by helene.goedl -

26 | Digital Fashion – The Decline of Quality: Fast Fashion’s Unsustainable Legacy

My previous blog entries have been concerned with discussing digital fashion with one of the main concerns being the absence of materiality. I described how materiality is a central component in the fashion design process and that materiality also helps us connect to clothes through the sensory experience. In connection to this, I want to discuss a related issue which has plagued the fashion industry in recent decades: the decline of fabric and garment production quality. This exploration aims to investigate if materiality is generally on the decline as a determining factor in fashion design today, or if the increasing loss of quality is a phenomenon limited to the fast fashion side of the industry.

In recent years, the fashion industry has undergone a significant transformation, with the rise of fast fashion dramatically altering the landscape of clothing production and consumption. This shift has not only changed how we shop but has also had a profound impact on the quality of fabrics used in our garments. The decline in fabric quality, largely attributed to the fast fashion model, has far-reaching consequences for both consumers and the environment.

Fast fashion refers to the rapid production of inexpensive, trendy clothing designed to be worn only a few times before being discarded. This model prioritises speed and cost over quality, resulting in garments that are often made from lower-grade materials and with less attention to craftsmanship1.

The fast fashion industry has experienced significant growth, with revenue showing an upward trend since 2021 after a brief decline during the COVID-19 pandemic2. This resurgence, however, comes at a cost to fabric quality and environmental sustainability.

One of the most notable changes in fabric quality is the increased use of synthetic fibres. Fast fashion brands often rely heavily on materials like polyester, acrylic, and nylon, which are derived from fossil fuels. These synthetic fabrics are chosen for their low cost and ease of production, but they come with significant environmental drawbacks, such as non-biodegradability. Synthetic fibres can take hundreds of years to decompose, contributing to long-term pollution.

When washed, synthetic clothing releases microfibres that escape filtration systems and end up in waterways, harming aquatic ecosystems. Apart from these environmental concerns, synthetic fibres also feel different on the body than natural fibres, with their characteristics often being described as less comfortable and of lower quality. 

The emphasis on rapid production and low costs for fabrics has also led to a decline in the overall quality of garment construction. Fast fashion items often feature inferior stitching techniques, making them more prone to tears and loose threads3. The rush to meet high consumer demand results in less thorough quality control, leading to more defects in finished products3. This decline in craftsmanship not only affects the longevity of clothing but also contributes to the devaluation of traditional textile skills and artisanal practices4.

The deterioration in fabric quality has had a ripple effect on the second-hand clothing market. Traditionally, second-hand stores have played a crucial role in extending the lifecycle of garments. However, the influx of poorly made fast fashion items is undermining this sector:

Many fast fashion garments are of such poor quality that they cannot be resold after just a few uses3. Clothes made from low-quality materials often fall apart after minimal wear, making them unsuitable for resale3. This trend is particularly concerning as it hampers efforts to create a more circular and sustainable fashion economy.

The decline in fabric quality, driven by fast fashion, has severe environmental implications:

The short lifespan of fast fashion items leads to millions of tons of textile waste in landfills annually4. The constant production of new, low-quality garments also requires continuous extraction of raw materials and energy resources. Moreover, the fast fashion model often relies on exploitative labor practices in developing countries, where workers face harsh conditions and minimal pay to meet the demands of rapid production3.

Research supports the observed decline in fabric quality. A study published in the Journal of Cleaner Production found that the average lifespan of clothing items has decreased significantly over the past two decades, correlating with the rise of fast fashion1. The study also noted a marked increase in the use of synthetic fibres, which now dominate the textile market due to their low cost and ease of production. Another scientific investigation, published in Environmental Science & Technology, revealed that synthetic microfibres from clothing are a major source of microplastic pollution in aquatic environments5. This research underscores the environmental impact of low-quality, synthetic fabrics commonly used in fast fashion.

While the current state of fabric quality in the fast fashion industry is concerning, there are signs of positive change: Consumers are becoming increasingly conscious of the environmental and social impacts of their clothing choices6. Some brands are exploring more eco-friendly materials and production methods, including organic and recycled cotton. There’s a growing movement towards investing in higher-quality, longer-lasting garments as an alternative to fast fashion.

