So how do we navigate these contradictions? Part of the problem lies with the concept of sustainability itself. The term is often used loosely—it encompasses general ideas of wellbeing, simplicity, a connection to nature, a return to the past and longevity into the future. There is a diverse body of academic scholarship on sustainable fashion that illustrates the breadth and flexibility of the term. Sustainable fashion can include practices of use, re-use, making, and mending; sustainable design innovations; supply chains, materials, and technologies; and sustainability marketing.

Of course, when the concept of sustainability is used so widely, it leads to greenwashing. Sustainability is no longer just an academic concept or a policy framework, but an industry trend and media buzzword. Brands from H&M to Louis Vuitton now have sustainability roadmaps and commitments, but show little progress towards their goals, and make claims that have been called out as ”misleading” and ”bogus”^[5].

More problematically, these brands’ business models are reliant on a system of over production and consumption that is inherently unsustainable. Fashion as a concept is connected to the idea of novelty. Fashion markets involve a constant churn of trends where consuming the latest style is tied to social status and distinction. If sustainable fashion is another such trend, it arguably forms part of the “neoliberal green order”,^[6] where ideals of capitalist growth and continued consumption are left unchallenged.

So, is there such a thing as sustainable fashion? And for those looking to enter the industry, what opportunities are there for sustainable or ethical entrepreneurship?

My research explores these questions. I have found that across Asia entrepreneurs are building new kinds of markets, production structures and supply chains. The Vietnamese fashion brand Kilomet109 is developing innovative approaches to textile-making that are aimed at durability, minimising waste and the use of synthetic materials and chemicals. They engage in long-term collaborations with indigenous communities across Vietnam, who share their approaches to natural dyeing and weaving. Kilomet109’s slower production cycles mean they are more resilient than conventional brands against the market disruptions caused by Covid-19. They also work closely with artists, academics and design festivals, becoming leaders in Vietnam’s emerging creative ecology.

For students learning about the creative industries, the brand is an inspiring example of the positive social, cultural and environmental impacts of creative entrepreneurship. In NUS’ Masters of Arts (Arts and Cultural Entrepreneurship) students learn about these approaches to creative enterprise and cultural leadership. We broaden our view of what entrepreneurial impact can look like beyond traditional ideas of success, and ask how creative entrepreneurship can tackle the complex challenges of the world today.

For more information please visit: https://qat-masters.nus.edu.sg/programmes/master-of-arts-(arts-and-cultural-entrepreneurship)