouraging consumers to prioritize sustainable fashion could create a positive feedback loop, driving brands to reduce their environmental footprint and adopt more responsible practices.
02: Process // Summary & Insights: Reflections on Dialogue with My Creative Process
Exemplifying the Reading (Applying Earth Logic): The principles of Earth Logic are deeply embedded in my creative process, where I prioritize care, sustainability, and intentional design. Fletcher and Tham (2019) emphasize that sustainability in fashion must move beyond surface-level environmental efforts, advocating instead for a fundamental shift in the fashion system that values the well-being of the planet above profit and constant production (p. 10). This idea resonates directly with how I approach my work, as I embrace the concept of slowness and reflect deeply on the materials I use and their environmental impact. In my design process, I have chosen to work with handmade light blue paper, which symbolizes the vastness of the planet—the oceans, the sky, and the unbounded potential for human and natural connection. The paper itself, crafted with intention and care, represents a commitment to slow fashion principles, where the creation process is as significant as the final outcome. In this sense, my work mirrors Earth Logic’s advocacy for degrowth by focusing on mindful production rather than mass consumption.Moreover, the wood pieces collected from alpine environments and rivers serve as both a literal and symbolic connection to nature. These materials are not artificially created but rather found and re-purposed, embodying Earth Logic’s call for a more regenerative relationship with the Earth’s resources. Fletcher and Tham (2019) emphasize the importance of rethinking fashion’s material sources, suggesting that "design must embrace what already exists, rather than constantly seeking new resources to exploit" (p. 15). By using natural, recycled materials, I am not only reducing waste but also reflecting on the inherent beauty and value of nature itself, which is central to my creative approach. The circular, geometric patterns stitched into the paper further exemplify Earth Logic’s concept of relational thinking. These patterns are a visual representation of the interconnected cycles that define natural ecosystems, as well as the fashion system’s potential to evolve toward more sustainable practices. The circles can be interpreted as a metaphor for the continuous cycles of life, death, and renewal found in nature—cycles that fashion, too, must learn to honor if it is to survive sustainably in the future. Each stitch, like each decision in the design process, is deliberate and considered, aligning with Earth Logic’s emphasis on careful, reflective creation.
This approach reflects Fletcher and Tham’s (2019) assertion that "care is a design practice in itself" (p. 22). By integrating care into every aspect of my work—from material selection to the final arrangement of elements—I am not only designing for aesthetic purposes but also engaging in a deeper dialogue with sustainability. Care, in this context, involves recognizing the limited resources of our planet and ensuring that every design decision respects these limitations, fostering a more sustainable future. Furthermore, the idea of place-based design—a core component of Earth Logic—is evident in my choice to use materials that are local and directly connected to the landscape. By sourcing wood from rivers and alpine regions, I am grounding my work in the specific geography of these places, which aligns with Earth Logic’s advocacy for local, place-based design strategies that minimize the need for global supply chains and reduce environmental impact (Fletcher & Tham, 2019, p. 28). The physical connection between my materials and the land emphasizes the Earth Logic principle that fashion must become more rooted in local contexts, both culturally and ecologically.
Lastly, my work challenges the mainstream fashion industry’s focus on constant innovation and newness by embracing what already exists. The handmade paper and found wood pieces are inherently slow materials—they demand time, care, and patience to collect, craft, and assemble. This slowness is a direct reflection of Earth Logic’s argument that true sustainability in fashion cannot be achieved through quick fixes or green-washing, but through a deep, systemic shift toward slower, more thoughtful creation processes (Fletcher & Tham, 2019, p. 30). My creative outcome exemplifies this shift by rejecting fast fashion’s emphasis on speed and disposability in favor of long-lasting, meaningful design. In essence, my work is an embodiment of Earth Logic’s vision for a sustainable fashion future—one that prioritizes care, relational thinking, and the use of natural, sustainable materials. It exemplifies how fashion can be a force for good, not through endless production and consumption, but through mindful, intentional design that honors the planet and its resources.
Challenging the Reading: While Earth Logic emphasizes degrowth as a necessary step toward sustainability, this principle can be difficult to apply in an industry that often thrives on consumption and rapid production. Degrowth, though valuable in promoting environmental consciousness, may pose challenges for smaller fashion businesses and creative industries that rely on growth for financial viability. My design practice challenges the notion that degrowth must be synonymous with reducing creativity or economic opportunity. Instead, I explore how a slower, more intentional approach to design can still foster innovation and creative expansion within ecological limits. Fletcher and Tham (2019) argue that "degrowth requires a rethinking of our systems, where care and well-being are prioritized over endless economic growth" (p. 23). However, I challenge this by proposing that sustainable fashion can be both economically viable and creatively enriching, even while operating within a degrowth framework. By using recycled materials, such as handmade light blue paper and collected wood, I demonstrate how designers can continue to innovate without depleting resources. Each design element reflects a slower, more thoughtful process, showing that beauty and meaning can be created without excess.
