FASHION CONSUMPTION PRACTICES OF MILLENNIALS WOMEN: BETWEEN FAST AND SLOW FASHION

ARAÚJO, MARIA KÉLVIA FERREIRA DE; MESQUITA, RAFAEL FERNANDES DE; MATOS, FÁTIMA REGINA NEY; SOBREIRA, MICHELE DO CARMO

doi:10.5902/1983465970206

MARIA KÉLVIA FERREIRA DE ARAÚJO

Definition of research problem

Development of hypotheses or research questions (empirical studies)

Development of theoretical propositions (theoretical work)

Theoretical foundation

Literature review

Data collection

Analysis

Analysis and interpretation of data

Manuscript writing

Instituto Federal do Piauí, Piripiri, Piauí, Brazil

https://orcid.org/0000-0002-8395-8980

RAFAEL FERNANDES DE MESQUITA

Definition of research problem

Development of hypotheses or research questions (empirical studies)

Development of theoretical propositions (theoretical work)

Theoretical foundation

Literature review

Definition of methodological procedures

Data collection

Analysis

Analysis and interpretation of data

Critical revision of the manuscript

Manuscript writing

Instituto Federal do Piauí, Piripiri, Piauí, Brazil

https://orcid.org/0000-0002-4953-4885

FÁTIMA REGINA NEY MATOS

Definition of research problem

Development of hypotheses or research questions (empirical studies)

Development of theoretical propositions (theoretical work)

Definition of methodological procedures

Analysis and interpretation of data

Critical revision of the manuscript

Instituto Superior Miguel Torga, Coimbra, Portugal

https://orcid.org/0000-0002-2331-9335

MICHELE DO CARMO SOBREIRA

Development of theoretical propositions (theoretical work)

Definition of methodological procedures

Analysis and interpretation of data

Critical revision of the manuscript

Centro Universitário Christus, Fortaleza, Ceará, Brazil

https://orcid.org/0000-0002-8176-6790

AUTHORS

1. Maria Kélvia Ferreira de Araújo

Institution: Instituto Federal do Piauí, Piripiri, Piauí, Brazil. Bachelor’s degree in Business Administration from the Instituto Federal do Piauí

E-mail: kelviaaraujo.contato@gmail.com

2. Rafael Fernandes de Mesquita

Institution: Instituto Federal do Piauí, Teresina, Piauí, Brazil. Doctor of Administration from Universidade Potiguar

E-mail: rafael.fernandes@ifpi.edu.br

3. Fátima Regina Ney Matos

Institution: Instituto Superior Miguel Torga, Coimbra, Portugal. Doctor of Administration from Universidade Federal de Pernambuco

E-mail: fneymatos@ismt.pt

4. Michelle do Carmo Sobreira

Institution: Centro Universitário Christus, Fortaleza, Ceará, Brazil. Doctor of Accounting and Administration from Universidade Estadual do Ceará

E-mail: michellesobreira@gmail.com

Conflict of Interest: The authors have stated that there is no conflict of interest.

Code	Age	Profession	Formation
E1	23	Interior Design	Complete Higher Education
E2	21	Ballet teacher	Incomplete Higher Education
E3	23	Dental assistant	Complete Technical Education
E4	25	Autonomous	Incomplete Higher Education
E5	25	Fashion design	Complete Higher Education
E6	21	Teacher	Incomplete Higher Education

