The Or Foundation has teamed up with artist Jeremy Hutchison to create fast fashion zombies that haunt high-street clothing stores in the UK. The aim is to raise awareness about the environmental cost of the industry while demanding greater transparency from retailers.
By now, most of us are well aware of the terrible environmental and social costs of fast fashion.
The industry is one of the primary polluters of our planetβs freshwater resources and has resulted in millions of discarded clothing items being shipped out to landfills in many Global South nations, including Ghana, Kenya, and Chile.
Still, widespread awareness of a problem doesnβt always result in behavioural changes amongst consumers or brands. For that reason, charitable organisations and eco-conscious artists are constantly looking for innovative ways to bridge the gap between acknowledgement and tangible action.
Could a walking, non-talking, fashion βzombieβ be part of the catalyst for change? Itβs worth a shot.
In the week leading up to Black Friday, an 8-foot-tall fashion zombie visited clothing retailers on Englandβs most popular high streets. Silent and faceless, the zombieβs assigned task was to catch the eye of shoppers while delivering letters to fast-fashion companies, demanding that they reveal how many items of clothing they produce each year.
The strikingly colourful, wearable collage of textiles is the work of artist Jeremy Hutchison in collaboration with The Or Foundation, a charity whose mission is to reshape the current, exploitative fashion industry into one that coincides with ecological and social prosperity.
The project is part of a wider campaign called Speak Volumes, which calls for transparency & accountability on production volumes, which impacts everyone along the value chain.
Inside the wearable structure, suitably named βDead White Manβs Clothesβ β or obroni wauwu as they are known in Ghana β is Jeremy Hutchison himself.
Donning the tower of clothing, the artist is not afraid to admit the hand heβs played in contributing to textile pollution by consuming fast fashion in the past.
βI am performing myself, nobody else. I am a white male Western consumer. I have definitely inhabited and participated in this,β Hutchison said about the project.
Albeit not as apocalyptic-like as the βfast-fashion zombieβ we asked Midjourney to make, the result of the collaboration succeeded in catching the eyes of shoppers and retail workers β even when they tried to ignore it.
Ignoring it is exactly what workers at ASOS chose to do when the zombie paid them a visit. Boohoo, on the other hand, called security. Primark hastily locked its doors.
However, the zombie was quickly videoed and memed by shoppers as it pranced along high streets and followed people around in-store. It might sound creepy, but this is exactly the point of the project: to draw attention to a gigantic, global problem that is hiding in plain sight.
βIβm trying to trigger this sort of hysterical response, the feeling deep down that we know when we put our shit in trash bags and send it off to somewhere else, that it hasnβt disappeared,β Hutchison explained.
Credit: Dani Pujalte
The fashion zombies were first displayed at the British Textile Biennial exhibition, where they were mounted, unmoving, and carefully lit for spectators to view.
They were displayed alongside a film, which shows one of the zombies strolling through Dakar before entering a shipping container. It later re-emerges in the Global North, meanders into clothing stores and walks along shopping streets, trying to find its place of origin.
The film cleverly depicts the story of fast fashion items, which are bought by consumers in wealthy nations and later discarded, shipped to the Global South for someone else to deal with. The zombie reflects a rebellion against this process, coming back to haunt those who produce, consume, and throw away fast fashion items on a wide scale.
As mentioned, the project is part of the Speak Volumes campaign, which is a component of the Stop Waste Colonialism initiative which is now advocating for the global implementation of Extended Producer Responsibility (EPR) policies.
Credit: Dani Pujalte
These new policies would enforce global accountability to disrupt the cycle of excessive production and overconsumption, as well as the externalisation of social and environmental responsibilities.
A more justice-centred EPR program, as envisioned by the Kantamanto community and The Or Foundation, rests on three fundamental principles.
First, it demands the introduction of a βper-garment feeβ on newly manufactured clothing items to finance waste management systems.
Secondly, it requires equitably distributing funds to address the losses and damages resulting from irresponsible waste exportation to under-resourced communities like those in Ghana, Kenya, and Chile.
Lastly, it demands disclosure of production volumes and a commitment to achieving production reduction targets of at least 40 percent within a five-year period.
Hutchison believes that making informed decisions about the waste management of products and a transition to circularity requires understanding how many garments exist right now.
Identifying this number, he says, will be crucial for the industry to formulate textile upcycling facilities that are capable of dealing with the volume of clothing in circulation.
Of course, major brands have this data readily available, but the vast majority arenβt willing to talk about their production scales publicly. Letβs hope a visit from the zombie β along with the implementation of new EPR policies β can help force some long-overdue change.
Iβm Jessica (She/Her). I’m the Deputy Editor & Content Partnership Manager at Thred. Originally from the island of Bermuda, I specialise in writing about ocean health and marine conservation, but you can also find me delving into pop culture, health and wellness, plus sustainability in the beauty and fashion industries. Follow me on Twitter, LinkedIn and drop me some ideas/feedback via email.
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