EPQ: Sustainable fashion solutions

This magazine article aims to explore the title Sustainable fashion solutions; ones which aim to address the fashion & textiles industry’s biggest environmental and social impacts: water, energy, pollution and chemical usage being the main These solutions are both current and future innovations: involving the application of technology to transform production processes, the reworking of supply chains to transform the way we shop or even the emergence of new textiles and materials That is all if these innovations are revised and implemented on a global scale where the benefits of sustainable production and consumption are felt by all stakeholders at all levels of the supply chain

he world around us is adapting and changing at great speed, in ways that call for the approaches in place to not only mitigate impacts but actually solve them The impact of climate change being the

primary cause for resolution The increasing awareness of the risks posed by climate change has meant that industries are forced now to adapt their strategy, practices and supply chains to incorporate sustainable measures and innovation at the forefront of their operations The fashion and textiles industry alone is a sizeable contributor to global climate change, ranking the second largest industrial polluter, accounting for 10% of global air pollution This ranks higher than air travel emissions

The industry’s heavy footprint also impacts biodiversity- broadly defined as the variety of life on earth at all levelswhich is vital for food, energy, sustaining air quality, providing fresh water and regulating our climate Yet biodiversity is declining at a faster rate than ever before in human history According to a McKinsey & Company Report, one million species, between 12 and 20% of estimated total species on earth (both marine and terrestrial), are under threat of extinction

It is suggested in this article that the apparel industry is the largest contributor to biodiversity loss given that apparel supply chains are directly linked to soil degradation, conversion of natural ecosystems, and waterway pollution This does not include the negative social impacts the fashion industry has formed, going against many sustainable development goals of the 2030 agenda (set out by the UN) Decent work, economic growth and gender equality form just some of these goals

Though the last decade has seen many brands and retailers being accused and facing harsh criticism over their treatment and violation of employee rights A major example: Gap who were one of the dozen companies involved in one the worst industrial disasters on record; Rhana Plaza, a factory complex in the industrial suburb of Dhaka, Bangladesh Killing more than 1,100 people and injuring many more, primarily due to the building being constructed with substandard materials and facilitating a larger capacity of workers than the building could structurally take.

Events such as the deadly disaster of the Rhana Plaza collapse have meant many fashion retailers are taking sustainability more seriously, given that it could ruin their brand image However, this doesn’t always translate into more sustainable sourcing and production but in many cases greenwashing through the power of marketing Understandably this has created an aura of confusion amongst consumers about what its means for a product to be sustainable The lack of guidelines and regulation don’t make circumstances any better It means it is entirely down to companies to set up their own objectives, creating the incentive for them to make it easy to meet Yet even if companies don’t meet their own voluntary goals, there is little to no repercussions Comparing to the automotive industry, the EU have formed an agreement to ban the sale of new petrol and diesel cars from 2035 in line to reduce transport emissions from cars by 55% and vans by 50% This agreement has direct implications on automotive industries operating in the EU market forcing them to undergo green transition, something the fashion industry greatly lacks ◆

Rationally it makes sense that the biggest solutions should be targeted at the bedrock of negative impacts Raw material production is categorized as having the most negative impact on biodiversity, alongside material preparation and processing, and end of life within the value chain (the process by which value is added through the creation of a product to the finished result)

Although current cotton production methods raise environmental sustainability concerns which fundamentally undermine the industry’s ability to maintain future production This is due to heavy pollution caused by cotton being heavily sprayed with agrochemicals such as pesticides, to keep crops safe from insectile interruption

A good alternative to cotton is hemp: a fabric that has undergone an image transformation in recent years, as consumers and brands are more informed of its versatility, strength and potential sustainability Hemp is a type of bast fibre which means it is one of several plantbased fibres derived from the stems of plants such as flax (where linen comes from)

Cotton is a highly sought-after material in the textile industry, it is the most widespread profitable non-food crop in the world It has been cultivated by humans for more than 5000 years and can be found in products ranging from tshirts to even US dollar bills Its production provides income for more than 250 million worldwide and employs almost 7% of all labour in developing countries.

Given that cotton grows on only 2 4% of the world’s global cropland this may not seem an issue, however, it accounts for 22 5% of world insecticide use-more than any other single crop- and 10& of all pesticide use Such chemicals entering nearby rivers, streams, and waterways are a major source of water pollution to natural ecosystems And can disrupt to food chains Another great concern is just how water-intensive cotton production is Most of the water usage is due to irrigation, not rain since the crop is typically grown in dry and warm regions (e g , India) Other impacts include soil degradation

The fibre produced from pure hemp is similar to the texture of linen Versatility factor is achieved as hemp fibres can bel blended with other plant-based fibres to create fabrics with the durability of hemp and softness of cotton or bamboo Resulting in a variety of materials that can be made using hemp: from jersey to denim, to hessian to canvas, according to the Textile Exchange The environmental benefits of hemp cultivation combined with its durable characteristics make It a fabric that both feels and looks great, by even the highest of standards

hile hemp is still a relatively new fabric being used in the fashion industry it has a had a very long history being used as a fibre used in clothing, ropes and sails One of

the great environmental advantages of using hemp is that it easy to cultivate and a naturally fast-growing plant, meaning harsh chemical herbicides aren’t necessary to enhance growth Hemp also naturally reduced pests , so no pesticides are usually needed Hemp plants have deep root systems, so soil is replenished , which in turn captures carbon from the atmosphere

Not only is hemp gentle on the earth, but it also requires little water, especially when compared cotton which according to slate uses about “50% more water per season than hemp” Nonetheless some farmers still use environmentally damaging fertiliser so its important to be aware that hemp does not always mean organic

In terms of the manufacturing of this plant, to turn its fibres into a fabric; the fibres are separated from the bark through a process called “retting” These fibres are then spun together to produce a continuous thread that can be woven into fabric The process can be done organically through a mechanical process, requiring o chemicals However, many companies mow produce hemp fabric chemically in a process that is much more intensive on the environment, but faster and cheaper to create

You can tell if the hemp fabric has undergone a chemical process as it will typically be labelled as “hemp viscose” This normally involves the same harmful processing with toxic chemicals like regular viscose 9a fabric derived from the cellulose of wood pulp from fast-growing regenerative trees e g , eucalyptus, beech and pine)

The fabric can be dyed once woven which can again result in various environmental outcomes, depending on the technique used So, although hemp is a more ecofriendly crop to grow, the process being used to turn the plant into a fabric must also be equally low impact for the fabric to be deemed sustainable

Probably the most ancient fabric used by humans’, leather is a multi-billion-dollar industry Demand for leather goods is ever-growing and arguably so as there is no denying it’s a classic, durable material Whilst leather craftsmanship deceptively tout their products as “eco-friendly”, turning skin into leather does require massive amounts of energy and harmful chemicals

