Topic > The benefits of living slowly as part of a lifestyle

The purpose of living slowly is to slow down and connect with life. Slow living was born as "Slow Food" in 1986 in Italy as a response to the growing number of fast-food restaurant chains. The term "Slow Fashion" was first mentioned by Kate Fletcher in 2007, when she compared the slow food movement to the sustainable and ethical fashion industry. Sustainable, organic, eco-friendly, low-processing or no-processing methods can all be part of “slow living.” Slow living is seen as a direct retaliation to the fast-fashion system that goes against everything it stands for in terms of sustainable and ethical practices. The fast fashion industry is the second most polluting after the oil industry. Resources are depleted faster than they can be replenished. “The average UK consumer today buys up to a third more textiles and clothing products than four years ago and spends a quarter less on each item.” These unsustainable practices need to be rethought, as does our attitude towards fashion. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Slow living incorporates mindfulness and relaxation as part of its practice. Many different types of crafts can be produced 'slowly', for example through knitting, embroidery, painting and knitting. “Studies show that the rhythmic, repetitive dance of the needles can lower heart rate and blood pressure, lulling the knitter into a peaceful, almost meditative state.” Slow living is also believed to be relaxing because of the way you can be involved in the process, with many people growing and processing their own raw materials, for example sheep's wool for yarn People with environmental concerns have more control over the harmful materials they use in the relationship because the consumer has no idea whether the product was made ethically. With a slow life, people are more likely to appreciate the material goods they have made by hand: "The craftsman takes pride in what he has made and appreciates it. , while the consumer discards things that are perfectly useful in his restless search for the new" (Sennett, motorcycle book). The object I have chosen to analyze in this essay is a Slazenger suit repaired by Celia Pym. Pym is known for her distinctive "visible repair" style. Pym likes working with tracksuits because they don't fray, making the reconstruction process easier: "I'm not sporty, so the unsportsmanlike nature of these things is fun and the end product is very beautiful: an ordinary piece of fabric is transformed into a work of art” He reconstructs and mends woolen garments and fabrics by mending them together as wearable garments in his signature style The threads are always a wide assortment of a wide variety of colors purposely sewn in a mismatched manner to show that the. item has been repaired, letting people know that it is a handmade garment, this contradicts most people's intentions when repairing a garment, which is to make the repair unnoticeable. There is also a certain stigma around repairing clothes, usually because you are too poor to buy new clothes. The contrasting combination of a wide variety of colors livens up the otherwise dull black suit. I saw this work at an exhibition called 'Subversive Stitch' which showcased several textile artists, the jumpsuit was accompanied by a pair of matching Slazenger socks and unbranded gloves, it reminded me of something you might see a factory worker or factory worker wearing it is been transformed by.