The decline in fabric quality, largely driven by the fast fashion industry, has significant implications for consumers, the environment, and the future of the fashion industry. Developments analysed in this post suggest that materiality has been on the decline as a deciding factor for consumer behaviour in recent decades, at least in the fast fashion market. But the decline in quality has reached all segments of the fashion industry and is therefore a more general concern in fashion. However, more recent developments towards awareness of the advantages of natural and higher quality materials in consumers might indicate a change in the tides.

1 Yu, Gomez-Borquez, and Zaichkowsky, “Mitigating Trendy Cheap Fast Fashion’s Negative Impact.”
2 Dai, “The Fast Fashion Industry in the Post-Pandemic.”
3 “Fast Fashion Causes Decline in Quality Second-Hand Clothes.”
4 Jovells, “Why Is Fast Fashion Bad? Beyond the Price Tag.”
5 Ruiz, “47 Official Sustainable Fashion Statistics 2025.”
6 Güven and Yakın, “Fashion Consumption Behaviors of Sustainability Consumers: Fast Fashion or Slow Fashion?”

Sources: 

Dai, Yukun. “The Fast Fashion Industry in the Post-pandemic.” BCP Business & Management 38 (March 2, 2023): 598–603. https://doi.org/10.54691/bcpbm.v38i.3745.

Güven, Hüseyin, and Volkan Yakın. “Fashion Consumption Behaviors of Sustainability Consumers: Fast Fashion or Slow Fashion?” Journal of Human Sciences 20, no. 4 (October 21, 2023): 596–610. https://doi.org/10.14687/jhs.v20i4.6424.

Jovells, Salva. “Why Is Fast Fashion Bad? Beyond the Price Tag.” Sumissura (blog),  February 6, 2025. https://www.sumissura.com/en/blog/why-is-fast-fashion-bad.

Ruiz, Arabella. “47 Official Sustainable Fashion Statistics 2025.” TheRoundup, March 18, 2024. https://theroundup.org/sustainable-fashion-statistics/.

Winssolutions. “Fast Fashion Causes Decline in Quality Second-hand Clothes,” December 20, 2024. Accessed February 28, 2025. https://www.winssolutions.org/fast-fashion-triggers-troubling-decline-in-quality-of-second-hand-clothing/.

Yu, Yunzhijun, Claudia L. Gomez-Borquez, and Judith Lynne Zaichkowsky. “Mitigating Trendy Cheap Fast Fashion’s Negative Impact.” Journal of Sustainable Marketing, September 28, 2023, 1–21. https://doi.org/10.51300/jsm-2023-108.

by helene.goedl -

25 | Digital Fashion – Arriving at the Final Research Question 

Through the previous blog entries, I narrowed in my research topic to a specific area of digital fashion that proved to be my main interest. I was able to determine that I am mainly interested in exploring the design process specifically and that two factors in this process would be of special interest to me. These two factors are materiality and the body as a parameter of fashion design.

In the literature research, the topic of the body as a design parameter in fashion design was discovered to be a fairly recent focus of the research in the field. The body has always been central to fashion design, but an increasing interest in exploring its role has come up over the past decades. This trend extends to the digital fashion space. Baek et al. in their systematic review on digital fashion define the body as “the third most dominant theme within the digital fashion literature”1

This is not surprising, since the absence of the physical body is a central element in digital space by default. Apart from the digital space, the question of physicality remains an interesting topic in traditional fashion design as well. It is a continuous area of interest to investigate how consideration of the human body influences the design process, whether physical or digital. An example of an interesting study on the body in the design process is Julia Valle-Noronha’s design led study, which among other things poses the question if “the personal experience of wearing  clothes can be reflected on the making of new clothes”2

The factor of materiality is another central aspect of traditional fashion design. Materiality is crucial in fashion design because it directly impacts the aesthetics, functionality, sustainability, and emotional experience of a garment. It affects several crucial aspects of the design process and the final product. Materiality directly impacts aesthetic and design expression. The texture, drape, opacity, and sheen of a fabric all influence the final look and feel of a garment. Designers choose materials that align with their creative vision and their unique requirements for garments, whether it’s structured tailoring, flowing silhouettes, or avant-garde experimentation.

