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The COVID-19 pandemic has caused irrefutable devastation globally. Yet, academic and trade commentators have claimed that this disruption could have had a silver lining by presenting the fashion industry with the opportunity to reassess and rebuild in a slower, more considered way. Part of this reassessment, some have argued, may have been allowing the industry's pre-COVID sustainability buzz to come to fruition by nudging the fashion industry to go circular. This paper explores if, and how, the COVID-19 pandemic was (not) nudging the industry towards circularity using the case study of circular textiles.

Serial, semi-structured, qualitative interviews were conducted with three buyers and sourcers working for three UK-based fashion retailers. Each participant was involved in three interviews in June 2020 following the UK's first national lockdown.

The research findings suggest that, at the time this research was undertaken, these retailers were focussed on regaining profit, protecting their supply chains and producing “safe” designs whilst cutting back and becoming more risk averse. These actors suggested that, in contrast to the suppositions made by academic and media commentators, the COVID-19 pandemic was acting as a hindrance to circularity, not a helping hand, as retailers were less willing to invest in circular textiles at that time than they were pre-pandemic.

This paper offers valuable insight into the COVID-19 pandemic's impact on circular innovation within fashion retail whilst contributing to broader understandings of the principles of the circular economy within textiles and design.

Often seen as a vulnerable group, tween girls fashioning themselves after adults have been a topic of significant concern. Public and academic discourse in the West has expressed worry that girls’ adult-like dressing may expose them to a range of physical, psychological and sexual harm. In most discussions on girls’ dressing, Western popular culture is also identified as one of the prevalent ways through which girls learn to how to fashion themselves after adults. It is claimed that Western television programmes, books and magazines encourage young girls to fashion themselves after adults at an earlier age. Recognising the importance of girls’ voices in their experiences of girlhood, this chapter draws exclusively on 12 focus groups, with 29 Singaporean girls aged 8–12. It finds that there are changing mediascapes in tween girls’ lives that have not been acknowledged. No longer predominantly watching television or browsing teen magazines, this chapter highlights how young Singaporean girls are now more likely to spend their time on the popular media platform YouTube. As girls gain mobility through their mobile communication devices, this chapter calls for a closer examination of YouTube in relation to girls’ dressing. Nonetheless, this chapter also acknowledges that while certain popular YouTube videos (re)produce highly narrow ideas of what a female should look or be like, it is not a simple issue of girls learning how to dress from their favourite YouTube stars. YouTubers also represented a lexicon of empowerment for some of the girls in this study.