Pouco Instagramável: A Sustentabilidade na Comunicação Digital da Moda Autoral Portuguesa

Autores

DOI:

https://doi.org/10.17231/comsoc.45(2024).5370

Palavras-chave:

moda, sustentabilidade, comunicação digital, Instagram

Resumo

A conceção da insustentabilidade da indústria da moda começa a ser amplamente reconhecida, tornando urgente a necessidade de incentivos de forma a produzir com maior respeito pelo meio ambiente e pelos recursos humanos. Os atributos comummente associados à oferta de moda de autor, como a durabilidade, a criatividade e a estética, vêm possibilitar que o trabalho autoral se posicione na liderança da moda sustentável. Para que tal ocorra, revela-se fundamental que esta mensagem chegue aos consumidores. Com a indispensabilidade da comunicação digital para alcançar o público das marcas, é premente compreender o destaque dado às questões da sustentabilidade nas plataformas digitais da moda autoral portuguesa. As análises temática reflexiva e do conteúdo publicado no Instagram de 47 designers que apresentaram as suas coleções na “ModaLisboa” ou no “Portugal Fashion” permitiram constatar um desinteresse generalizado pela promoção do fator sustentabilidade. Foram categorizadas e analisadas 2.753 publicações, concluindo que a plataforma digital é, em larga escala, usada para expor o produto final, sendo preteridas as informações relacionadas com os processos produtivos, as matérias-primas ou a mão de obra. Estes temas foram apenas observados em cerca de 10% do total de conteúdos, sendo omissos num conjunto significativo dos designers e das marcas de moda analisados. Esta investigação apresenta importantes contributos: um cruzamento pioneiro entre moda, sustentabilidade e comunicação digital portuguesas, que permite reduzir a escassez de trabalhos na área, bem como a recomendação de boas práticas de comunicação e educação para a sustentabilidade da moda autoral nacional.

Downloads

Não há dados estatísticos.

Biografia Autor

Pedro Dourado, Centro de Investigação Transdisciplinar Cultura, Espaço e Memória, Faculdade de Letras, Universidade do Porto, Porto, Portugal

A conceção da insustentabilidade da indústria da moda começa a ser amplamente reconhecida, tornando urgente a necessidade de incentivos de forma a produzir com maior respeito pelo meio ambiente e pelos recursos humanos. Os atributos comummente associados à oferta de moda de autor, como a durabilidade, a criatividade e a estética, vêm possibilitar que o trabalho autoral se posicione na liderança da moda sustentável. Para que tal ocorra, revela-se fundamental que esta mensagem chegue aos consumidores. Com a indispensabilidade da comunicação digital para alcançar o público das marcas, é premente compreender o destaque dado às questões da sustentabilidade nas plataformas digitais da moda autoral portuguesa. As análises temática reflexiva e do conteúdo publicado no Instagram de 47 designers que apresentaram as suas coleções na “ModaLisboa” ou no “Portugal Fashion” permitiram constatar um desinteresse generalizado pela promoção do fator sustentabilidade. Foram categorizadas e analisadas 2.753 publicações, concluindo que a plataforma digital é, em larga escala, usada para expor o produto final, sendo preteridas as informações relacionadas com os processos produtivos, as matérias-primas ou a mão de obra. Estes temas foram apenas observados em cerca de 10% do total de conteúdos, sendo omissos num conjunto significativo dos designers e das marcas de moda analisados. Esta investigação apresenta importantes contributos: um cruzamento pioneiro entre moda, sustentabilidade e comunicação digital portuguesas, que permite reduzir a escassez de trabalhos na área, bem como a recomendação de boas práticas de comunicação e educação para a sustentabilidade da moda autoral nacional.

Referências

Ahmad, N., Salman, A., & Ashiq, R. (2015). The impact of social media on fashion industry: Empirical investigation from Karachiites. Journal of Resources Development and Management, 7, 1–8.