Slow Fashion	Pillars	Practices proposed by slow fashion	Observed fashion consumption practices
Emerging alternative fashion market, which seeks to be local, to develop projects based on local realities (CLARK, 2008Clark, H. (2008). SLOW+ FASHION-an Oxymoron-or a Promise for the Future…?. Fashion theory, 12(4), 427-446.)	1st pillar “local design and production” (CLARK, 2008Clark, H. (2008). SLOW+ FASHION-an Oxymoron-or a Promise for the Future…?. Fashion theory, 12(4), 427-446.)	Diversified and innovative business models, bearing in mind the ecological, social and cultural aspects (CLARK, 2008Clark, H. (2008). SLOW+ FASHION-an Oxymoron-or a Promise for the Future…?. Fashion theory, 12(4), 427-446.; ERTEKIN; ATIK, 2015Ozdamar Ertekin, Z., & Atik, D. (2015). Sustainable markets: Motivating factors, barriers, and remedies for mobilization of slow fashion. Journal of Macromarketing, 35(1), 53-69.).	E1: I shop at Store X, Store Y, large [retail] stores. Medium stores...
			E2: downtown stores because as I’m there every day I end up buying a lot there.
			E3: As I work at the mall, I usually buy there myself [...] I buy more like this at store Z, Store Y [...]
			E5: I buy in malls, downtown.
	2nd pillar “the creation of transparent products” (CLARK, 2008Clark, H. (2008). SLOW+ FASHION-an Oxymoron-or a Promise for the Future…?. Fashion theory, 12(4), 427-446.)	Creation of transparent products, that is, it seeks to promote the creation of bonds through the recognition of the needs for what is being created (CLARK, 2008Clark, H. (2008). SLOW+ FASHION-an Oxymoron-or a Promise for the Future…?. Fashion theory, 12(4), 427-446.; ERTEKIN; ATIK, 2015Ozdamar Ertekin, Z., & Atik, D. (2015). Sustainable markets: Motivating factors, barriers, and remedies for mobilization of slow fashion. Journal of Macromarketing, 35(1), 53-69.).	E2: Then I don’t look for it, I don’t think about it. I honestly don’t think [...] the only thing we usually see is advertising
			E4: Yes. I like to research [...] a new piece I like to have good feedback about that company. [...] I see it on the internet and I see it on some vegan pages
			E5: I love getting to know the company, the history, it even gives more confidence to those who buy.
			E6: I have already researched about jeans [...], but researching the brand, no.
	3rd pillar “production of sustainable and sensory products” (CLARK, 2008Clark, H. (2008). SLOW+ FASHION-an Oxymoron-or a Promise for the Future…?. Fashion theory, 12(4), 427-446.)	Products are seen as an investment and not something disposable, the pieces are part of an experience in the life of those who consume, and their useful life becomes more valued (CLARK, 2008Clark, H. (2008). SLOW+ FASHION-an Oxymoron-or a Promise for the Future…?. Fashion theory, 12(4), 427-446.; ERTEKIN; ATIK, 2015Ozdamar Ertekin, Z., & Atik, D. (2015). Sustainable markets: Motivating factors, barriers, and remedies for mobilization of slow fashion. Journal of Macromarketing, 35(1), 53-69.).	E1: I want to buy it, I’m crazy, I see it, but I say “I really want it?!”
			E2: I don’t pay much attention to this collection issue [...] I don’t need this collection issue
			E3: I don’t like modinha, as I said, fashion changes and I don’t even know.
			E4: I don’t tend to google what’s trending
			E5: I don’t go for collection or anything, I go for my taste.
			E6: I buy clothes that I like

Material	Signification	Practical knowledge
It was identified through internet research and through the speeches that there are thrift stores in the city of Teresina-PI. Most have already had access.	E2: As long as the part is in good condition. I don’t see any problem with buying [...] some people are afraid to buy them because they are used clothes and such.	E1: Like those thrift stores?! Yes I buy. There’s one I buy, but it’s not often. I go and look, if I like it I buy it, depending on when I go out.
	E4: First because of the environmental issue as I mentioned that the textile industry is one of the most polluting the environment, second because of the value.	E4: Lately, practically all my pieces are from thrift stores. I’m avoiding buying at the store, unless it’s a piece that I really need and that I can’t find at that moment, I resort to buying a new piece.
	E6: That’s why I think thrift stores are really cool. If you can reuse an outfit that once belonged to someone and that matches your style.	E6: Sometimes yes, because in these thrift stores the people are all skinny, and I’m chubby (laughs), so there’s almost no clothes I like and that fit me. But whenever there is [...] I buy it.

Material	Signification	Practical knowledge
It was identified through the speeches that there are clothing rental stores in Teresina, however, these stores usually rent only clothes that are not so usual or ordinary, and do not have rental stores for parts for daily use.	E1: I thought it would just stay here, in my room I wouldn’t use it. Because?! I’ve been wearing it for 15 years, I could have worn it at 16, I haven’t grown up that much, but I don’t.	E1: I had to rent my graduation dress [...], if I had it made [...] it would definitely be cheaper
	E2: Why to buy and just leave it in the wardrobe I prefer to rent it [...] there was one time I went to the 8th grade graduation and in that I had the dress made, I never wore that dress again in my life.	E2: If it’s a piece that I’m going to wear only once, I prefer to rent it, [...] a very formal outfit, in a more sporty attire
	E4: I don’t know either in Teresina or in Timon there are stores of this type, only in the south of the country on the internet.	E3: No, I’ve never rented, I prefer to buy (laughs), I don’t know why if I need to rent, I prefer to buy for keepsakes. Order to do. I really like having it done.
		E4: I just needed to rent clothes to participate in a social event.
		E5: I have rent, a question of party clothes
		E6: I don’t get to rent that much clothes, unless it’s for a more elegant event.

Material	Signification	Practical knowledge
No store or means of exchanging parts was identified. Exchanges are concentrated in a family way or among friends.	E2: I don’t see any problem, not being underwear (laughs), [...] now blouse, dress... there’s no problem at all.	E1: No. Because... well, I’m a maid and my mother fights a lot “don’t borrow clothes, go borrow them, then there’s a defect, someone will break, someone will tear” and then I’ve been listening to this since I was little
	E4: I think it’s cool, but I don’t like to do it, so with people I don’t know, I think we are very careful with our pieces.	E2: When I was younger I used to do more with my cousins.
	E5: Changing clothes I think is a very interesting solution, because clothes are not disposable, if you take care of them properly, they can have a long shelf life.	E3: I’ve always been very much about everyone has their own, so I don’t think it’s cool, for myself, for my life I don’t think it’s cool.
	E6: Well... we will spend less.	E4: Yes I do. I usually change clothes only with my sister, and I usually get pieces from other people, for example my boyfriend.
		E5: Change clothes with friends all the time.

