Chromatic Imperfection: Reimagining Colour as a Catalyst for Sustainable Fashion Design
DOI:
https://doi.org/10.23738/180104Keywords:
Colour Design, Colour Imperfection, Sustainable Fashion, Imperfection Aesthetics, Design for SustainabilityAbstract
In the contemporary fashion world, where synthetic and standardized colours dominate, embracing colour imperfection challenges conventional notions of quality, desirability, and value. Accordingly, this paper explores the strategic role of visible colour imperfection in advancing sustainable practices within contemporary fashion design. Moving beyond chromatic ideals rooted in consistency, reproducibility, and standardisation, it interrogates how intentional colour irregularities can operate as expressive, ethical, and ecologically attuned design strategies. Situating colour as a medium of communication, material storytelling, and aesthetic value—rather than a purely decorative or technical attribute—the research draws from historical, cultural, and industrial perspectives to critique the dominance of mass-produced, synthetic colour systems. It foregrounds the environmental impact of conventional dyeing practices while proposing alternative models that reframe chromatic variation as a meaningful aesthetic and ethical choice. The concept of the “aesthetics of imperfection” is employed to valorise irregularity as a quality that enhances product authenticity, sensory depth, and emotional resonance. Particular attention is given to recycled and repurposed colours, whose unpredictable and non-uniform qualities reflect material histories and embody principles of circularity. Through case studies and theoretical analysis, the paper identifies four design strategies that mobilise colour imperfection to communicate sustainability: expressive manual dyeing, mismatched combinations, natural ageing effects, and digitally or mechanically induced randomness. These approaches challenge consumer expectations, extend product lifecycles, and embed sustainability into fashion’s visual and material language. Ultimately, the study repositions colour imperfection not as a flaw, but as a vital dimension of ethical and resilient design innovation.
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Copyright (c) 2026 Ingrid Calvo Ivanovic, Erminia D'Itria
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