Arsenyan, J., & Mirowska, A. (2021). Almost human? A comparative case study on the social media presence of virtual influencers. International Journal of Human-Computer Studies, 155, 1–16. https://doi.org/10.1016/j.ijhcs.2021.102694

Barbero, G., & Tarifa, M. S. (2023). Análisis del branding de la moda de diseño de autor española. Visual Review, 15(2), 1–12. https://doi.org/10.37467/revvisual.v10.4626

Béhen [@behen.studio]. (2023, 23 de março). AW23 “The Godo f Small Things” backstage at @lisboafashionweek by @luis.carmmo with @f4b7o @justmodelmanagement [Fotografia]. Instagram. https://www.instagram.com/p/CqJHcpLNVz4

Birtwistle, G., & Moore, C. M. (2007). Fashion clothing – Where does it all end up? International Journal of Retail & Distribution Management, 35(3), 210–216. https://doi.org/10.1108/09590550710735068

Blazquez, M., Henninger, C. E., Alexander, B., & Franquesa, C. (2020). Consumers’ knowledge and intentions towards sustainability: A Spanish fashion perspective. Fashion Practice, 12(1), 34–54. https://doi.org/10.1080/17569370.2019.1669326

Bonini, S., & Oppenheim, J. (2008). Cultivating the green consumer. Stanford Social Innovation Review. https://ssir.org/articles/entry/cultivating_the_green_consumer

Braun, V., & Clarke, V. (2021). Thematic analysis: A practical guide. SAGE.

Bravo, L. (2021). How to break up with fast fashion. Headline.

Brewer, M. K. (2019). Slow fashion in a fast fashion world: Promoting sustainability and responsibility. Laws, 8(4), 1–9. https://doi.org/10.3390/laws8040024

Brundtland, G. (1987). Report of the World Commission on Environment and Development: Our common future. United Nations.

Bulović, V., & Čović, Z. (2020). The impact of digital transformation on sustainability in fashion retail. In 2020 IEEE 18th International Symposium on Intelligent Systems and Informatics (SISY) (pp. 149–154). IEEE. https://doi.org/10.1109/SISY50555.2020.9217087

Burns, B. (2010). Re-evaluating obsolescence and planning for it. In T. Cooper (Ed.), Longer lasting products: Alternatives to the throw-away society (pp. 39–60). Gower.

Business of Fashion & McKinsey & Company. (2023). The state of fashion 2023. https://www.mckinsey.com/~/media/mckinsey/industries/retail/our%20insights/state%20of%20fashion/2023/the-state-of-fashion-2023-holding-onto-growth-as-global-clouds-gathers-vf.pdf

Camacho-Otero, J., Boks, C., & Pettersen, I. N. (2019). User acceptance and adoption of circular offerings in the fashion sector: Insights from user-generated online reviews. Journal of Cleaner Production, 231, 928–939. https://doi.org/10.1016/j.jclepro.2019.05.162

Caro, F., & Martínez-De-Albéniz, V. (2014). Fast fashion: Business model overview and research opportunities. In N. Agrawal & S. A. Smith (Eds.), Retail supply chain management: Quantitative models and empirical studies (pp. 237–264). Springer.

Carolina Machado [@carolinamachado_official]. (2022, 8 de novembro). Bespoke knits carefully handmade locally in Porto, Portugal [Fotografia]. Instagram. https://www.instagram.com/p/CktNvgCsfI1

Casciani, D., Chkanikova, O., & Pal, R. (2022). Exploring the nature of digital transformation in the fashion industry: Opportunities for supply chains, business models, and sustainability-oriented innovations. Sustainability: Science, Practice and Policy, 18(1), 773–795. https://doi.org/10.1080/15487733.2022.2125640

Ceylan, O. (2019). Knowledge, attitudes and behavior of consumers towards sustainability and ecological fashion. Textile & Leather Review, 2(3), 154–161. https://doi.org/10.31881/TLR.2019.14

Chapman, J. A. (2005). Emotionally durable design: Objects, experiences and empathy. Earthscan.

