Welcome to the digital era, where technology has revolutionised how we interact with the outside world, including how we shop. Consumers now enjoy unprecedented levels of convenience, browse, select, and purchase items with just a few clicks, anytime and anywhere.
After binge-watching the latest season of Emily in Paris, you might be tempted to buy a chic Pierre Cadault crewneck straight from the show. And you can with a simple click. This “ease of access” perfectly encapsulates how the digital shopping experience is fostering a culture of overconsumption, particularly in the fashion industry. With platforms like TikTok shop, Facebook marketplace, and LTK gaining traction, even non-fashion companies are tapping into this trend. You don’t even need to punch in your card details any more thanks to the genius that is Apple Pay. Instant gratification has taken on a whole new meaning.
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The impact of the convenience economy on fashion consumption
Dr Sarah Gray, lead analyst from the global environmental NGO WRAP, points out that fashion production is surging and warns that all positive steps taken until now to reduce the environmental footprint of the UK clothing industry are being “cancelled out” due to a 13% increase in the volume of textiles produced and sold.
So what is happening and why?
Neil Saunders, GlobalData retail analyst, explains that brands use all kinds of tactics to drive impulse buying, such as special promotions and limited-time collections that create a sense of scarcity. Combined with frequent collection drops, advertising and strategic product placement, these tactics make it easy for consumers to buy, ultimately driving up consumption.
Meanwhile, Dr Gray draws attention to the negative influence of overproduction and consumption: “Higher production rates meant the water footprint of our textiles increased by 8%, totalling 3.1 billion m³ which is enough water to provide more than half of the people in the world (53%) with drinking water every day for a year. Similarly, increased production has also slashed the actual carbon reduction to just 2%. That is the consequence of overproduction and overconsumption.”
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By GlobalDataHowever, she also views convenience shopping as a huge opportunity not just for brands, but also for resale platforms. She suggests using convenience shopping for “normalising” shopping for pre-loved items, encouraging people who may not have considered this option before to think more about the environmental impact of their purchases. It all comes down to flipping the narrative.
Curbing overproduction: does the industry really want to?
WRAP’s last Textiles 2030 Annual Progress Report revealed that apparel brands involved in the environmental voluntary agreement reduced the carbon impact of textiles by 12% and water by 4% per tonne between 2019 and 2022. Dr Gray attributed these “impressive” reductions to improved sustainability in design and manufacturing, as well as increased reuse and recycling of clothing.
However, she cautions that overconsumption cancels out these improvements: “We can clean up production, but if we keep buying more and more then there is no reduction in environmental impact, in fact, it’s more likely to go up!”
According to her, different players in the fashion industry use varied tactics based on their business models. Some aim to attract consumers seeking high-quality, timeless clothing, while others focus on maximising production volume with minimal profit margins per item. While, some brands are developing circular economy practices, with many variations on these themes.
On the other hand, Saunders argues that the fashion industry does not want to stop overconsumption: “Most retailers and brands want to maximise revenue and volume, they don’t want to curb it. It is also hard to define what overconsumption is. If consumers want to buy things, brands do not see it as part of their job to curb that desire.”
Instead, he points out that brands are more concerned with overproduction, where excess products are made and then need to be sold off or even destroyed, impacting profits. To avoid this, Saunders says, brands closely monitor demand.
Role of consumer awareness
Dr Gray considers consumer awareness and education considerably important, noting that how products are positioned and marketed influences shopping habits and how people care for their belongings.
However, she also points out that identifying a problem is just step one and does not equate to having a solution. She urges brands to be bold enough to keep developing and sharing best practices, working collaboratively to bring about positive change: “We need investment in circular economy solutions. And for players who don’t want to commit properly to positive change, then it may be that stronger policies are the only answer.”
Maeve Galvin, Fashion Revolution’s global policy and campaigns director, also stresses the crucial role of awareness and education in helping consumers make well-informed decisions and understand the impact of their purchases.
“They need to know that they cast a vote with every purchase they make, not only in fashion but in every consuming habit. We can all be more conscious of the choices we make as consumers and make sure we buy fewer but better items and garments, taking care of them to make sure they last. The most sustainable item is the one already in your wardrobe.”
Galvin advises consumers to scrutinise the claims made by major brands and hold them accountable.
Meanwhile, Saunders notes that although people may have genuine concerns about overconsumption and sustainability, very few follow this through with tangible actions. He believes people tend to be motivated by more selfish factors like personal financial savings than by environmental considerations.
What can the fashion industry do?
Galvin is very clear when it comes to holding any one party responsible for the fashion industry’s problem of overconsumption and overproduction: “We desperately need to change the ecosystem of fashion via regulation rather than relying on brand-by-brand change.”
She thinks consumers also have a role to play by raising their voices and advocating for “robust” regulations in the industry. “For too long, the fashion industry has gone unregulated and now that is finally starting to change in places like the EU but we need to make sure regulation can actually bring about the changes we need for workers and the environment,” she adds.
The new era’s slogan, as Galvin aptly puts it, is “producing less and producing better.” According to her, the focus should be on extending product lifecycles and transitioning towards slow fashion rather than fast fashion consumption habits. In addition to making clothes last longer, the fashion industry needs to decarbonise at a faster pace.
Galvin further advises fashion brands to adopt circular economy practices, such as using fair and safe production methods, employing sustainable practices across the supply chain—from renewable energy use to organic fibres—and reducing both the quantity and speed of production.
She concludes: “Transparency on how they make their clothes, what are the social and environmental costs of their production, and their production volumes, and disseminate their commitments, targets, and progress on sustainable practices is the ideal place to start.”