Though in the last couple of years, consumers have stopped regarding leather alternatives as cheap or fake and shifted the mindset to leathers that are vegan, sustainable and eco-friendly According to Google Tends data this phase occurred in 2016 when searches for “vegan leather” begun to outnumber similar searched for “pleather or “fake leather”

Pinatex is a leather alternative made from pineapple leaf fibres This innovative material was invented by carmen Hijosa and is manufactured by Ananas Anam Not only is the material plant-based and eco-friendly- Not only is the material plant-based and eco-friendly- it also is a more ethical choice as it supports local farming communities in the pineapple cultivation industry by providing extra income from something previously discarded as waste

Other environmental concerns include but are not limited to, high water usage, soil degradation from clearing of trees in pastureland and inevitably habitat loss to name a few However faux leather, vinyl or pleather, polyvinylchloride (PVC) clothing has had a bad image, petty much since it first became used in the 1960s

While material science engineers and fashion designers have been scrambling to produce the next great leather alternative, from recycled plastic bottles to fruit-based leather to even wine-based leather A response to addressing the growing environmental footprint in the fashion industry is the next gen materials industry Innovators are now fermenting and growing bio-based substitutes for conventional livestock derived materials (e g , leather) and fossil fuel-based synthetics (e g , polyester) Some of these new bio-based textiles synthetics can be engineered with performance features alongside properties such as biodegradability

Pinatex is not only 100% biodegradable but according to Ananas Anam, the substrate/base material of Pinatex (made from 80% pineapple leaf fibre) is biodegradable under controlled industry conditions The material is coated using a REACH-compliant water-based PU resin for good weather and scratch resistant properties, making it a highly durable fabric

Green Leathers

Agave

Made from agave or cacti plants- agave/cactus leatherthis new exciting vegan leather alternative has gained attraction in the last few years

Two Mexican entrepreneurs (Adrian Lopez Velarde and Marte Cazarez) developed Desserto cactus leather used for boots, coats, accessories, mostly anything traditional leather is used to make

Coconut Leather

The cactus used is known as Opuntia cactus, otherwise known as prickly pear Desserto’s agriculture team harvest the prickly pears on a ranch in Zacatecas, northwest of Mexico City, every 6 to 8 months, and select only the most mature leaves from the plants for processing

Once the cacti leaves are collected, they are then dried under the sun for 3 days until they achieve the right level of humidity This process is known as natural tanning and means traditional chemical and energy-intensive tanning is not required (unlike the process for rawhide leather)

There are numerous advantages to using cactus: firstly, these plants grow in the desert and therefore require very little water to survive, contrary most other crops used for feeding animals or to create fabrics

So, usage of natural resources like water are reduced In truth, Opuntia cacti only requires about 200 litres of water to produce 1kg of material, whereas other plants, corn for example, can require upward of 1,000 litres of water to produce 1kg of material With approval of fashion experts who praise the material for its buttery smooth texture and flexibility, has allowed Desserto to plan to commercialise its cactus leather and land collaborations with high profile companies such as Adidas, H&M, Karl Lagerfeld and MercedesBenz to name a few

Produced using the waste products of the coconut industry, this new alternative is durable and strongly resembles real leather in appearance

Despite its durability, the material is surprisingly composed of wastewater and natural fibres This in fact means that the textile is biodegradable and therefore can be put into a compost once finished with

Malai is one of a handful of companies to produce coconut-based leather products

The word ‘Malai’ refers directly to the creamy flesh of the coconut, and it is the coconut water (a by-product from the harvesting of this flesh) that sustains the bacteria whilst they are producing the cellulose, which is then in turn collected and refined until it becomes the finished material: Malai. ...“

Malai is a newly developed material, made solely from entirely organic and sustainable bacterial cellulose, grown on agricultural waste sourced from the coconut industry in Southern India

The company works with Southern India’s coconut farmers and processing units who discard large volumes of ‘waste’ water after they have removed the harvest of white flesh from inside the coconuts Which typically is released into local drainage systems, causing water pollution and soil to become acidified

Cactus Leather

Made entirely from mushrooms or more specifically mycelium- the root structure of mushrooms- this innovative material is produced by Bolt Threads, a biotechnology company that has successfully scaled up the production of Mylo for use in fashion and more Bolt Threads has even engineered a process to grow mycelium leather, in a vertical farming facility powered by 100% renewable energy

Unfortunately, the 2021 Stella McCartney Mylo collection wasn’t available to purchase, but did represent the potential of this next-generation material and promote the opportunity for future commercial use Mylo has also been used by Stella McCartney to create the world’s first-ever luxury bag crafted from mycelium The bag was first launched at the Summer 2022 runway show where a limited, numbered run was created to celebrate its debut Though now it is available to shop online and in-store The vegan bag’s innovative material has been created using renewable mycelium from fungi, regenerated cellulose fibres and finished with a water-based polyurethane that improves the bag’s durability

MuSkin is another type of mushroom leather, created by Life Materials Made solely from the cap of a giant mushroom native to subtropical forests, MuSkin is an all-natural, organic textile The fungi can be grown to the specific size and shape required for designs Regarding the material texture, it is like that of suede given its natural softness and suede-like touch yet slightly harder than cork, which is comfortable against the skin

To create mycelium leather, nutrients are added to (organic feritliser) to the root network of fungi, which causes the roots to grow densely and quickly to create a network of mycelium cells. The cells can be harvested compressed like fibres to create a leather material Despite a decent size of land essential to grow a vast network of mycelium, it is still considerably small compared to the space required to raise livestock The material can be used to create everything from handbags to shoes with its high quality and durability.

Not only is the leather non-toxic but it also antibacterial as it releases any moisture (I e , rain) immediately, preventing any bacteria clinging to the damp material Waterproofing is necessary but can be done without harmful chemicals making the material a biodegradable alternative to leather According to Google trends data this phase occurred in 2016, when weekly searches for “vegan leather” began to outnumber similar searches for “pleather” or “fake leather”

Lab grown Leather

Scientifically regarded as bio-fabricated leather, is increasingly becoming a viable alternative to traditional leather Based in Brooklyn, NY, the technology of lab grown leather is being developed by Modern Meadow, who are using recent advances in cell engineering to their advantage

In a recent TED talk, Andras Forgacs from Modern Meadow explains the process of bio fabricating genuine leather (and meat) without cruelty and with less pollution

The process involves first extracting skin cells from an animal- cow, lamb etc- via a biopsy. These cells are then extracted humanely without harming the animal.

From here, the skin cells are isolated and left to multiply in a cell culture medium The process involves duplication of millions of cells into billions These cells are coaxed to produce collagen, a natural connective tissue between cells (like they do in nature) The cells and collagen are spread out to form sheets, which are left to thicken and mature

The result is multi-layered skin that is put through a short chemical tanning process (much less to traditional tanning for rawhide leather) As this biofabricated leather is manufactured using the same cells as genuine leather, it equally shares the same characteristics you would expect from leather

While production large scale usage is a while away, the material (named BioVera) is available in rolls and is readily available at scale with reduced manufacturing complexity and costs

Bay Area-based venture-funded Vitro Labs is a company working on harnessing nature responsibly to create a leather that is not an “alternative” but create real and simply is more human and sustainable

This is achieved by replicating skins- “cultivated leather”using methods that co-founder Ingvar Helgason says are practiced in regenerative medicine, “but of course, the inputs are different-we’re using bovine cells” The leather is made from growing animal hides with the same qualities as traditional leather

CO2 absorbing textiles

Hong Kong based researcher- Edwin Kehand CEO of Hong Kong Research Institute of Textiles and Apparel is responsible for the R&D center ongoing research project into carbon capturing clothing Backed by H&M’s non-profit foundation, the institute launched a project in early 2022 which cotton garments are treated with a solution that allows the clothing to capture CO2 from the atmosphere and then release it as nutrition for plants

In an interview with FairPlanet (a global nonprofit social enterprise and solutions media organisation) Keh explains that by researching into existing carbon sequestering technology, they institute identified anime- a chemical that attracts carbon molecules out of ambient environments- which can stabilise carbon dioxide

The researchers tested the project with cotton aprons worn by staff at a restaurant in Stockholm, Sweden (Fotografiska) The known restaurant has a greenhouse in the basement where herbs and vegetables are planted The plan was for the CO2 capturing aprons to be used by staff in the daytime and then put in the greenhouse overnight sequester them Once aprons were saturated, carbon could then be sequestered and turned into a solid or stable state

To test the efficacy of the aprons they were washed over 100 times but still proved to capture the same amount of carbon as when brand new After two or three capture cycles, the apron can sequester the carbon involved in its production process, which means that in the 4th or 5th cycle it will become carbon negative

So, if scaled, there will be a noticeable impact The institute’s research is looking at how we can sequester carbon in the most efficient way; for example, the washing of a material using detergent acting as the carbon release and sequestering agent Regardless of the great potential of this technology, Keh explains ‘it's only part of the solution, but by no means the entire solution because its speed and the amount of carbon it can sequester aren’t sufficient’ In order to sequester a large amount of carbon dioxide and greenhouse gases there must be multiple solutions and they need to be more aggressive than existing ones

Of course, materials are not the only issue brands should be addressing A brand using vegan materials but not working towards lowering their greenhouse emissions in their supply chain or hazardous chemicals in dyeing, textile waster or labour right issues are far from sustainable practice Though despite this using more sustainable materials is a good foundation to build a responsible brand

Dyes

Synthetic dyes contribute to a major part of pollution caused by textile production, with nearly 20 percent of global water pollution being linked to textile dyeing processes The main contributors to this problem are the use of non-biodegradable petroleum-based colourants to dye textiles, the use of toxic agents to fix colourants on textiles and the release of large amounts of these colourants and fixation agents into the surrounding ecosystem

Synthetic dyes are cheaper and therefore are more suited to mass production They do however, come at a great cost to the environment and people; contact with some chemicals can trigger allergic reactions, cause skin irritation and rashes and there are also concerns about the carcinogenic properties of some dyes

Although the most toxic ones such as azo dyes, are now banned in the UK On the bright side, natural dyes are making a comeback as the textile and fashion industry are looking for alternative colouring methods Throughout history, people have dyed their textiles using natural, locally available materials Most dyes have come from plant sources: roots, berries, bark, leaves, wood and more rarely from insect and mineral sources

Though the introduction of synthetic dyes in the mid-19th century meant that natural dyes, for the most part, became lost to technology Natural dyes can help to restore the environment and support rural industries Dye crops can be grown regeneratively with by-products, such as organic compost and biofuel, increasing the range of useful outputs

Natural dyes like Indigo, a blue dye that is extracted from the leaves of Indigofera tinctoria plant commonly used to dye denim, ranks high for sustainability It grows easily in various soil types without the help of chemical inputs As a legume (a plant, seed or pod of the family Fabaceae, such as beans or peas), it’s a natural fertiliser, fixing nitrogen into the soil and is often used in crop rotations to revitalise soil fertility The stems of the plant can even be used as a biofuel after the dye material has been harvested

The benefits of reviving natural dyeing processes are clear Using natural dyes provides a sustainable alternative to highly polluting synthetic dyeing industry responsible for the degradation of waterways and negative health impacts And with their potential to rebuild soil health and support local communities, natural dyes are a great solution to the regenerative textile movement

The experimental clothing brand Vollebak and biomaterials company Living Ink have teamed up to create a T-shirt using black dye made from algae instead of petroleum They claim this innovation marks breakthrough for sustainable fashion The dye has been developed over the course of five years of research and development It is made by taking waste spirulina algae from the natural food colouring industry and heat treating it to form a blackened char

To create the dye, Living Ink had to develop a technology that can grind the resulting pigments down to a size of just one micron The average human hair, for comparison, has a diameter of around 70 microns This is an essential as the pigment particles in the dye need to be microscopically small so that they can be absorbed by the fibres rather than just resting on the top like an ink These pigments are finally mixed with a waterbased binder, added to industrial dyeing vats

“Black algae dye doesn’t behave like traditional chemical dyes, so we spent around six months testing different combinations of materials to find the optimum mix for this product”, Steve Tidball said The labs showed that the specific combination of cotton, eucalyptus and seaweed absorbed the black algae dye best out of all the materials trialled

Officina+39, an Italian company, have developed the sustainable dye range Recycrom using recycled clothing, fibre material and text scraps The process of making the dye consists of an eight-step system (patent pending) in which all the fabric fibres are crystalised into an extremely fine powder that can be used as a pigment dye for fabrics and garments made of cotton, wool nylon, or any natural fibre

Recycrom offers great flexibility as it can be applied to fabrics using various methods such as exhaustion dyeing, dipping, spraying, screen printing and coating Recycrom is applied as a suspension which is unlike most dyes that are used a chemical solution The benefit of this is that it can be easily filtered from water, thus reducing the environmental impact

The process helps to lock away the carbon that was absorbed by the algae over the duration of its life, making the dye carbon negative according to Living Ink Meaning it could offer a more sustainable alternative to traditional black dye made from carbon black- a pigment derived from non-renewable fossil fuels that generates emissions through its extraction and refinement

Although cotton is a lot more waterintensive than some of Vollebak’s other materials such as linen or lyocell, the company says this trade-off was necessary to ensure the colour saturation of the Tshirt The final colour of the T-shirt resembles a faded black or slate grey But the two companies are currently working on creating a more intense black

These dye-related innovations are very promising and environmentally friendly but still require a lot of optimisation in terms of achieving low-cost production and commercial viability while meeting customer demands (relative to well established alternatives that benefit from economies of scale) High initial costs are an even greater concern now due to the rise in raw material costs and manufacturers finding it challenging to produce a finished garment sustainably without raising prices beyond what consumers are willing and able to pay

Technology

he of arrival of 3D printing is one of technology’s new hot topics: news spreading of future development into the innovation of 3D printed houses, 3D printed food and even 3D printed human organs. 3D printing is known as an additive

manufacturing technology that converts a CAD (computer aided design) into a three-dimensional solid object This is achieved by digital codes being forwarded to the machine which beings the manufacturing process, instructing the layering down of thin layers of material

Fashion (comprising of apparel, footwear and accessories) is industry that could benefit from such technology given the high level of detail and precision involved to make items such as apparel. 3D printed clothing in short involves turning flexible material into clothing

When it was first used in fashion, the process was very slow Often it is not always the entire garment structure that is 3D printed but features such as cuffs of a sleeve or buttons

One of the first attempts at making a 3D printed piece took 7 whole days (by Dutch designer Iris Van Herpen) with the printer running for 24 hours each day The printers at the time didn’t offer flexible printing as flexible printing material wasn’t available Fortunately, technology has improved so the printing process does not take as long as 7 days, however flexibility is still a limitation restricting what can be achieved As the materials used in 3D printing are mostly plastic and metals

A 3D printing that has been used currently facilitates two main types of garments: rigid garments and flexible mesh which must be very fine to give a cloth-like feel and even still is not always feasible with many of the current technologies in use for 3D printing

Most 3D printed clothing will also use a selective laser sintering process (SLS) Selective laser sintering (SLS) is a powderbed fusion technology that uses a powdered material for printing The powder particles are fused on the application using a powerful laser This method offers the ability to create intricate designs and achieve a high level of detail which is a requirement key for high-end fashion (I e , clothing created for runways and red-carpet events not everyday wear)

This is why this form of printing has only been used by designers to create one-off pieces For example, it was used by famous designer and architect Julia Koerner who collaborated with the Marvel team for the Black Panther to design the costume of Queen Ramonda The brief for the costume outlined for it to appear futuristic but at the same time represent African culture 3D printing in this case enabled intricate patterns to be formed which would not only complex but timeconsuming to complete using traditional methods such as sewing

In 2015, Dabit Peleg, a young Israeli designer launched the ‘Liberty Leading the People Collection’ This was one of the first ever fashion collection in the world to be entirely 3D printed using desktop 3D printers According to the designer it took nearly 2000 hours to 3D print the entire collection This revolutionary collection is an exemplar step to promote the digitalisation of fashion

The German group, Karl Mayer, has developed a technological solution for combining warp knitted textiles manufacturing with 3D printing With the new printing solution, the textile is printed directly after it has been manufactured on the warp knitting machine

This involves machine directly communicating with the printer’s pattern system to enable targeted control A camera system combined with a pattern recognition software ensure the highest precision during positioning of the printing head on the 2 x 1 metre printing field This new 3D printing system from Karl Mayer combined the high productivity of warp knitting machines with the outstanding flexibility of additive manufacturing, hence allowing production steps to be cut

The emergence of 3D printed knitwear does seem to offer a suitable option to additive manufacturing that doesn’t use flexible printing materials The manufacturing process of 3D printed knitted fabrics is quite similar to other 3D objects Although, the machine used is where knitwear and traditional 3D printing diverge

The primary difference from additive manufacturing is that the machine is not a 3D printer that processes filament or powder through extruders, rather a knitting machine that can produce a three-dimensional garment in a single pass by uniting it thread by thread Because of this technique some industry experts argue that 3D knitted goods are manufactured using 3D printing, but instead 3D knitting Classing it a technology is its own right

In the sport sector, where high demand is placed on product performance, the new 3D printing system is ahead of the field For example, partial reinforcements such as kinesio tapes to support muscles and stabilise movement can easily be integrated in functional sport outfits using this technology

3D Knitting

Regarding the sustainability of 3D printed knitwear, a special feature of the production process is that if a thread were to break, the halfcompleted knitted part could be recycled since the knitwear is designed in such a way that it can be separated again

This means the material used can be recovered and therefore recycled And since 3D printed knitwear operates ondemand, issues such as overproduction and excess material resulting in textile waste can be avoided Since designs are created digitally (and every stich is equivalent to a pixel) patters can easily be modified and changed to customer requirements, which allows a lot of freedom with this technology

With the numerous advantages provided by 3D knitwear, the question remains as to why it is not yet increasingly available in stores Though it's clear with an additive manufacturing as mentioned previously, the material is probably the biggest obstacle- which is why 3D knitwear is being resorted to The materials compatible with a 3D printer are mostly plastics such as ABS, PLA or currently very popular TPU While they can be used to create stretchy, movable 3D objects, they don’t replicate the soft, comfortable texture of fabric best suited to apparel

And even though most of the conventionally produced clothing is in fact made from synthetic polymers (I e , plastic), the problem lies with the texture; fibres and threads are elastic and flowing, whereas filament is thick, hard and rigid Unlike 3D knitting, where moving threads are processed by small needles, the extruders of a 3D printer cannot produce anything comparable, in terms of fine enough details

Kniterate, a company selling compact 3D digital knitting machines has made it possible for individuals to scale one-off projects to production quantities The machine has six yarn feeders making it possible to create designs using six different colours

With Kniterate, you can create custom knitted products like scarves, beanies, shoe uppers, sweaters, dressers and more This machine is ideal for small fashion businesses and design studios, makerspaces and schools

www.kniterate.com

This results in 3D printed clothing being rather heavy and the surface rough on the skin Regarding to 3D knitwear, there is the difficulty of creating digital codes for the knitting machine Which founder and CEO of Kniterate, Gerard Rubio described developing the right parameters as a major challenge, moving from the prototype to a final commercialise kniterate machine

It seems to be the case of 3D knitwear technology being in place and ready to function, but the current system is working against it On demand production, which is the principle of most current 3D knitwear manufacturers, completely contradicts the market flow The fashion market is currently based mass production and mass consumption Changing longestablished systems and breaking consumer habits is extremely difficult as this is requiring not only a technological change but a social change It helps to explain why many up-and-coming sustainable companies specialising in on demand production and customisation face a major barrier to entry

In terms of production costs, 3D knitwear is not at the stage where it can compete with conventional clothing due to low market compatibility Hence it is within the luxury segment in terms of price, within the confines that customers are willing and able to spend a lot for personalisation, sustainability and quality

Despite the limitations of 3D printing, experts are confident that it will play a greater role in the fashion industry in the future and that novel technologies will revolutionise it

Circular textile printing

Johanna Nissen Karlsson, former track and field runner turned entrepreneur She brought the competitive mindset of an athlete and the desire to contribute to change when she started Vividye with her friend Gustav Larsson-Utas and researcher Romain Bordes in early 2020

Vividye is an innovation which allows textile print to be removed without damaging the quality of the fibre This has been achieved by developing a pretreatment that is made to chemically respond to a removal solution The removal solution is key to this innovation, making the reuse of the textile possible The primary benefit of this technology is circularity as by enabling further reuse of textiles this offers rebranding and redesigning of garments

Vividye technique is still small-scale and under development The company’s vision for the near future is to scale up and become a market leader in circular textile printing Vividye has so far collaborated with brands such as Swedish fashion brand Gina Tricot to release a Capsule collection- the first ever removable print

Virtual Fashion design

The Virtual fashion design has increasingly become used the fashion industry among companies and independent designers Recently in particular, due to its ability to allow designers to continue to develop remotely (I e , during the Covid-19 pandemic); but some have been using it long before it was a necessity because of its benefits regarding sustainability

Using virtual reality (VR) fashion software gives designers the opportunity to create a pattern, sew and apply any functional or decorative details and change the fabric of an item

Once a designer has built their garment in 3D, they can try it in different sizes, have their 3D avatar walk to see how the garment moves and render high quality images The technology is being used by brands of all sizes and markets Early adopter were Emilio Pucci, Moschino and Helmut Lang

For a brand like Pucci who use an array of prints and intricate details, they have praised this new process for allowing them to reduce samples by being able to make decisions and see changes in real time in 3D The company reported to have cut 30% of their time and costs due to developing designs virtually

Currently, Hugo Boss is the only large brand to pursue 3D sampling, using its own technology for virtual catwalks Tommy Hilfiger also aims to use 3D design for all design processes- from sketches to sampling to the showroom

Since 2015, outerwear and sportswear have been simulated with Hugo Boss’ 3D software, and more recently in 2017 the classic men's and women's outerwear lines followed suit

After more than 1,000 3D simulations, Hugo Boss has now shifted to 3D technology for 40 percent of its collections.

Concerning physical samples, eliminating them all together is huge step for any brand to take as the value of seeing a design in person is significant Relying on 3D virtual images instead of something physical is a concept that requires a great deal of trust

For many brands they will be interested in a reduction of physical samples, whether small or large as a first step forward, to allow for the use of 3D samples to be implemented, faster and more sustainably

Artificial intelligence is also predicted to play a role in future of sustainable fashion The analysis of huge amounts of data from social media, eCommerce and smartphone feeds could, if respecting user privacy and data protection policies could make it possible to predict buying decisions and anticipate purchases and thus reduce overproduction Examples of such efforts to predict buying behaviours are evident on the roadmaps of companies such as Zalando, Amazon, Hugo Boss and others

Virtual dressing could potentially improve sustainability in the fashion industry Mobile body scanning, paired with virtual try-ons, could more accurately determine whether a garment fits or not And as a result, decisions could be made more selectively without having to purchase multiple sizes to try on and send back

While it is not yet clear when and if 3D samples will completely replace regular samples, they can certainly save time and money during the brainstorming phase whilst allowing companies and designers to be selective about which pieces, they want to bring to life

AI has already been tested by handful of upscale retailers such as Nordstrom other department stores to improve the fittingroom experience for customers With the use of a “smart” mirrors, customers can get suggestions on what to pair certain items with (e g , it may suggest jeans to go with a top the customer is trying on) or even show how items will fit you without having to physically undress and put the on

This kind of technology is of great advantage to physical stores both to increase their competitiveness alongside online rivals such as Amazon but also collect data about customers- this is given that customer privacy is protected Of course, there are weary customers when new tech is introduced but:

For customers who have purchased online this could reduce shipping emissions for returns (increasing sustainability within supply chains)

Essentially trying on a garment is comparable to exchanging data: a consumer has certain measurements, and so does a garment But only recently has the way in which we exchange and match these measurements is no longer to try on multiple sizes

nonprofit Center for Democracy & Technology

“People love new technology as long as they are aware of what is happening to them and have control of their data”, Said Nuala O’Connor, president and CEO of

Fashion rental & resale

Fashion rental

Providing the perfect solution to mitigating fashion’s environmental impacts, fashion rental services have gained attraction over the last couple of years, offering customers daily/weekly loans: either based on consignment, subscription-based plans where members pay a fixed fee for a specific number of items each month or even peer-to-peer services where private lenders and renters manage the process themselves (includes taking care of the cleaning) and either post or meet up, to exchange items

Much of the attraction has been in the US, where there the concept of renting clothing has already been widely adopted, thanks to the pioneering platform Rent the Runway Rent the Runway’s business model specialises in offering members the ability to rent designer clothes for a fraction of the cost to buy Which as this market expands lends the question of how will fashion rental will affect luxury brands in the long-term?

Much until early 2019, renting clothes was a concept primarily reserved for special occasions at least in the UK Yet several tech-savvy entrepreneurs who spotted its potential, have now brought it to UK stores and offered a different approach to renting fashion Eshita Kabra-Davies (Kabra-Davies swapped finance for fashion after seeing the sheer volume of textile waste in her homeland of Rajasthan, India) founded the rental platform By Rotation, which launched in October 2019 and quickly rose to popularity thanks to its roster of cult brands and influencer approved items

By rotation’s mission is to transform how people consume fashion according to founder Eshita Kabra-Davies Unlike Rent the Runway, which operates on a subscriptionbased model, By Rotation operates on a peer-to-peer service. With type of service there is little interference from company, unless of course there a problem from the business. However, the platform does offer a ‘wardrobe management’ service to their time-constraint and wardrobe-heavy users

Regarding the pricing of items, how much an item is selling for depends on what the lender asks for and this applies the same for how long you can keep items which varies (most have a minimum of three days) There is no statute on how old or new items are, it just must be in good condition The main difference between this new wave of fashion rental and its old reputation for solely formal fancy dresses is that these are items to wear every day

Under this service, the full rental process, including listing, renting and cleaning is coordinated by, By Rotation For this the company charge a 15% commission fee from the lender and a 15% commission fee when a transaction occurs- plus any cleaning or damages If users choose to manage the process themselves the company in that case will only take a 15% commission fee

Through app, users can gain access to an array of brands and gives them the chance to monetise their own clothes Speaking of monetisation, the top lenders on the platform are making sums of £20,000 per year Proving that renting is not just good for the environment, its brilliant for our bank balances, too as either a side-hustle or fulltime revenue venture Earning potential is entirely dependent on what and how many items users rent out, but By rotation recommends listing items for 5% of their original retail price On this basis you would need to rent out each item 20 times to make you money back in full Users receive a month income report detailing their rental earnings, provided there has been a minimum of 1 rental in the calendar month

My Wardrobe HQ’s re-sale integration also allows renters to buy a piece for a fraction of the original retail price if they happen to love it after renting With My Wardrobe HQ’s business model, they are responsible for handling items and authentication from independent sellers and unsold stock from brands (includes transportation via couriers and cleaning) Due to this they charge a 40% commission fee for their services

Both By Rotation and My Wardrobe HQ make their money from taking a percentage of the rental fee. The environmental benefits of a circular model, compared to wear-once consumption, are of course the driving factor behind many brands within the fashion rental space However, there are concerns over carbon emissions involved with more frequent cleaning and transportation Yet in most cases these are minimal, offset or in the process of being improved Many platforms, including My Wardrobe HQ, use recycled packaging, green couriers and ozone cleaning- a process that eliminates bacteria and viruses

Meanwhile, peer-to-peer services encourage their users to exchange in person where possible, and to care for items using eco-friendly methods (although during the height of the Covid19 Pandemic, By Rotation issued guidelines and encouraged people not to meet) But if rental apps are encouraging people to do more energy-intensive dressing up than they otherwise would, it's hard to see how that sums to the levels of sustainability required to actually reduce fashion’s environmental impacts on the planet

Aside from the environmental aspectspositive and negative- of renting, peer-topeer models such as By Rotation thrives by creating a community of like-minded individuals who engage with one another: through organising face-to-face events and curated content that allows users to reconnect with their clothes and local communities

Hence why By Rotation claim to be a social fashion rental app as not only are they in the process of redefining ownership and embracing a sharing economy but creating a community of like-minded individuals who all share the same goal to consciously consume fashion (and monetise their wardrobes)

Rental sites don’t just cater working professionals and Gen Z- there are startups targeting parents Bundlee and thelittleloop are rental services for baby and toddler clothes, while Kids O’clock is a platform renting secondhand designer clothes for kids Launched in early 2021, it was founded by former Net-A-Porter and Moda Operandi buyer, Laura Roso Vidrequin Such services minimise waste and clutter in the home, as well as saving users' money

The advancements taking place have encouraged big name brands to start to see the potential of the pre-used marketplace In March 2021, Ralph Lauren became the first luxury label to launch subscription rental service, “The Lauren Look”, in North America Starting at $125 dollars a month, the size inclusive subscription allows members to rent looks from the most recent Ralph Lauren collections Once clothes have reached the rental capacity, they will be donated to Delivering Good, a non-profit organisation that provides families who are impacted by poverty and tragedy with new clothes

“Rental is picking up because people are really concerned about their pay packet but still want something new and nice to wear without financial risk”, says Sacha Newall (cofounder of My Wardrobe HQ the UK’s first fashion rental and resale marketplace)

hile the fashion rental field is already quite a competitive patchwork, it's important to consider the second-hand fashion sales market, too- which at least indirectly competes for customers who may be weighing up whether they

really want to splurge £75 to rent a designer piece for a couple of days versus spending less to buy a second-hand (probably not designer) fashion item on Depop or Vinted Or even, splash out more than £75 on a secondhand designer piece that has been listed on a luxury resale platform like Vestiaire Collective

In short, consumers are spoilt for choice for alternatives to buying brand new. But Kabra argues that fashion rentals and resale are different domains and more like complementary markets On By Rotation lenders tend to be listing items that are new season “and they don’t want to sell these pieces, so we end up having nicer pieces, basically, than all these other platforms where, let’s face it even if it’s Vestiaire Collective, people are trying to get rid of their stuff

This is largely down to the fact that By Rotation only allows mid to luxury brands on their app, so the expectation is that you only list pieces of high quality, rather than items that are old with several defects which are more likely to be sold on resale sites such as Depop or Vinted And since such items are usually priced higher, people most likely have saved up for an investment piece and then listed it to share with others on the app, in order to recoup the cost of this purchase

Even if there is an overlap between rental and resale, By rotation’s particular focus means that users who wouldn’t mind selling a designer piece (for the right price) on a resale platform like Vestiaire Collective can list it for renting on By Rotation’s app in the meanwhile- with the chance to make money loaning it out while awaiting a sale according to Kabra

The pitfalls of rental fashion

Findings in a recent high-profile report suggest that renting clothes in “less green than throwing them away”, based in the environmental impacts of transportation and dry cleaning Despite as previously mentioned, many fashion rental platforms claim the impact of transportation is minimal or can be offset The study published by the Finnish scientific journal Environmental Research Letters, assessed the environmental impact of five different ways of owning and disposing of clothes, including renting, resale and recycling

Although the study assumes a renter would drive 2km to collect jeans (rented item), a model not currently used by most rental companies, it has raised questions about the CO2 emissions created when sending clothes back and forth, as well as from all the dry cleaning involved (a factor not considered by the research)

Transportation was the biggest area of scrutiny in the study, which said that given the “use of rental services is likely to increase customers mobility, and if that happens on a large scale”, then the renting of clothes is likely to have greater global warming potential than resale or recycling

The study’s assumptions around transportation, based on a Finish business do not reflect the reality of the rental market in the UK, according to Chislett (CEO and co-founder of fashion rental platform Onloan) The study was modelled on each rented item being collected by a car journey Though companies such as Onloan use carbon neutral DPD vans, while My Wardrobe HQ uses cycle couriers and electric vans

Rent the Runway argues it’s part of the solution but recognises there is still work to be done-which is why they are continuing to improve their business model For example, integrating resale on its site

In response to the concerns around dry cleaning, Onloan and My Wardrobe HQ say they use wet cleaning and liquid CO2 cleaning, specifically to avoid the environmental impact of dry cleaning

For CO2 emissions involved with renting to be offset, extending the life of clothes by an extra nine months reduces its carbon, water and waste footprints each by around 20-30%, and cuts the cost in resources used to supply, launder and dispose of clothing by 20%, according to the Global Fashion Agenda and Boston Consulting Group report

While keeping clothes in circulation is not in itself enough, part of the problem is that most of the clothing for rent isn’t made of sustainable materials and hasn’t been produced ethically either There are questions about what happens to rental clothing at the end of its life; rental integration into a circular system of regenerative agriculture and soil-to-soil clothing production and equity for farmers could be one way around this

“Rental is not synonymous with sustainable, "comments Maxine Bedat, director of the New Standard Institute “If the fashion industry does not address the disposability of trends and the pushing of a disposable relationship with clothing, we will remain on a disastrous path ”

What should be most important for rental companies moving forward is to continue to encourage users to wear the same garments more times, to increase the longevity of their wardrobe

So even if rental clothing is transported bin electric vans and cleaned at low impact, these garments will still travel more and be more frequently washed than anything customers privately own Rental as a devise to slow down consumption is a good solution but the research from the Finnish report highlights its bounds (especially when it comes to carbon emissions) Of course, it's important to note that wearing what is already in one’s wardrobe is ultimately the most sustainable choice

Circular economy

Josephine Philips, founder and CEO of SOJO, is a fashion-tech platform that seeks to make clothing alterations and repairs as easy and hassle-free as possible Their platform works by connecting its users to SOJO’s in-house team of tailors and local seamster businesses to collect their items to be altered or repaired

Customers can book the service via SOJO’s website or app, and their repaired/ tailored garment will be returned in 5 days All pick-ups and deliveries are done via bicycle to limit carbon emissions

In terms sustainability SOJO is a good example of a circular economy as it works to keep garments in circulation The app makes it easier to maximise the longevity of our clothes whilst increasing the number of uses per product At the same time, the app equips tech savvy Gen Zs with the tools they need to overcome the typical sizing challenges of unique, second-hand items from resale platforms such as Depop and Vinted And potential barrier to reaching seamsters

By putting your postcode on the app, it presents you with your local seamsters (including photos), a description and example prices so that users can decide which seamster they want to use After that, you input what needs to be done (e g , 'trousers, waist in’) and then choose a date and time for order to be collected SOJO also offers their service on B2B basis for brand partners

Circularity is far bigger and more ambitious than simply recycling

According to Dr Christina Raab, vicepresident of strategy and development at the Cradle-to-Cradle Products Innovation Institute, circularity involves thinking more holistically about sourcing, use and reuse “Many brands still focus solely on using or increasing recycled content”, says Dr Raab However complete circularity begins with selecting the right chemicals and materials that are not only safe for people and the environment but allow for high quality materials available for future use and cycling

Cradle to Cradle is attempting to address this through a certification programme where it measures “material health” of denim, dyes, elastics and other components of in clothing It was first introduced in William McDonough and Michael Braungart’s 2002 book, “Cradle to Cradle: remaking the Way We Make things” It encourages using safer materials, conserving energy and water, and created closed loop systems where waste is eliminated

In 2010 the pair officially set up the certification system and methodology and revealed it to the public through the Cradle-to-Cradle Products Institute They also launched the Fashion Positive programme, working with a community of pioneering brands such as Stella McCartney to clean up fashion, reduce waste and male clothes fairly and efficiently

To be certified, companies must go through the rigorous certification programme led by the Cradle-to-Cradle Products Innovation Institute The Cradle certification has different levels of recognition: Bronze, Silver, Gold and Platinum Each level represents a different level of commitment to environmental sustainability

The Bronze level certification means that a company has assessed the environmental risks for the final manufacturing stage and the product has an environmental policy in place A plan must be developed to implement the said environmental policy at all manufacturing facilities and will be evaluated on progress at recertification The silver level certification means that the company has management systems in place to support the implementation and oversight of their environmental policy at their manufacturing facilities

The gold level certification means that a company has responsible sourcing management systems in place to support the implementation and oversight of their environmental policy within the product’s supply chain Platinum, the highest level of recognition, means that a company has incorporated environmental objectives into their employee performance evaluations and provides incentives for top management and employees to actively participate in achieving in the company’s environmental goals

At any of the given stages of certification, it demonstrates the level of commitment a company has put towards sustainability (I e , the use of safer and more sustainable materials, closed loop recycling and the use of more responsible labour practices) This is part of the reason why the Cradleto-Cradle certification is such a useful tool, particularly for consumers to make informed choices on the brands they choose to shop from

However, while the Cradle-to-Cradle certification covers many aspects of sustainability, it does not cover everything That’s why it is still important to look for other certifications and labels, such as the fairtrade certification

The reuse of materials may seem rational from a business perspective as new materials cost money: economists have argued that waste streams can be turned into revenue streams (but this depends on the type of business) For second-hand retailers it has been rather successful making money from a growing market for used goods On the other hand, it's harder for clothing brands to reuse old garments to turn into new ones Only a handful of brands (for example Patagonia, which are consistently create upcycled collections out of old pieces) are even attempting to do this

The Ellen MacArthur Foundation, a nonprofit focused on the circular economy, has been working with more than 90 fashion brands on its Jeans Redesign project Suggestions made highlighted the big difference simple changes can make. For example, rivets on jean pockets are very difficult to remove to the point where it can mean the entire top of a pair of jeans has to be cut off and discarded prior to recycling. So why put them on in the first place? Small adjustments might seem insignificant, but they can be impactful when executed on scale As the circular economy is a broader concept, so it requires the whole system to be able to operate to support it

Other obstacles to surpass, Dwyer notes, include a lack of infrastructure for collecting old clothes to resell or turn into fibre and the reality that recycling itself uses energy, which sometimes comes from fossil fuels Plus, endlessly recycling synthetics such as polyester will do nothing to solve the microplastic pollution problem

Circular design, however, won’t solve all fashion’s environmental mishaps warns Matt Dwyer, vice-president of product impact and innovation at Patagonia, a brand that has been pushing towards an ever-less wasteful business model “Recycling has been touted as a way to perpetuate bad behaviours and overconsumption”, he says “The rental/recommence model, when deployed in a manner that perpetuates consumerism, doesn’t actually solve the problem that many think it does ”

In essence: circular fashion is no swooping answer to the problem at hand But with growing momentum from all corners of the fashion industry, many believe we are on the road to a promising new era of circularity

Chief Sustainability Officer

Global fashion brands are now looking at sustainability as an opportunity as CEOs are now realising that sustainability is good for business as it enhances creativity and consumer appeal (as consumers are more aware of the fashion industry’s contributions towards climate change) From a talent perspective, there has now emerged the need to hire a highly evolved Chief Sustainability Officer (CSO)

Globally, this is one of the most soughtafter roles for most fashion and apparel companies The role of a CSO can be thought of as a translator The external environment and global sustainability agenda is changing so fast, which calls for someone to translate what is going on in the outside a firm’s operations to inside the organisation

In the past the role has often been restricted to the technical/engineering aspects of the business, ensuring that a company meets necessary green compliances, liaising with external stakeholders like environmental activists and consumer groups, as well as implementing effective corporate social responsibility (CSR) programmes The last few years have changed the scenario