Constanca Entrudo [@constanca_entrudo]. (2022, 8 de novembro). AW22 fabric development [Fotografia]. Instagram. https://www.instagram.com/p/CktDXQTMkXy/?img_index=2

Couldry, N., & Hepp, A. (2017). The mediated construction of reality. Polity Press.

Crapa, G., Latino, M. E., & Roma, P. (2024). The performance of green communication across social media: Evidence from large-scale retail industry in Italy. Corporate Social Responsibility and Environmental Management, 31(1), 493–513. https://doi.org/10.1002/csr.2581

Davis, L. (2011, 4–7 de janeiro). Wearing green: Exploring motivations behind and factors affecting consumption of green fashion goods [Apresentação de comunicação]. International Conference on Social Sciences, Maui, Estados Unidos.

Dino Alves [@dino_alves_eu]. (2022, 29 de novembro). #dinoalvesatelier #misterman #modanacional #modasustentavel #upcycling [Fotografia]. Instagram. https://www.instagram.com/p/ClhT9ymMr1z/

Elkington, J. (1994). Towards the sustainable corporation: Win-win-win business strategies for sustainable development. California Management Review, 36(2), 90–100. https://doi.org/10.2307/41165746

Elkington, J. (1997). Cannibals with forks: Triple bottom line of 21st century business. Capstone Publishing.

Ellen MacArthur Foundation. (2019). Fashion and the circular economy: Deep dive. Retirado a 10 de março de 2023 de https://ellenmacarthurfoundation.org/fashion-and-the-circular-economy-deep-dive

Feng, P., & Ngai, C. S.-b. (2020). Doing more on the corporate sustainability front: A longitudinal analysis of CSR reporting of global fashion companies. Sustainability, 12(6), 1–18. https://doi.org/10.3390/su12062477

Fletcher, K. (2014). Sustainable fashion and textiles: Design journeys. Routledge.

Forney, J. C., Joo Park, E., & Brandon, L. (2005). Effects of evaluative criteria on fashion brand extension. Journal of Fashion Marketing and Management, 9(2), 156–165. https://doi.org/10.1108/13612020510599312

Fraser, E., & van der Ven, H. (2022). Increasing transparency in global supply chains: The case of the fast fashion industry. Sustainability, 14(18), 1–24. https://doi.org/10.3390/su141811520

Gazzola, P., Grechi, D., Ossola, P., & Pavione, E. (2019). Certified Benefit Corporations as a new way to make sustainable business: The Italian example. Corporate Social Responsibility and Environmental Management, 26(6), 1435–1445. https://doi.org/10.1002/csr.1758

Gazzola, P., Pavione, E., Pezzetti, R., & Grechi, D. (2020). Trends in the fashion industry. The perception of sustainability and circular economy: A gender/generation quantitative approach. Sustainability, 12(7), 1–19. https://doi.org/10.3390/su12072809

Guiltinan, J. (2009). Creative destruction and destructive creations: Environmental ethics and planned obsolescence. Journal of Business Ethics, 89, 19–28. https://doi.org/10.1007/s10551-008-9907-9

Hanusch, F. (2019). Journalistic roles and everyday life. Journalism Studies, 20(2), 193–211. https://doi.org/10.1080/1461670X.2017.1370977

Haug, A., & Busch, J. (2016). Towards an ethical fashion framework. Fashion Theory - Journal of Dress Body and Culture, 20(3), 317–339. https://doi.org/10.1080/1362704X.2015.1082295

Hibu. [@hibu.studio]. (2022, 10 de outubro). Unisex Smock Orange Trousers crafted from discarded material 70% cotton 30% elastane available at HIBU.STUDIO.COM [Fotografia]. Instagram. https://www.instagram.com/p/CjiTkeCMoYx

Joy, A., Sherry, J. F., Venkatesh, A., Wang, J., & Chan, R. (2012). Fast fashion, sustainability, and the ethical appeal of luxury brands. Fashion Theory - Journal of Dress Body and Culture, 16(3), 273–295. https://doi.org/10.2752/175174112X13340749707123