Material	Signification	Practical knowledge
Homemade seamstresses	E1: Economy! (laughs) [...] I made my pieces based on models from magazines and the internet, she did the same thing I wore and I felt beautiful.	E1: So I always make clothes, I have an aunt [...] she always sewed so I always made clothes
	E2: It’s a piece that only you have, you thought of that piece, bought the fabric, so that piece has a greater value because you participated in the process of the piece, by looking for the model, even on the internet, you create a special affection for that piece part. [...], the pieces that I have made I have a affection, an attachment than with the pieces that I buy already made.	E2: Sometimes I prefer to have the clothes made, because it comes out as you thought and sometimes it can come out even better. [...] I have this practice of having clothes made.
		E3: I see a model and I adapt this model to my taste
		E6: I rarely had it done and I rarely have it repaired [...] as soon as we don’t find a seamstress who do - esn’t leave anything to be desired.

Material	Signification	Practical knowledge
Local artisans	E1: And here it is not valued	E1: There are a lot of lacemakers here, I think it’s amazing, I didn’t wear clothes, but I bought a placemat made of lace and crochet, I really appreciate those who crochet, people from heaven, I think it’s beautiful, beautiful.
	E2: It’s a very special piece, it takes longer to be produced, obviously, it has a higher price because of that, but it doesn’t take away the merit, when we talk about handmade pieces, people talk a lot about the price, but they forget about the work that could be done, and the labor is more expensive. Represents your region.	E2: I have some pieces that I bought, I also have some that I got from some handmade stamping clothes, if I like it I buy it.
	E4: I think that here he is not as valued as he should be. But I think craftsmanship is a wonderful thing.E6: Craftsmanship, those pieces that are manufactured with more care and last much longer.	E3: I think it’s very interesting, people are very creative, it’s beautiful, but because of my religious culture I wouldn’t use it. But I find it very interesting, beautiful too.
		E4: they are exclusive pieces, they are different pieces. [...] we can customize, add things that we won’t find in pieces that are made in an industrial way.

Material	Signification	Practical knowledge
Peças Versáteis	E2: It’s like you have 3 pieces in one. Just change the accessories.	E2: I really like to buy versatile pieces, the one that I can match with the x blouse, with that bag, I really like to buy pieces like this, I think about it a lot before buying a piece to match the pieces that I go, with the rest of the look I’m going to wear.
	E4: If I buy a piece of this type, I’ll end up not buying others, which will be a waste, right?! Because time was spent, natural resources, for it to be kept, for example.	E4: I like versatility, wild pieces that I will be able to use on several occasions, I can make several combinations
	E5: Pieces that I can transform.	E5: That I can use it like this anytime, any time.

Material	Signification	Practical knowledge
Product made in a recycled way.	E2: But it’s a piece that will have a lot of meaning, there’s the issue of consumerism, the accumulation of garbage and everything else, I think it’s a piece worth investing in but I believe it’s also a little more expensive than the other parts because of the work it asks for.	E1: I never bought it, and I never used it. Who works with it I think it’s great, if I had the opportunity to wear it I would wear it, if it’s beautiful if I think it’s cool I’d use it.
	E5: As far as I know the fashion industry is the second most polluting in the world, I would definitely buy it	E2: I never bought pieces, because up until now where I’ve been I’ve never had access to recycled clothes
	E6: Who consumes today, I believe they may be thinking about the future, right. Because since we are living in a way that destroys the environment so much that reducing it will really need to live, and it’s something like that, smart.	E3: I think it’s very interesting [...], but I’ve never bought it [...] Stores that sell, I don’t know
		E5: I would definitely buy from the world, because there is a lot of concern about the environment, knowing that we buy polyester clothes that are pure plastic and have no reuse.
		E6: I never bought it. I will not lie. To tell the truth, I’ve never seen it.

[1] AUTHORS

1. Maria Kélvia Ferreira de Araújo

Institution: Instituto Federal do Piauí, Piripiri, Piauí, Brazil. Bachelor’s degree in Business Administration from the Instituto Federal do Piauí

E-mail: kelviaaraujo.contato@gmail.com

2. Rafael Fernandes de Mesquita

Institution: Instituto Federal do Piauí, Teresina, Piauí, Brazil. Doctor of Administration from Universidade Potiguar

E-mail: rafael.fernandes@ifpi.edu.br

3. Fátima Regina Ney Matos

Institution: Instituto Superior Miguel Torga, Coimbra, Portugal. Doctor of Administration from Universidade Federal de Pernambuco

E-mail: fneymatos@ismt.pt

4. Michelle do Carmo Sobreira

Institution: Centro Universitário Christus, Fortaleza, Ceará, Brazil. Doctor of Accounting and Administration from Universidade Estadual do Ceará

E-mail: michellesobreira@gmail.com

Brasil

Brasil

FASHION CONSUMPTION PRACTICES OF MILLENNIALS WOMEN: BETWEEN FAST AND SLOW FASHION

AS PRÁTICAS DE CONSUMO DE MODA DE MULHERES MILLENNIALS: ENTRE O FAST E O SLOW FASHION

ABSTRACT

Purpose:

Design/methodology/approach:

Findings:

Originality/value: