GREEN IS THE NEW BLACK - Fashion Sustainability: What is next and how does accountability work? - Regina ...
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GREEN IS THE NEW BLACK Fashion Sustainability: What is next and how does accountability work? Student name: Regina Viesca Student ID: 051488 Supervisor name: Stefano Sorci Academic year: 2018/2020 First Level Academic Diploma Course In: Fashion design & Accessories, Womenswear School: Istituto Marangoni Milano Fashion School
DEDICATIONS
To my parents, Andrés Viesca U. and Marisol Ruiz
To by loving brothers, Andrés Viesca R. and Montserrat Viesca
My loyal friends, and everyone in my family who believed in me.
I would like to acknowledge Gabriel Ibarrola, who made it
possible to make this book with sustainable materials.
Special thank you to my amazing supervisor Stefano Sorci, who
cares as much for fashion sustainability and ethics as I do.
* BY REGINA VIESCA ________ ISTITUTO MARANGONI _______FASHION SUSTAINABILITY: WHAT IS NEXT AND HOW DOES ACCOUNTABILITY WORK?
PUBLISHING February 22, 2022. Milan, Italy Dissertation Thesis For Istituto Marangoni, Milano Fashion School of Design Received: Jan 4, 2022 Approved: Jan 10, 2022 Published: Feb 22, 2022
INDEX Abstract 8 TEXTILE HISTORY Textile history, a brief timeline 10 Ready-To-Wear before the Industrial Revolution 16 The Industrial Revolution and mass fashion production 17 TURNING POINT 70s to 90s Fashion 18 Sustainability & Environmental Movement 19 What is sustainable fashion? 20 KILLER FASHION Slow Fashion VS. Fast Fashion 22 Cycle of the product 23 Mass production & Mass consumption 25 Sociological/Psychological impact of fast moving trends 26 Collateral damage 29 GREEN SOLUTION Changing the narrative 32 Adopting green thinking 35 Fashionable Behaviour 37 TRENDING HONESTY Producer Responsibility 41 Greenwashing & ecowashing 43 Sustainability certifications & authenticity 45 THE NEXT STEP Unsustainable trend 49 Change for good 50 CONCLUSION The perfect fit 52
ABSTRACT
The aim of this thesis is to explore and develop the
opportunities within the fashion industry regarding more
sustainable and environmentally conscious practices.
While the pillars and sediments about the industry
are important, accountability on the present will be
explored as well. Currently there is a gap in materials
and production that really troubles a systematic
change. Is important to note the ways fashion has
been created over the years to change the future, like
materials, production, marketing and consumption will
be questioned, with the objective of reaching innovative
resources and setting goals to break a polluting
industry. Giving focus to accountability in the industry
hopefully will create regulations and criteria to the way
fashion is created.
8
9
TEXTILE HISTORY
TEXTILE HISTORY, A BRIEF TIMELINE
The garment industry had a very different way of working before. For the most
part of history, clothing has been handmade. From collecting the materials to weaving
and dying the textiles to early pattern makers and seamstresses.
As soon as civilizations were forming around the world, each one defined their laws
and social constructs, and with that the rules of fashion. The first documentation of this
events takes place in Mesopotamia and later in other parts of the Mediterranean.
The sociocultural phenomenon called fashion states that a certain style stays relevant
for a limited period of time, this was not part of dressing in the ancient world. The
variants in the way of wearing clothing differentiated one culture from another, and also
the rank of power within that civilization and/or community. Of course, some changes
took place over time. Unlike our current times, these changes were slow over hundreds
of years and still at times.
Special costumes were assigned with different events regarding a civilization. Changing
your appearance for a religious or political event was adopted by many regions, and
that is a tradition we still carry on, no matter what part of the globe you may be in.
Fabric production was really important and carefully curated to create them. The
materials were natural and logically from plants or animals of their specific region. The
harder it was to produce, the more expensive it was.
The materials and the fabrication of these textiles also defined the social rank of who
wore them. As time went on and production and trading became more efficient and
demand scaled up, the fashion industry evolved into what we know today. (Sichel,
1980, p.78)
Fig. 2 - Gail Rothschild “The Big Frieze”
10PREHISTORIC &
ANCIENT TIMES
Archeological
discovery of fine
woven fabrics in
Turkey
6300 B.C.
Cotton and Silkworm
farms in Pakistan,
India, China and the
Americas
3000 - 2700 B.C.
Egyptians use cotton
to dress and balance
body temperature
2500 B.C.
Printed cotton fabrics
produced in India
327 B.C.
Silk became a luxury
product in Rome
17 B.C.
11THE MIDDLE AGES
Silk weaving industry
established by
Charlemagne at Lyon
as well as imported
wool from England
768 A.D.
Expansion of the wool
industry on England
900 A.D.
Spinning wheel was in
common use.
1200
Venice has over
17,000 people working
on weaving wool
1305
MODERN TIMES
William Lee invents a
knit hosiery
machine
1589
12English law requires
all people to be buried
in woollen clothes.
Demand was lower
than production
1667
John Kay invented the
lying shuttle
machine
1733
James Hargreaves
invented the spinning
jenny, the first machine
to spin more than one
piece of yarn at the
time
1764
Richard Artwright
patented the first water
frame, a spinning
machine that ran on
water power
1769
Samuel Crompton
invented the spinning
mule. A machine that
combined the jenny
and water frame
1779
13Edmund Cartwhright
patented the first
power loom
THE 20TH CENTURY 1785
The industrial
revolution completed
sweeping, spinning
and weaving from
small workshops to
fabrics and mills
1900.
Synthetic fabric rayon
was introduced by
Chardonnet in the
United States
1910
Wallace C. Carrothers
developed nylon
1935
Polyester, acrylic and
other artificial fibers
were introduced
1940-1950
14Double knit-polyester
fibre was introduced.
Also, the Textile Fiber
Product Identification
Act became a law
1960
Knitting machines
controlled by
computers produced
highly complex textiles
at a very rapid speed
1970
Robots introduced into
Textile mills used very the textile industry
high-speed looms EARLY 1980
with many tiny shuttles
called darts, instead
of a single use shuttle.
Four times faster a
shuttle on standard
high-speed loom
LATE 1980
THE 21ST CENTURY
15READY-TO-WEAR BEFORE THE INDUSTRIAL REVOLUTION
The concept of going inside a store and picking-up something off the rack is a
slightly new concept considering the history of the ready-to-wear industry.
Not so long ago, before fast fashion came into play, garments were considered or
expected to last for a long time. Archaeological records show that merchants in Ancient
Babylonia shipped and distributed some ready-to-wear garments as early as 1400 B.C.
Before 1300 CE (AD) garments had very simple wide patterns that fitted loose on
the body. This was more popular in places in the Middle East. In contrast, Medieval
Europeans used these loose linen garments as undergarments. The garments on top
were usually made from wool, which could last them up to a lifetime.
Because of the complexity of production of the textiles and the durability of the pieces,
the ready-to-wear industry started to produce separate pieces and accessories to
complete the look. Things such as detachable sleeves and collars, gloves or hats
became really popular around 1400. By the 16th century, all of these items were
shipped around the world to be sold in bulk quantities.
The production of textiles previous the industrial revolution, was made by hand, with
very antique weaving machines. The employers of the workshops often recycled the
scraps of the projects and re-purposed them for lower quality textiles.
Fig. 12 - Interior of A. T. Stewart’s Astor Place
Store, ca. 1880s.
16Fig. 13 - Paco Rabanne plastic geometric
accessories ad campaign. The 1960’s
youth culture embraced this line due to it’s
affordability and expandability. Source:
Runway Magazine
READY-TO-WEAR BEFORE THE INDUSTRIAL REVOLUTION
The concept of going inside a store and picking-up something off the rack is a
slightly new concept considering the history of the ready-to-wear industry.
Not so long ago, before fast fashion came into play, garments were considered or
expected to last for a long time. Archaeological records show that merchants in Ancient
Babylonia shipped and distributed some ready-to-wear garments as early as 1400 B.C.
Before 1300 CE (AD) garments had very simple wide patterns that fitted loose on
the body. This was more popular in places in the Middle East. In contrast, Medieval
Europeans used these loose linen garments as undergarments. The garments on top
were usually made from wool, which could last them up to a lifetime.
Because of the complexity of production of the textiles and the durability of the pieces,
the ready-to-wear industry started to produce separate pieces and accessories to
complete the look. Things such as detachable sleeves and collars, gloves or hats
became really popular around 1400. By the 16th century, all of these items were
shipped around the world to be sold in bulk quantities.
The production of textiles previous the industrial revolution, was made by hand, with
very antique weaving machines. The employers of the workshops often recycled the
scraps of the projects and re-purposed them for lower quality textiles.
17TURNING POINT
1970 TO 1990 FASHION
To understand modern fashion, we need to understand what made it change,
what created a new time period in fashion? As everything else, fashion evolved to do
with the social and political events happening at the time. In the mid-70s fashion was
becoming increasingly diverse, with an overall rejection of the system and design
creating desire to return to nature. The growing ecological movement in 1968 forced
fashion to shift their focus in textiles and occidental culture references. (De La Haye &
Mendes, 2021, p.196-199) Asian designers like Kenzo Takuda, Kansai Yamamoto and
Issey Miyake found big success in Paris at the time.
Designer Sonia Rykiel understood the demands of the consumers and gave pieces a
philosophical meaning and created easy-to-wear fashion, considered an anti-fashion
designer since to her, fashion was not only seasonal pieces.
Fig. 14 - Harper’s Bazaar Feb 1970, Oriental fashion influence.
18SUSTAINABILITY & ENVIRONMENTAL MOVEMENT
The first environmentalist reforms rose in the late-19th century, right after the
industrial revolution, but nothing was really changing systematically speaking with only
very few environmental protection societies. In the 1930s, the first global consequences
of the industrial revolution came to light, this made professionals start to worry, noticing
the incredible wealth growth and the idea of non-renewable resources models started
to emerge. Very shortly after World War II, economists and scientists started to see
the consequences of the innovative creations of the industrial revolution and the over-
consumption mind set that came with the end of the war. It was evident that the current
lie-style of society was unsustainable and threatening for the planet. Consequently, the
environmental movement was born.
According to the Cambridge English dictionary, the word sustainable is defined as:
“the quality of being able to continue over a period of time”. Meaning that sustainable
production is “the idea that goods and services should be produced in ways that do not
use resources that cannot be replaced and that do not damage the environment”
The American marine biologist, naturalist and environmentalist, Rachel Carson was
one of the first people to denounce the harsh change in nature in her book Silent Spring
from 1962, which criticized the so-called “Green Revolution” and its devastating results.
By the early 70s, the energy crisis became a global issue, evidently caused by
reckless production and consumption of non-renewable resources, creating new
ONG’s to protect the environment and regulate pollution from past mistakes and future
developments as well as concern within society. With the war declaration to Vietnam,
the U.S. youth wanted to make things different. Hippie culture mobilized in the late 60s
and early 70s the ecological ideal.
In spite of the good turn of events for the planet, around the early 80s, consumerism
was making a comeback. With the birth of various subcultures like punk in 1976 in the
UK, designers such as Vivienne Westwood and Malcolm McLaren led in fashion. Punk
fashion was mostly made from ripped-second hand garments and crafted or up-cycled
genderless pieces to demonstrate anarchism and nihilism. However, synthetic materials
like PVC, rubber and fake leather were the preferred materials for these subcultures as
well as others, turning away from natural materials proposed a decade earlier by hippie
culture. (Watt, 2012, p.409)
The 80s was definitely a time of inspiration and development, which resulted in fashion
accessible to anyone, individualistic and synthetic materials more popular than ever at a
very low-cost.
Carefully curated long lasting garments were still relevant in the mid 80s, especially for
Italian fashion designers like Giorgio Armani. The perfect tailoring and high quality of
Italian materials kept this side of fashion alive. Although not all Italian designers took
this approach, Gianni Versace and Moschino took very different approaches to fashion,
never turning away the focus of materials.
19Following the steps of Armani, American designers like Ralph Lauren and Calvin Klein
turned the attention of consumers to higher quality garments, yet accessible, that
maintained that classic gender-neutral style in the early 90s. As in the 1960s, fashion
in the 90s started to reflect a general interest in ecology and spirituality due to the
Gulf War. Either subtle fashion or conceptual garments from designers like Alexander
McQueen, the 90s were years of experimentation and reflection.
Fashion is a pendulum that keeps going back and forth. With economic stability in
the early 2000s, everyone was fashionable and what you wore consisted on showing
your wealth and social status, a very different ideal from the 90s or the 60s, but as we
have come to learn, with the 2008 recession, fashion changed again into neutral color
palettes and simpler materials. Around this time, conscious and eco-friendly materials
such as organic cotton gained popularity, especially in Northern Europe
Now in 2020, with the outburst of coronavirus, the fashion industry and consumers were
faced with a harsh reality, and while quarantine lasted, the general concern for quality
and functional garments yet fashionable was noticeable. Now in the last months of 2021,
fashion can turn two ways. It seems that sustainable, conscious and long-lasting fashion
is here to stay.
Today, we can see the impact of these issues with severe climate change and the urge
to search for solutions. The environmentalist and sustainability movement have had a
massive growth in the last decade, with activists like Greta Thunberg and the interest
of many public figures and celebrities. The eco-living or zero-waste lifestyle has almost
transformed to a trend, with millions of people adopting it into their daily lives. Over the
past couple of years, the conversation has shifted the blame onto manufacturers instead
of the consumer, adding pressure to factories, companies, and whole industries to
reform themselves in order to save the planet.
WHAT IS SUSTAINABLE FASHION?
Taking on the concept of sustainability to the fashion industry is as simple as it
sounds. Creating an industry and its products to last for a long period of time. Having
the context on how the industry grew and the lack of regulations on this matter can
have severe repercussions, the movement of sustainable fashion was born. However,
it is only recently that consumers started to pay close attention to this branch of
environmental pollution.
The fashion industry is known to be one of the most contaminating globally. As
mentioned in the Netflix movie documentary “The True Cost”, companies have gone
under the radar about their manufacturing consequences, not only for the planet but
also the workers who make clothing. The incident of the Rana Plaza collapsing in
Bangladesh in 2013 raised multiple concerns around the world. The tragedy resulted
in over 1,100 deaths, showing people in the western world just how costly their cheap
clothing really is. Yet, companies like the Spanish group Inditex are far from solving this
problem.
20Sustainable fashion focuses on both ethical labour and eco-friendly topics. There are
many approaches to this take on fashion, whether it is zero-waste or minimal-waste
production, to recycling or buying second hand garments. The main goal of sustainable
fashion is to lower the carbon footprint of the industry while keeping humans flora and
fauna safe. Cruelty free products are really important when talking about sustainability,
just like other materials used for clothing.
Fig. 15 - Monumenta: “Personnes”, 2010, Christian Boltanski, Paris, France.
21KILLER FASHION
SLOW FASHION VS. FAST FASHION
It can be clear now that designers have a lot of responsibility when it comes to
fashion damage. Having a closer look at the way clothing is made and it’s life, we can
discuss the format of fast fashion.
Unlike ready-to-wear, fast fashion has 52 micro collections per year, excluding
collaborations with artists and other brands, so it is a rough estimate. Up until the
mid-20th century, the fashion industry ran 4 seasons per year, Fall, Winter, Spring and
Summer. Hence the name seasons. This forced designers to think about durability at
least for a couple of months and limited choices to maintain process costs and status.
This not only limited the pieces produced, but the customers.
TRADITIONAL FASHION VS. FAST FASHION
TRADITIONAL: 2 CYCLES PER YEAR
JAN FEB MAR APR MAY JUN JUL AGO SEP OCT NOV DEC
TYPICAL FAST FASHION: 50 CYCLES PER YEAR
JAN FEB MAR APR MAY JUN JUL AGO SEP OCT NOV DEC
Source: The True Cost Documentary, 2015
The idea is to massively produce large volumes of clothing as fast as possible, with
lower quality materials and production to keep prices low and accessible to everyone.
Up until the 60’s not everyone could access fashion, until synthetics fabrics peaked.
However, the real problem of overwhelming production and consumption rose in the
mid-2000’s
As stated before, the more accessible or cheap the product is, the cheaper the labour
hand is. It is safe to say that fast fashion can’t really exist with ethical supply chains and
sustainability. There is nothing long-lasting about fast-fashion.
Slow fashion is not the same as sustainable fashion. The business proposal of slow-
fashion is returning to 4 seasonal collections, in which offer and demand meet ethical
work environments. Delaying or slowing down the process gives the opportunity to
refine design, have more durable pieces and lower fabric waste. It even promotes the
production of natural materials without damaging chemicals.
22The price is definitely higher than fast fashion, but if you buy at least once a week from
fast fashion, it is the same or even more expensive than buying slow-fashion. At least
you’ll have the piece for a longer period of time without going out of style or ripping out.
CYCLE OF THE PRODUCT
When understanding the life-cycle of clothing, the importance of production and
materials really stands out. Traditionally, the life-cycle is broken down into different
phases. Starting with the raw materials to create textiles and finishing up with the
end-of-life. For the purpose of this thesis, the cycle will be broken into 6 key phases,
considering the different activities in the fashion chain. First up design, prototyping,
production, distribution, use and end-of-life.
1. Design:
Garment design
Selection of fabrics, materials and techniques.
2. Prototype:
Alteration & samples
Sell in (buyers)
3. Production:
Textile production
Production
Production control
4. Distribution:
Promotion
Distributing goods during/for production and retail
Sell out
5. Use:
Wearing
Laundry / Cleaning
Repair or alterations
6. End-of-life
Garment disposal
Reuse
Recycling
23All of the activities listed above have different levels of ecological impact, but they all do
in some way or another. The most important is the first phase, before production. Smart
design can reduce the damaging effects of the consequent steps. The most damaging
often are textile production, which can involve slavery, pesticides and define overall
quality and durability of the garment. Second comes production of the garment, which
also can be linked to slavery and un-safe work spaces and a lot of fabric waste that
ends up on landfill. The use phase is very tricky, since each individual has a different
sense of use. It is common for fashion consumers to use it once and never wear it again.
Alterations of garments are rare cases, since there is no need to amend clothing thanks
to fast fashion and constant ripping of the pieces. Washing materials like polyester,
rayon and other synthetic fabrics contaminate the water by releasing micro-plastics on
the washing machine that end up in the ocean.
2%
Beauty Prod.
1% 3.7%
Plastic nurdles Marine coatings
7%
Road markings
24%
City Dust
WHERE DO
35%
MICROPLASTICS Clothing & Textiles
COME FROM?
PRIMARY MICROPLASTICS IN THE
28%
OCEAN Tyres
Source: Boucher & Friot, 2017
When thinking about design, creators have to take into consideration all the other
phases, because the most concerning phase of all is the end-of-life of clothing.
Depending on the material used, the faster or the slower the material decomposes.
Today, clothing represents more than 60% of the total textiles used and in the last 15
years (Ellen MacArthur Foundation) Having in mind that most of the garment-disposals
end up in landfills (rarely recycled), the longer it takes to break down, the more trash
is generated and harder for the environment. Making all the right choices during the
middle phases can really make an impact.
24MASS PRODUCTION & MASS CONSUMPTION
The impact of the world wars took a toll on marketing and consumption. As stated by
Rachel Carson on Silent Spring, consumers wanted to experience abundance in a
post-war world. This cycle of a global shortage of goods and later having it all has been
repeating itself for a long time. It is only natural for society. Mass consumption is a big
part of contemporary economics, although it seems that after the coronavirus outbreak
in 2019, things are beginning to change for consumers, as well as it did after 9/11 in the
U.S. It seems that after a human tragedy, people grieve for a period of time and then
return to richness.
“A young woman from Myanmar might wrestle with the decision to feed her children or
send them to school. In Bangladesh, sewing-machine operators frequently toil for 100
hours or more a week, only to run out of money before the end of the month. Workers
have demanded higher pay in all those countries, of course, sometimes precipitating
violence between protesters and police.” (Malik Chua, 2018)
JUST 1% 80%
OF THE CLOTHING IS RECYCLED OF ALL THE CLOTHING IN THE EU
INTO CLOTHING ENDS UP IN LANDFILLS
Source: Business of Fashion 2018: The State of Fashion 2018 & Heinrich-Böll-
Stiffung, Bund für Umwelt and Naturchutz Detuschland (2019): “Plastikatlas”
The ways of mass consumption and production have taken a toll on global warming,
Carson on Silent Spring, denounced the use of pesticides on food plantations, but the
same issue also takes place in the textile industry. Cotton plantations for example, use
very toxic pesticides and a huge amount of water is contaminated in order to produce
as much as they can at the fastest time possible to comply with the high demand of
mass consumption. (Yehounme, 2017)
25SOCIOLOGICAL & PSYCHOLOGICAL IMPACT OF FAST MOVING FASHION TRENDS
Fashion is a reflection of society, where it’s standing and the emotions of the population.
The success of fashion trends lies in the way the society interprets the fashion trend and
judges it. Hence the impact is measured by the barometer of social acceptance which
in turn is driven by the several motivational forces that underlie the people’s values and
behavioural traits. (Venkatasamy, 2015, 2)
In a pre-capitalist world, fashion meant political power and high social ranking. The
heads of governmental institutions were the ones with access and interest in garments
that were not only functional, but fashionable, with the only purpose of showing-
off, Conspicuous consumption versus utilitarian ideas. In today’s post-modern and
capitalist system, fashion is accessible to everyone, from the upper-classes to the
masses. However, the reason why people wear fashion is different. Style gives the
individual their own sense of self-expression and self-awareness. Everyday Fashion is
an interactive process through which the aspiring individuals of the society consciously
project their bodily self in a distinctive manner in the form of clothing style. It is unlike the
traditional capitalist fashion system where the so-called elite or rich decide the course
of fashion tastes and fashion gets disseminated from the top to bottom sections of the
society. (Barnard, 2013, p.167)
Fast moving fashion trends can be a symptom and cause of society’s struggle of
individuality, identity and self-discovery. There is no space for the consumer to explore
in a healthy and objective manner their personal style. Therefore, the initial purpose of
fashion communication as a form of self-expression is becoming less and less true.
RECURRING FASHION CYCLES
Peak Peak
Latent Period
Intro Increase Decline Rejection Intro Increase Decline Rejection
PERIOD OF YEARS
Source: Fibre2Fashion
26The overwhelming fast cycle of trends leave no room for depth, instead they have
caused the need of consumers to keep buying or keep on style and relevant rather than
their own interpretation or take on fashion. It seems as if trend forecasting no longer
depends on the consumer, but rather the industry’s fast production and desire for
higher retail revenue.
The average consumer is now purchasing 60 percent more items of clothing compared
to 2000 (McKinsey, 2016) Resulting in more clothing sales ending in landfill. The
number of garments disposed of is so big that textile-only landfills exist. The biggest
one is located in Chile, on the Atacama Desert, where mountains and mountains of
clothing are disposed of there. The pile which totals 39000 tonnes can take up to 200
years to fully break down.
As much as sustainable fashion has gained visibility and attention, it seems that we are
not being more responsible about the way we shop. Conscious or Sustainable fashion
have also become trendy, but that in it’s own is the danger. During the past four years,
the number of clothes and accessories described as “sustainable” has quadrupled
among online retailers in the US and UK, according to Edited, a London-based retail
analytics company. Corresponding terms such as “vegan”, “conscious” and “eco” have
also seen their usage multiply, the company said. (Indvik, 2020)
The growth of the fashion sector has made it difficult for luxury fashion groups like LVMH
to reduce their carbon footprint. LVMH and Kering are one of the most transparent
groups in the luxury industry, yet trends are making it really difficult for them to improve
because of high-demand. The pandemic seemed to have helped to slow fashion
consumption and production, but as we return to normality, sales are going back to
where they were before the COVID-19 outbreak.
AS GLOBAL FASHION SALES RISE, WE ARE GETTING
LESS USE OUT OF OUR CLOTHES
Clothing sales vs. World GDP Average number of times a garment is
Rebased (2000=100) worn before it creases to be used
200 200
180
180 160
140
Clothing sales
160 120
100
140 80
60
World GDP
120 40
20
100 0
2000 2005 2010 2015 2000 2005 2010 2015
Source: Ellen MacArthur Foundation
27THE GLOBAL FASHION INDUSTRY’S PROFIT IS EXPECTED TO FALL BY 93% IN 2020
TOTAL ECONOMIC PROFIT, Index (100=2016)
200
169
150
100
93%
50
11
0
2016 2017 2018 2019 2020
Source: McKinsey&Co Global Fashion Index
INTEREST IN CATEGORIES THAT WERE DOWN AT THE HEIGHT OF THE PANDEMIC
NUMBER OF PAGE VIEWS ACROSS-CATEGORIES ON LYST.COM
% change from previous year
-50 0 50 100 150 200 250
Activewear
Lingerie
Handbags
Knitwear
Sneakers
Heels
Luggage
Shirts & blouses
Occasion dresses
Aug 2020 Aug 2021
Source: Lyst, august 2021
28COLLATERAL DAMAGE
The textile and fast fashion industry is the second most polluting worldwide. It is
responsible for 1.2 billion tons of CO2 every year. More than air travel and shipping
combined.
Fast fashion produces 20% of global wastewater, which pollutes rivers, oceans, drinking
water and soil.
60% of clothes are made of synthetic materials, derived from petrochemicals like
polyester. These fibers are unable to decompose, but they rather break down into
smaller pieces producing microplastics.
IUCN estimated between 0.6-1-7 million tons of microplastics that end up in the oceans
per year.
One garbage truck of clothes is burned every second (2,626 kg)
Discarded clothing made of synthetic polymers can sit in landfills for 200 years.
CO2 CONSUMPTION IN COMPARISON
10%
5%
Total flight and maritime transport Fashion industry
Sources: Ellen MacArthur Foundation (2017). A New textiles Economy. & EEA Europa. (2016) “Luft
and chiffsverkehr im Fokus”
It is important to pin-point what process is the most polluting and damaging to the
environment and require immediate action, since a lot of so-called systematic changes
are focused on the way garments are produced and reducing the textile waste,
rather than the raw material production that causes almost 35% more damage to the
environment. (McKinsey&Co, 2020)
29ANNUAL GREENHOUSE GAS EMISSIONS OF APPAREL AND FOOTWEAR BRANDS
PER CENT OF TOTAL INDUSTRY
EMISSIONS
30%
20%
10%
Material Yarn Fabric Wet Cut, make, Transport Retail Product End-of-life
production preparation preparation processes trim use
This is an annualised rather than a life-cycle analysis. Results from 19 June 2020.
Sources: McKinsey&Co and Vogue Business
30
FIG. 16 - Venus of the Rags by Michelangelo PistolettoH o w
ona b le
F as h i
T hi s ?
is
FIG. 17 - Rana Plaza, 2013. bangladeshGREEN SOLUTION
CHANGING THE NARRATIVE
The way fashion has been produced in some decades has demonstrated just
how flawed the system is and there have been a lot of innovations to improve the
way the fashion industry fabricates it’s products. Having all the studies pointing to
the fashion industry as a major polluting industry, the problem has been studied and
taken seriously. Leather-like material has been developed from various raw and natural
objects, such as mango residue, mushrooms, cactus fiber and many others, not only
reducing the amount of synthetic leather and vinipiel but also helping to stop the use
of animals to create fashion. Other materials have been re-thought like silk, also to
stop the use of silk-worms and under-funded factories in China with non-ethical work
environments.
Also, the concern for greener fashion has also taken into consideration the production
of older and classic materials like cotton or linen to create textiles. Organic cotton and
linen among other plants and flowers are now being monitored by certifications to stop
the use of pesticides that contaminate water and slavery that are still happening in the
21st Century.
Looking back and taking one or two steps behind is not always a bad thing. Natural
dyes and natural dyes setters are now making a comeback to sustainable fashion.
Indigo dye is one of the most polluting colors, and yet blue denim jeans are probably
the most sold and used garment in today’s world. It is one thing that everyone has in it’s
closet.
For one, younger consumers are boosting conscious and sustainable fashion.
Engagement into responsible fashion has deepened during the coronavirus crisis and
the need for fashion manufacturers to start taking responsibility for the environmental
damage.
In a survey done by McKinsey in 2020, two-thirds of consumers state that it has become
even more important to limit impacts on climate change. Additionally, 88 percent of
respondents believe that more attention should be paid to reducing pollution.
The high demand of consumers is slowly but surely putting a lot of pressure on fashion
brands to own up to their consequences or they’ll start shopping from other retailers
who do take seriously global warming.
32DURING THE COVID-19 CRISIS, CONSUMERS HAVE ALREADY CHANGED THEIR BEHAVIOUR TO ACHIEVE
SUSTAINABILITY GOALS
CHANGE IN BEHAVIOUR DURING COVID-19 CRISIS, % of respondents (n=2,004)*
I have started to go
I have made out of my way to
significant changes recycle I have gone out of my
to my lifestyle way to buy products
to fessen my in environmentally
environmental impact friendly packaging
17
Strongly agree 7 9
Agree 15
21 18
Somewhat agree 35
29 34
17
Somewhat disagree 22
25
9
10
Disagree
12 6
7
Strongly disagree 7
* Figures may not sum to 100% because of rounding. Question: Thinking about our habits and
attitudes over the past several weeks compared to prior to the COVID-10 crisis, to what extent do
you agree with the following statements?
Source: McKinsey&Co.
33FIG. 18 - Anne Sofie Madsen, Fall 2017. 34
ADOPTING GREEN THINKING
The shift in young consumers before the pandemic was visible, but post COVID
is really when this new consumer behaviour is really noticeable. It is only logical to
wonder what fashion companies have done to comply with these new demands? The
luxury fashion industry has undergone some changes around 2008. Materials like
organic cotton and fine linen gained a lot of popularity, since quality was better and the
production was way more ethical for workers and the environment.
Green designers like Stella McCartney in the UK have had a lot of influence in these
changes, being the face of green fashion campaigns since then. McCartney is probably
the biggest name when it comes to ethical luxury fashion. The pressure she created
upon her peers motivated fashion houses like Gucci to stop using fur and stop animal
cruelty in their production, introducing faux fur.
Other brands have joined the movement, like the milanese house, Prada. The Prada
Group associated with a textile producer to create an eco-nylon fabric that is made
from recycled fibers to keep producing their signature products of nylon, such as
their shoulder bag that has re-gained popularity in the last years. Recycling is just as
important as sustainability. Nike also noticed the impact of recycling and the big issue
the fashion industry has created, giving them the opportunity to create sneakers from
recycled plastics pulled out from our oceans. These types of campaigns and shifts in
production, really show their audience how critical the situation is and we need to take
action, helping with a healthier consumer behaviour.
Unlike these fashion houses, others didn’t even have to reinvent their process, but rather
did that from scratch, like American designer Gabriella Hearst, targeting a gap in the
market.
Fast-fashion brands like H&M tried to join the movement as well, creating a program for
customers to return their old garments to recycle the fibers and stop them from ending
up on a landfill fire-pit. It is hard to say that they are really solving a problem when they
are still a fast-fashion brand that keeps producing and selling at a cheaper price than
luxury goods without a good quality. These made their clients realize that it was just a
smoke curtain to justify themselves instead of solving the real problem. They made other
attempts to gain their public back, by creating their conscious collection (with no back-
up information to sustain their claims) and leaving their ordinary clothes and stock with
the same numbers, so the problem got even worse. Not only are they producing more
garments than before, but they are trying to fool the public again with small reformations
in the company that really don’t change anything.
However, some feel that H&M is at least trying to comply with their clients, whereas
other big companies like Inditex, especially their brand Zara, has been demonized
by Gen-Z and their complete disregard and indifference towards global warming and
unethical working conditions, along with other issues such as the plagiarism of luxury
fashion houses on their micro-collections on a budget.
35FASHIONABLE BEHAVIOUR
When talking about the transformation of the younger generations, not only are
they demanding brands to rethink their production strategy, but they are also changing
the way they shop. Second-hand shopping and vintage shopping have picked their
sales in the last 2 years. It seems that designer pieces with a story, especially those
of creative directors that are no longer working for that fashion house like Dior by John
Gallhiano or Gucci by Tom Ford are extremely treasured in this generation. Platforms
like TikTok have also inspired many youngsters to engage in the practice of up-cycling
their old garments or people close to them like their parents and grandparents. This is
obviously helpful to avoid these pieces ending up on landfills and lowering the need to
buy new clothes.
Fast fashion brands have started to resent this and luxury brands in an attempt to
continue with their sales in upcoming collections, are looking back at their design
archive to give a fresher look of their iconic comeback pieces that are sold for a high
price on pre-loved websites and vintage shops. One can not deny that this is a very
smart move for luxury fashion brands, but is not necessarily following the philosophy of
their comeback, rather making it again mainstream and making consumers buy new.
Is not a coincidence that 2000’s fashion is coming back in style. Design is always
inspired by something and in the fashion field there are always cycles that can forecast
the trends that are coming back, along with the sociological environment. Taking into
consideration the needs of the young consumer, it can be said that fashion is entering
a slower trend movement. However, this is not true at all. Fashion is faster than ever,
as well as our life-style. Everything changes quickly and fashion can’t stay behind. It
would be naive to think that big companies care more about the environment than their
revenue. Ultimately, society is in charge of how trends are received and where they stay
or not. Taking away the power from big corporations and reclaiming them is important
to create longer-lasting trends and have better quality clothing. COVID has only proven
truth to this statement. People dug out their closets in search of something to focus
on, took a moment to pause and looked back at what they already had. The pandemic
made it hard for a considerable amount of consumers to think about shopping and
spending their money on shops given the social climate. The coronavirus outbreak
forced everyone to slow down and that only left room for self-reflection and the need
to reconnect. Hence the store for buying second-hand, pre-loved and up-cycle old
garments.
This is where smart shopping comes in. Looking closely at the production process
of fashion brands and learning about them can help the consumer to make a more
objective and informed decision, without deceit. Knowing the materials of the garments
and their quality can usually tell you if the brand is trustworthy or not. Developing criteria
while apparel shopping can definitely change the gears of path that the fashion industry
is currently headed.
36FIG. 19 - Lotta Ludwig, 2018.
37PARTICULARLY AMONG YOUNG CONSUMERS, THERE IS A GREATER INTENT TO PURCHASE SECONDHAND
FASHION ITEMS AFTER COVID-19 CRISIS.