Kakoty, S. (2018). Ecology, sustainability and traditional wisdom. Journal of Cleaner Production, 172, 3215–3224. https://doi.org/10.1016/J.JCLEPRO.2017.11.036

Kalambura, S., Pedro, S., & Paixão, S. (2020). Fast fashion – Sustainability and climate change: A comparative study of Portugal and Croatia. Socijalna Ekologija, 29(2), 269–291. https://doi.org/10.17234/SocEkol.29.2.6

Kozlowski, A., Bardecki, M., & Searcy, C. (2012). Environmental impacts in the fashion industry: A life-cycle and stakeholder framework. The Journal of Corporate Citizenship, (45), 17–36.

Little, T. (2018). The future of fashion. New Degree Press.

Luis Carvalho Official [@luiscarvalhoofficial]. (2023, 13 de janeiro). @kaparolofficiel x @luiscarvalhoofficial Upcycling capsule collection [Fotografia]. Instagram. https://www.instagram.com/p/CnXbiBuMpZn

Magnuson, B., Reimers, V., & Chao, F. (2017). Re-visiting an old topic with a new approach: The case of ethical clothing. Journal of Fashion Marketing and Management, 21(3), 400–418. https://doi.org/10.1108/JFMM-10-2016-0091

Marcos, P. S., Curiel, C. P., & Molpeceres, A. M. V. (2020). Hacia un cambio en el sector de moda y lujo. Del dominio del influencer a la marca: Gucci, Loewe y Margiela. Revista de Comunicación, 19(2), 263–284. https://doi.org/10.26441/RC19.2-2020-A15

Maria Gambina [@maria_gambina]. (2022, 2 de dezembro). Comecei a trabalhar com a D. Ana quando ainda estudava no CITEX, há mais de 30 anos portanto [Fotografia]. Instagram. https://www.instagram.com/p/C21lmgwMoSp/?img_index=1

Marques Almeida [@marques_almeida]. (2022, 27 de novembro). Today is your last chance to grab your favourite piece from our archive stock [Fotografia]. Instagram. https://www.instagram.com/p/Cldjb6XIqrS/

Masson, R., Iosif, L., Mackerron, G., & Fernie, J. (2007). Managing complexity in agile global fashion industry supply chains. The International Journal of Logistics Management, 18(2), 238–254. https://doi.org/10.1108/09574090710816959

Monteiro, I. (2023). A arte como suporte da criatividade no design da moda contemporânea. Convergences - Journal of Research and Arts Education, 16(31), 105–117. https://doi.org/10.53681/c1514225187514391s.31.158

Munir, S. (2020). Eco-fashion adoption in the UAE: Understanding consumer barriers and motivational factors. Fashion Practice, 12(3), 371–393. https://doi.org/10.1080/17569370.2020.1777729

Mustique [@mustique_]. (2023, 10 de janeiro). Made in Portugal [Fotografia]. Instagram. https://www.instagram.com/p/CnO3iS2M6gL/

Niessen, S. (2020). Fashion, its sacrifice zone, and sustainability. Fashion Theory - Journal of Dress Body and Culture, 24(6), 859–877. https://doi.org/10.1080/1362704X.2020.1800984

NOPIN [@nopinbrand]. (2022, 16 de novembro). one of our main purposes is to taking into consideration the quality and sustainability of our fabrics and raw materials [Fotografia]. Instagram. https://www.instagram.com/p/ClCT-lsIrpo/

Noris, A., & Cantoni, L. (2022). Digital fashion communication: An (inter)cultural perspective. Brill. https://doi.org/10.1163/9789004523555_002

O’Connell, M. (2020). Lux perpetua: Future pioneers utilizing historical precedent as design innovation within fashion. Textile: The Journal of Cloth and Culture, 18(2), 209–226. https://doi.org/10.1080/14759756.2019.1663573

Orminski, J., Tandoc, E. C., & Detenber, B. H. (2021). #sustainablefashion – A conceptual framework for sustainable fashion discourse on Twitter. Environmental Communication, 15(1), 115–132. https://doi.org/10.1080/17524032.2020.1802321