Moreover, my work questions whether degrowth can be fully implemented without compromising the economic stability of the fashion industry, particularly for small-scale designers and artisans. While Earth Logic encourages reducing production, I believe the challenge lies in redefining growth itself—not simply reducing it. Growth can occur through deeper connections to community, more meaningful collaborations, and the integration of sustainable practices that enrich rather than deplete the environment. Through this lens, I explore how degrowth can be achieved creatively, by fostering connections between humans and nature, and how sustainability can serve as a space for new forms of creative expression rather than limitation. My work asks: How can we design with intention, maintain creativity, and still honor the Earth's resources?
Deconstructing Systems Thinking: In my design process, I also deconstruct some of the assumptions within Systems Thinking. While Meadows (1997) provides a useful framework for analyzing complex systems, the focus on identifying leverage points and optimizing outcomes can sometimes overlook the intuitive and emotional aspects of design. I challenge this by integrating tangible, tactile materials—such as the wood and paper in my work—that connect the viewer emotionally to the environment. These materials remind us that systems are not just abstract networks but are also lived experiences, full of texture, nuance, and meaning. Furthermore, while systems thinking emphasizes holistic analysis, it can sometimes prioritize efficiency over emotional resonance. My design, however, seeks to evoke a sense of belonging and peace—feelings that are crucial to fostering deeper connections between individuals and the natural world. By incorporating found materials and emphasizing slowness, I create a space for reflection on how we engage with the environment in both practical and emotional ways.
Conclusion: Both Earth Logic and Systems Thinking provide valuable frameworks for understanding the relationship between fashion, sustainability, and design. Earth Logic’s emphasis on care, degrowth, and relational thinking aligns with my creative practice, where handmade, natural materials are used to highlight the importance of slowing down and reconnecting with nature. Systems thinking, with its focus on interconnectivity and leverage points, offers a way to understand how small design choices can create systemic change. However, I also challenge both frameworks by emphasizing the emotional and intuitive aspects of design, which are equally important in fostering a sense of belonging and responsibility toward the planet.
02: Process // Materials: Journey Into Nature 1
Narrative: A few days before beginning this project, I embarked on a solo backpacking trip to Joffre Lakes Provincial Park in Pemberton, BC, a moderate hike with a 500-meter elevation gain. The journey took me deeper into the quiet beauty of the alpine wilderness, where fall colors painted the landscape. Setting up my tent near the third lake, I felt a sense of peaceful solitude as I gathered some wood pieces from the area around my campsite. These natural elements became a tangible part of my connection to this place, pieces of the landscape that I would later integrate into my creative process. As night fell, the sky filled with stars, casting a tranquil glow over the still lake and surrounding mountains. The silence was profound—broken only by the soft sounds of wind and the distant calls of birds. I watched the sun set behind the mountains in a palette of gold and pink, and awoke to the first light of sunrise illuminating the alpine scenery. In the crisp morning air, I felt deeply connected to nature, appreciating the quiet rhythms of the world around me. This experience grounded me in a mindset of slowness and intentionality, which I carried into this project, drawing inspiration from the beauty and serenity of the natural world.
02: Process // Materials: Journey Into Nature 2
Narrative:One of my regular walks takes me to a peaceful spot by the Chilliwack River in the Sardis neighborhood, where I follow an off-road path to reach the river’s edge. It’s a quiet, secluded place where I can pause and connect with nature. I often sit down near the water, taking my time to search for delicate and small pieces of wood—pieces that might otherwise be overlooked but hold a certain beauty in their simplicity. This practice of slowing down and carefully observing the details around me not only grounds me but also inspires the intentionality behind my creative work.
03: The Solve // 5 Frames: Visual Explorations
03: The Solve // 5 Frames: Final Outcome
04: Conclusion // Final Statement
This project represents a profound dialogue between nature, creativity, and sustainability, where slowing down and reflecting on the beauty around us becomes an essential part of the design process. By working with handmade blue paper symbolizing the vastness of the planet and using natural, found materials like wood from alpine environments and rivers, I seek to embody the principles of care, connection, and intentionality as proposed in the Earth Logic framework. The project invites us to rethink how we engage with materials and the environment, fostering a deeper sense of belonging and responsibility toward the natural world. Through this practice, we are reminded that true innovation in fashion and design lies not in constant production, but in the details we notice when we slow down, allowing us to reconnect with nature and create meaning in every step of the process. This work challenges the fast-paced fashion industry by offering an alternative path—one that values sustainability, regeneration, and the beauty of the natural elements we too often pass by.
04: Conclusion // Prompt Question
What details in nature have you encountered that might normally go unnoticed, but when you pause and slow down, reveal a beauty or connection you didn’t see before? How can these natural elements, often passed by, inspire you to reflect on the importance of slowing down in your own creative or everyday practices?05: Resources // References
1: Fletcher, K., & Tham, M. (2019). Earth Logic fashion action research plan. JJ Charitable Trust.
2: Meadows, D. H. (1997). Leverage points: Places to intervene in a system. Sustainability Institute.
3: AllTrails. (n.d.). Joffre Lakes. AllTrails. Retrieved October 21, 2024, from https://www.alltrails.com/trail/canada/british-columbia/joffre-lakes
4: Walker, S. (2014). Design for life: Creating meaning in a distracted world. Routledge. 5. Ingold, T. (2013). Making: Anthropology, archaeology, art and architecture. Routledge.