INTEND TO BUY MORE SECONDHAND FASHION ITEMS AFTER COVID-19 CRISIS, % of
respondents*
Gen Zers Millenials
(aged (aged
18-23) 24-39)
Gen Xers
(aged
Strongly agree 6 7 40-55)
Baby Boomers
(aged
Agree 15 56-75)
16 5 Older
generations
10 7 (aged >75)
7
3
Somewhat agree 27 4
25 20 7
12
21 23 25
Somewhat disagree 29 31
17
17 7
Disagree 17
15 23
Strongly disagree 12
25
30
27
* Figures may not sum to 100% because of rounding. Gen Zers, n=234; millenials, n=441; Gen
Xers, n=483; baby boomers, n=681; older generations, n=196
Source: McKinsey&Co.
38CONSUMERS CITE NEWNESS AS ONE OF THE LEAST IMPORTANT ATTRIBUTES WHEN MAKING PURCHASES, INDICATING
A SHIFT IN THE FASHION-CYCLE MINDSET.
IMPORTANCE OF FACTORS WHEN SELECTING WHICH FASHION BRAND TO BUY FROM, % of
respondents (n=2,004)
Style Comfort Quality of Functionality Durability Price/ Made by a Newness
you like materials promotion brand you (eg, latest
trust season’s
trend)
75 73 70 67 66
68
46
19
9
3 2 2 3 2 5 34
Respondents selecting as top 2 factor
Respondents selecting as bottom 2 factor
Source: McKinsey&Co.
39INDEX 40 FIG. 20 - H&M Magazine
TRENDING HONESTY
PRODUCER RESPONSIBILITY
If fast-fashion and unethical production is the only option we are given by the
fashion industry, it is really hard to make different choices and pressure them to change.
The monopoly of the fashion industry is what it is, no real effort to make a systematic
change, even though the market differs from their supply-chain. So, if this is not what
the consumer wants any longer, why are they able to continue with their practices and
consumers end up falling for it? The answer to any monopolies is the lack of regulations
and accountability of the object in question.
Many fashion retailers produce in third-world countries for their lack of laws and
regulations regarding the environment and minimum-wage legislations. Over the years,
this work-flow has caused one two many tragedies in countries like Thailand and
Bangladesh that have forced local authorities and their government to create regulations
and have surprise visits to their factories, especially after the Rana Plaza incident in
2013. Poverty makes it easy to bribe and turn a blind-eye on the real situation, avoiding
sanctions and continuing production with zero work safety regulations. Today, the same
industry is facing redundancies or zero pay because of Covid-19 to their employees.
This issue has been denounced for decades, yet it continues and getting worse.
Covid-19 has brought its own problems to fast fashion production. Brands and
retailers are cancelling or reducing orders, which have put millions of jobs in jeopardy
worldwide. This has shut down factories causing extensive job-loss for many garment
workers in the global south. The people who manufacture fast fashion tend to be
women and these jobs can often be the only thing keeping them and their families out
of poverty. While the rest of the world has been focusing on social distancing and lock-
down, many of these workers are struggling to meet their households’ basic needs.
It seems that taking the information public and going on record about these issues is
not enough. Alternatives about the fast fashion business model have been pitched, and
some brands have adopted them, or at least that is what they want us to think.
Modifications on the supply chain for example, are one of the few things that can be
transformed to make the fashion industry a safer place.
Recycling materials instead of producing them from scratch (especially synthetic
textiles) can reduce the carbon emissions of the garment cycle. However, it is very
difficult to see this through with total guarantee. Most of the fabrics used in this kind
of clothing are synthetic and take hundreds of years to break apart, often ending up
in landfills producing microplastics on the soil. Printing a label with recycled fibers is
cheaper and faster than actually making it happen, which is something many brands go
for. Fast fashion companies, as well as some luxury houses, are failing to see the bigger
picture when it comes to compromising their sales revenue.
41So what can be changed in order to stop once and for all the abuse of human rights
and protect the planet with a profitable economy? First, it is important to shift the
consumer practices, and with that the marketing done by these companies. PR and
marketing teams are entirely responsible for how we see fashion today, or at least how
we saw it, which has allowed fast fashion companies to grow exponentially
as they did in the last decades. Trying to convince your target that they need
more garments to feel a certain way and be accepted by society is
a strategy that has proven to be very popular since the end of World
War II. Mass consumption really is the worst enemy of the fashion
industry and what makes it the second most polluting worldwide.
Companies often try to make demand and consumerism the
fault of the public, making us think that we are the only ones that
should change our practices. Blame cannot be one sided,
it is a two way street and customers are as guilty as fashion
brands and their advertisement strategies.
Different ONGs and initiatives are trying to make a difference.
The Extended Producer Responsibility (EPR) is a policy approach
under which producers are given a significant responsibility
(financial and/or physical) for the treatment or disposal of post-
consumer products. Assigning such responsibility could in principle
provide incentives to prevent wastes at the source, promote product
design for the environment and support the achievement of public
recycling and materials management goals (OEDC)
Building on the 2018 Resources and Waste Strategy for England,
which identified textiles as a priority waste stream, the Consultation
confirms that DEFRA will consult stakeholders on a proposal
for Extended Producer Responsibility (“EPR”) for textiles by the
end of 2022. By making producers responsible for the costs of
managing and recovering waste they produce, the aim
is to insensitive the reuse and recycling of textiles, thereby
reducing the amount of textiles going to landfill and incineration, and to encourage
sustainable design and material use (Jaminson, 2021).
There is still a long way to go, but the fact that policies and regulations are being re-
thought are a big indicator that sustainability and global warming are being taken
seriously, along with the importance of accountability. The creation of the EPR gives
hope, but still is not enough considering the consequences in contrast with the solutions
proposed by different governments.
42GREENWASHING AND ECOWASHING
The interest for more eco-friendly options in the market rose in the mid 90’s
and early 2000’s, and it went away as easy as it came in consumer’s minds. Today,
sustainable products as well as conscious, zero-waste and eco friendly devices and
results.
As manufacturers and big companies realize the rebirth of this trend, it is in their
interest to attract a greener audience. Companies often use terms claiming to have a
cleaner process or products for the clients without any type of certainty, certification or
validation. The grey area of definitions and marketing laws, allow them to make such
statements without committing criminal acts.