Today, the CSO plays a key role in making product and process-orientated decisions Fine-tuning operations by reshaping, reorganising and reworking the green strategies of an organisation in line with stakeholders The so-called climate emergency has led to chief sustainability officers becoming increasingly influential and expanding their research into product development, manufacturing and marketing

To be clear CSO roles in the fashion industry are not new, at least not globally, LVMH (Louis Vuitton) has had a Sustainability Director since the nineties, however, now this is becoming more of a norm (for businesses of all size) than aberration

On an individual level, an ideal CSO needs to have the ability to quickly and clearly perceive global megatrends and the organisation’s position in light of this megatrend Emphasis on an organisation's position; research conducted by Deloitte UK found that over 80% of people in CSO-type roles were personally approached and were promoted from within the firm they were working in More than anything this shows how insight knowledge (of a company), and contacts are heavily valued in this role

The CSO must be an inspirational leader who can look at the bigger picture It is quite likely that going forward the CSO may well lead business strategy for companies and pave the way for more CSOs in the C suite

Marie-Claire Daveu Kering’s

O think that in the same way there is a CRO- Chief Risk Officer- there'll be a CSO because there will always be a new sustainability issue, whether that’s biodiversity, palm oil or deforestation, or ocean management

Some think that the role will eventually become similar to the CEO, because if you're not sustainable then you're not in the game forever, or at least in the long run

Some think that the role will end up going to the CFO- Chief Financial Officerbecause ultimately performance will be managed on an agreed capital basis from financial to natural to social capital

And then others predict it will be integrated in everyone’s way of working, in the same way that there used to be a chief digital officer, and that’s just faded away because digital is the way of working So, it just becomes a small part of everyone’s job

As time passes it will be interesting to observe which of the four proposals the future of the CSO role takes, or perhaps one that has been suggested. But as of now increasingly many countries are stepping up to reduce their carbon emissions to net zero by 2050 This means that there will be a lot of demand for CSOs ESG (Environmental Social Governance) teams are gaining momentum on matters within the climate agenda like biodiversity and deforestation.

So, it’s likely there will always be a need for a CSO, but again, depending on the business model, the culture of institutions, the title might be different They may be called the head of sustainability There could be limited executive powers, but they will continue to be a central position, most probably- like a sustainability manager

Other

ess unstainable does not equate too sustainable Patagonia no longer uses the term Fashion companies should not be allowed to simultaneously profess their commitments to

sustainability, while opposing regulatory proposals that deliver the same end Nike, for example, a brand that is committed to science-based targets, gets a poor rating from the ClimateVoice for lobbying (as a member of the Business Roundtable) against the Build Back Better legislation and its provisions to address climate change

Ultimately, businesses must disclose their lobbying efforts, use their status to affect positive change while engineering and improving their systems in place, so that they are regenerative To demonstrate progress stewardship reports should become mandatory, more quantitative focused, more in line with planetary thresholds and be subject to annual external audits

There is speculation within the fashion industry that some companies are guilty of “SDG-washing”, in other words exaggerating their contributing to Sustainable Development Goals, or cherry-picking goals that convenient for them to meet This is justified by the fact that fewer than 10% of companies who reference the SDGs in their reports actually have targets in place that measure their contribution towards them.

This was mentioned as an area of high interest to resolve amongst attendees of the annual Sustainable Textiles Conference hosted by Textile exchange (back in 2018), as there is certainly still a need to develop more discrete metrics that track progress towards SDGs

overnments around the globe must work together to price negative externalities Carbon and water for example, should be taxed to include social costs This would most

importantly discourage their use, lead to innovation and accelerate the adoption of renewable energy A governmental Committee in the UK has recommended a tax on virgin plastics (this covers polyester) The likely impact of such a tax would supposedly increase the price of synthetics, therefore making natural materials more attractive

This was mentioned as an area of high interest to resolve amongst attendees of the annual Sustainable Textiles Conference hosted by Textile exchange (back in 2018), as there is certainly still a need to develop more discrete metrics that track progress towards SDGs

Additional legislation really ought to be adopted to force fashion brands to share and abide by supply-chain commitments At present, the most recent groundbreaking legislation is the New York Fashion Sustainability and Social Accountability Act that This mandates supply-chain mapping, carbon emissions reductions in line with the 1 5-degree Celsius scenario and reporting of wages compared to payment of a living wage

This is a state bill that affects fashion companies with operations in the state generating more than $100 million in annual revenue (includes brands from Shein and Mango to LVMHBrands with more than $100 million in revenue that are unable to live up to these standards would be fined 2% of their annual revenue Initially introduced in 2022, the bill was amended in November to include strengthened language The bill was set for enforcement January 2023

In the past, the UK’s governments’ proposals have largely been directed towards “ramping up action” around waste prevention to hold manufacturers accountable for textile waste The measures of the latest Waste Prevention Programme for England set out how the government and industry can act across seven key sectors- construction, textiles, furniture, electrical and electronic products, road vehicles, packaging, plastics and single-use items, and food to minimise waste and work towards a more resource-efficient economy

The UK government have proposed a new voluntary agreement for the fashion industry to reduce its environmental impact (launched April 2021); it asks signatories to commit to a reduction in their environmental footprints to meet set “science-based targets on carbon, water and circular textile by 2030 The programme also states that a producer responsibility scheme for the textiles industry could “boost reuse, better collections and recycling, drive the use of sustainable fibres, and support sustainable business models such as rental schemes”

These measures are all proposed alongside the Environment bill, which give the government powers to set minimum standards for clothing on durability and recycled content and explore ways to improve labelling and consumer information on clothing

But given that this a voluntary agreement and not legally-binding, it's hard to say whether businesses are actively committed to putting plans in place to meet these targets Since after a quarter century of experimentation with voluntary market-based win-win approach to fashion sustainability, it is time for a change Asking consumers to match their intention with action and to purchase sustainable, more expensive fashion is not working

Under the new plans, the UK government also announced that £30 million pounds has been allocated by the UK Research and Innovation to establish five new research centres that will develop UKbased circular supply chains, once of which will focus on circular textiles technology. The EU have also unveiled similar proposals to reflect efforts to advance the so-called ‘circular economy’ and promote consumer goods that are more sustainable, longer lasting and easier to repair and recycle

Under their plans (published March 2022) goods sold in the EU would be developed on a sustainability scale that demonstrates the product’s environmental impact, durability and how easy it can be repaired This mirrors the bloc’s current efficiency rating system for electrical appliances, which uses an A to G label to help consumers choose less energy-intensive products

What is your take on the fashion industry’s next big sustainable solution?