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Design+ Traditional handcrafting and sustainability

fashion in relation to post-growth principles: This though not necessarily for the global fashion economy.
includes analyzing individual traditional techniques The global fashion economy faces persistent challenges in
and processes within the framework of the circular integrating traditional techniques into modern economic
economy and business models. Labor inequality between countries
(iii) Exploration of consumer relationships with handmade of the Global South and the Global North continues to
fashion: Analyzing consumer preferences and pose a significant barrier, particularly in relation to the
investigating how traditional techniques can become production and distribution of traditional, local-economy
more accessible through contemporary business products. Therefore, there is an urgent need to implement
models (e.g., social marketing). an alternative model, not solely economic, but also one
that redefines ways of living, since ways of living are as
6. Conclusion closely linked to consumption patterns and actual human
This review highlights that traditional garment-making needs.
techniques are examined in the literature through the Most studies on traditional techniques focus either on
lens of human geography, as they are deeply embedded in their cultural dimension (as arts that must be preserved)
local communities and reflect routine practices as well as or on their commercial potential (i.e., how they can
the economic dynamics of specific ecosystems. Therefore, be integrated into fashion). However, there is a lack of
efforts to connect these techniques with contemporary studies examining handcrafting as part of a self-sustaining
garment production should be grounded in an alternative economic system.
economic model that prioritizes local economies and
aligns with the evolving movement from the local to the This study highlights that traditional techniques
global. should not merely be preserved but also integrated into
collaborative, alternative economic models. In addition,
By mapping traditional garment production local production must be strengthened through the
techniques, it becomes evident how fashion value chains we-economy, enabling it to function as a self-sufficient and
are created, emphasizing production methods, labor, sustainable solution for communities. The we-economy
and the individuals involved, thus shifting the garment’s could organize economic relations among all participants
value away from brand names, which largely define the in the garment production process (e.g., designers,
fast fashion industry. From the close connection between craftsmen, local artisans) in a more equitable and ethical
traditional techniques, craftsmanship, and communities, way, thereby ensuring human and social well-being.
it is understood that these practices represent economic
opportunities for local communities and a sustainable Moreover, this study underscores that the environmental
solution for the planet, viewed within the framework footprint of handcrafting is significantly lower than that
of slow fashion. In short, traditional techniques – as of industrial production, making it a credible strategy
slow processes – compete with the fast cycles of fashion, for sustainability. Rather than limiting itself to isolated
introducing a new imaginary that challenges the prevailing examples, this research aims to connect the social,
model of perpetual growth. economic, and environmental dimensions of traditional
handcrafting into a unified framework.
To date, there has been no substantial convergence
between the local economy (e.g., traditional techniques and Acknowledgments
craftsmanship) and the industry, in terms that are mutually
beneficial for the entire value chain of garment production. None.
Traditional techniques, being slow processes, often Funding
compete with the rapid cycles of the fashion industry. They
require significant time investment, making them more None.
expensive and primarily accessible to niche markets. This
reflects the absence of a viable business model. Handmade Conflict of interest
products inherently carry the value of uniqueness and The authors declare that they have no competing interests.
manual craftsmanship and, therefore, increase in value in
market terms, positioning them as luxury products in the Author contributions
global high-fashion market. Conceptualization: All authors
The garment – as a product of traditional techniques Formal analysis: Maria Zoumaki, Apostolos Korlos
and craftsmanship – represents an ethical and sustainable Investigation: Venetia Koutsou, Maria Zoumaki
solution for the environment, people, and societies, Methodology: Venetia Koutsou, Maria Zoumaki

Volume 2 Issue 3 (2025) 23 doi: 10.36922/DP025190027