Materiality also determines a garment’s functionality and wearability. The choice of material affects factors such as wearer comfort, durability, breathability, and movement. A winter coat needs insulating fabrics, while activewear requires moisture-wicking and stretchable materials.

Advances in textiles, such as smart fabrics, biodegradable materials, and 3D-knitted garments, push the boundaries of fashion by offering new possibilities for design and performance.

The material factor also significantly influences considerations on sustainability and ethics. Designers are increasingly turning to recycled, organic, and biodegradable textiles to reduce waste and pollution. In connection to this, there are also economic and production factors that influence material choices. The cost and availability of materials affect the scalability of a design, influencing pricing, accessibility, and production feasibility.

On the more abstract end of the spectrum, materials often facilitate cultural and emotional connection to clothing. Fabrics often carry historical and cultural significance, connecting wearers to traditions, craftsmanship, and storytelling. Additionally, textures and materials evoke emotions and sensory experiences. This last aspect especially makes it challenging to think about the factor of materiality in digital spaces. An exciting experiment on the sensory experiences as a material in itself was introduced by Jan Tepe in 2021.3

Materiality is at the heart of fashion because it determines how a garment looks, feels, functions, and interacts with both the body and the environment.

Through evaluating these issues, I revisited my preliminary master thesis structure and finally arrived at the research question:

How do the parameters of materiality and the human body influence the design thinking process in digital fashion, and how do these constraints and possibilities compare to traditional fashion design workflows? 

Through this research question, the master thesis will explore the hypothesis that the shift from traditional to digital fashion design requires a fundamental change in design thinking with regards to designing fashion, as digital materiality and digital body shapes and characteristics redefine garment construction, functionality, and creative constraints. Digital fashion offers expanded creative possibilities in the design workflow of a collection but also introduces new limitations compared to traditional workflows. 

The main goals of the thesis are to design and develop a digital fashion micro collection in the form of three avant-garde full-body looks as a case study to explore the constraints and opportunities of digital fashion design. To analyse through a personal design project how digital materiality and (non)- human body shapes can impact the design thinking process compared to traditional fashion workflows. A further goal is to identify key differences and challenges in digital versus traditional fashion design, supported by expert interviews with traditional and digital fashion designers. Additionally, the thesis will document the design process of a personal digital fashion design project in depth, showcasing the iterative nature of digital fashion design and how designers must adapt to digital tools and environments. 

1 Baek et al., “Defining Digital Fashion: Reshaping the Field via a Systematic Review.”
2 Valle-Noronha, “The Body Within the Clothes: A Case Study on Clothing Design Practice From a Practitioner Viewpoint.”
3 Tepe, “Investigating Sensory Perception as a Material for Fashion Design,” May 8, 2021.

Sources: 

Baek, Eunsoo, Shelley Haines, Omar H. Fares, Zhihong Huang, Yuwei Hong, and Seung Hwan Mark Lee. “Defining Digital Fashion: Reshaping the Field via a Systematic Review.” Computers in Human Behavior 137 (August 4, 2022): 107407. https://doi.org/10.1016/j.chb.2022.107407.

Tepe, Jan. “Investigating Sensory Perception as a Material for Fashion Design.” New York City, New York, United States of America, May 8, 2021. https://doi.org/10.1145/3411763.3450384.

Valle-Noronha, Julia. “The Body Within the Clothes: A Case Study on Clothing Design Practice From a Practitioner Viewpoint.” Conference Paper. Helsinki, Finland, 2017. https://www.researchgate.net/publication/323336313_The_body_within_the_clothes_A_case_study_on_clothing_design_practice_from_a_practitioner_viewpoint.

Futher Reading:

Body and Space Research Lab. “The Body and Textiles at the Intersection of the Physical and Digital Through Movement — Body and Space Research Lab,” n.d. https://www.bodyandspace.com/the-body-and-textiles-at-the-intersection-of-the-physical-and digital-through-movement.