Park, H., & Lennon, S. J. (2006). The organizational factors influencing socially responsible apparel buying/sourcing. Clothing and Textiles Research Journal, 24(3), 229–247. https://doi.org/10.1177/0887302X06293070

Park, J., Hyun, H., & Thavisay, T. (2021). A study of antecedents and outcomes of social media WOM towards luxury brand purchase intention. Journal of Retailing and Consumer Services, 58, 1–12. https://doi.org/10.1016/j.jretconser.2020.102272

Pedersen, E. R. G., & Andersen, K. R. (2015). Sustainability innovators and anchor draggers: A global expert study on sustainable fashion. Journal of Fashion Marketing and Management, 19(3), 315–327. https://doi.org/10.1108/JFMM-08-2014-0059

Perry, A., & Chung, T. (2016). Understand attitude-behavior gaps and benefit-behavior connections in eco-apparel. Journal of Fashion Marketing and Management, 20(1), 105–119. https://doi.org/10.1108/JFMM-12-2014-0095

Piazza, A., & Abrahamson, E. (2020). Fads and fashions in management practices: Taking stock and looking forward. International Journal of Management Reviews, 22(3), 264–286. https://doi.org/10.1111/ijmr.12225

Pittman, M., & Reich, B. (2016). Social media and loneliness: Why an Instagram picture may be worth more than a thousand Twitter words. Computers in Human Behavior, 62, 155–167. https://doi.org/10.1016/J.CHB.2016.03.084

Shen, B., Zheng, J. H., Chow, P. S., & Chow, K. Y. (2014). Perception of fashion sustainability in online community. Journal of the Textile Institute, 105(9), 971–979. https://doi.org/10.1080/00405000.2013.866334

Shrivastava, A., Jain, G., Kamble, S. S., & Belhadi, A. (2021). Sustainability through online renting clothing: Circular fashion fueled by Instagram micro-celebrities. Journal of Cleaner Production, 278, 1–10. https://doi.org/10.1016/j.jclepro.2020.123772

Slade, G. (2007). Made to break: Technology and obsolescence in America. Harvard University Press.

Testa, D. S., Bakhshian, S., & Eike, R. (2020). Engaging consumers with sustainable fashion on Instagram. Journal of Fashion Marketing and Management, 25(4), 569–584. https://doi.org/10.1108/JFMM-11-2019-0266

Thomas, D. (2019). Fashionopolis: The price of fast fashion and the future of clothes. Head of Zeus.

Thomas, K. (2020). Cultures of sustainability in the fashion industry. Fashion Theory - Journal of Dress Body and Culture, 24(5), 715–742. https://doi.org/10.1080/1362704X.2018.1532737

Tripathi, G., Tripathi Nautiyal, V., Ahad, M. A., & Feroz, N. (2021). Blockchain technology and fashion industry-opportunities and challenges. In S. K. Panda, A. K. Jena, S. K. Swain, & S. C. Satapathy (Eds.), Blockchain technology: Applications and challenges (pp. 201–220). Springer. https://doi.org/10.1007/978-3-030-69395-4_12

Valle Noronha, J. (2017). Moda autoral: Pela compreensão de um modo de fazer (roupas). Encontro Nacional de Pesquisa em Moda, (1), 63–72.

Williams, D. (2019). What’s going on? A discourse in fashion, design, and sustainability. Fashion Practice, 11(3), 283–290. https://doi.org/10.1080/17569370.2019.1662233

Yoo, J. J. (2023). Visual strategies of luxury and fast fashion brands on Instagram and their effects on user engagement. Journal of Retailing and Consumer Services, 75, 1–10. https://doi.org/10.1016/j.jretconser.2023.103517

Publicado

09-05-2024

Como Citar

Dourado, P. (2024). Pouco Instagramável: A Sustentabilidade na Comunicação Digital da Moda Autoral Portuguesa. Comunicação E Sociedade, 45, e024009. https://doi.org/10.17231/comsoc.45(2024).5370