The proliferation of environmental disinformation, or greenwashing, has become so
common and is of such a concern, that EnviroMedia developed the Greenwashing
Index to monitor environmental claims used by manufacturers (Miller, 2008).
The term “greenwashing” was coined by environmentalist Jay Westerveld in 1986,
back when most consumers received their news from television, radio and print
media, the same outlets that corporations regularly flooded with a wave of high-
priced, slickly-produced commercials and print ads. The combination of limited public
access to information and seemingly unlimited advertising enabled companies to
present themselves as caring environmental stewards, even as they were engaging
in environmentally unsustainable practices. In academic literature, this behaviour is
known as “perceived consumer scepticism” (PCS) (Aji & Sukitno, 2015).
“I BARELY KNOWS WHAT THE WORD
‘SUSTAINABLE’ MEANS ANYMORE”
- Stella McCartney
The practice of greenwashing has made consumers confused and mistrustful
about their shopping choices and whether or not they are contributing to global
warming. Corporate greenwashing is now seen in almost every industry, from cleaning
products to fashion as well. Many fashion retailers, even those who claim to be ethical,
exploit social-causes like environmentalism for capital gain. As talked before, fast
fashion companies like Inditex make an enormous effort to gain back their customer
base, especially Gen Z clients. Brands like Zara announced their own crowd-pleasing
sustainability goals last year, yet continue to follow a fast fashion business model that
produces huge amounts of low-quality, low-cost clothes. This is a perfect example of
greenwashing.
43So many different strategies have taken part into the practice of greenwashing that
pioneers of sustainable design and conscious fashion are just as concerned and blind
sided as the consumers.
“I barely even know what the word ‘sustainable’ means any more,” said the designer
Stella McCartney, who has been speaking out against the industry’s record on the
environment and human rights since the 1990s, as she unveiled her spring/summer
2021 collection. “The majority of people who say they’re doing a sustainable thing, if
you ask one question, it will pretty much fall down at the first hurdle . . . It’s a bit tiring to
see people’s overuse of these terms and really not have any substance to back it up.”
(Indvik, 2020)
PCS is getting stronger with the growing trend of sustainable and zero-waste living. This
concern also comes with it’s perks, one being creating new consumer criteria while
shopping that spots a lot of the greenwashing practices when asking the right questions
and taking a closer look at the product and company and not taking their word for
it. The information of the product, (garments for the purpose of this thesis) is crucial
to know if your piece is likely damaging at some point of the supply chain. Asking
companies for transparency in their supply chain and them being able to prove it.
A good number of manufacturers took notice and now it is expected from them to have
the mission and vision available to the public, in order to get to know the brand and give
back to them the trust that was lost due to the common greenwashing in the industry
and transforming it into green-trust.
Younger buyers are now more critical than ever thanks to the awareness of global
warming. Traceability is of great importance to early generations like Gen Z. Following
the steps of a brand or a company can easily tell you whether or not they are being
truthful. It is true that global-warming was not so much of a concern as it is today and
that some brands have become the bigger person and accepted their past mistakes,
however a lot of corporations like to create a public ecological persona when they
aren’t.
FIG. 22 - Hysteria collage, 2019.
as hi ng
e e nw
44
grSUSTAINABILITY CERTIFICATIONS & AUTHENTICITY
Necessity has pushed institutions to take action on this matter of false marketing,
affecting consumers and the environment. Authentications, traceability, transparency
and certifications are now regulations that make it harder for companies and top sales
people to scam and trick people into buying their products. Certifications make it able to
force companies to comply with certain standards on their supply chain.
There is a difference between standards, which can be and are certified against, and
other schemes and initiatives which may have voluntary codes but do not certify or may
have other ways of engaging with members to improve conditions. (Fashion United,
2020)
Although certifications like Bluesign or GOTS (Global Organic Textile Standard) are
the only way to have certainty that ends are being met, schemes, compromise and
standards are a great way to support the sustainability and conscious movement for
new business and entrepreneurs. Sustainability organizations also play a very important
role, especially when it comes to customers and their shopping choices. Blogs and
songs like Good on You focus on debunking false information in the green community,
especially on fashion.
Fashion certifications rarely cover all the stages and the life cycle of a product, often
focusing on one specific issue, essentially not changing much. Brands get certified to
give back to the customer the lost trust and attract “greener” consumers by portraying
an image that is not true. (CMF, 2018).
The concept of an holistic organization such as B Lab or NFS International, helps to
take a broader look of the life of the product and the people who make them. Although
a company can get more than one and keep on working on other gears. Holistic
organizations do have their downside, and are very hard to keep track of.
It is known that so-called holistic foundations like the Higgs Index by Sustainable
Apparel Coalition, give sustainability profiles to fast fashion brands like H&M, giving
a false sense of environmental change. As talked before, there is nothing sustainable
or eco-friendly about fast-fashion and mass consumption. Reading between the lines
could be hard for other customers that take the SAC as a serious foundation, but this
partnership is not the only one that has disappointed.
It seems that the bigger an organization works, they stop being effective. Initiatives and
the trust in local authorities can be sometimes more reliable. It looks that for some of this
ong’s their focus and mail goal shifts as soon as more money comes in. With the help of
other organizations and the public, we can pressure corporations and fashion brands
to keep up the good work and have a good transparency policy. At the end of the day,
outrage about the consequences started a movement and with it, hope and change. It
is a long way to go to abandon capitalism, adopting a new system and re-raining the
trust of corporations, but for now, these issues have to be addressed and tackled by the
consumer in order to plant our seed of change.
45Creating a global standardization of the way fashion is produced, could help the
traceability of companies that take advantage of the different regulations of each
country. Following the global standard with a strong and mandatory financial report
to help traceability and accountability to those who fail to comply with the regulations,
difficulting the opportunity for corruption and impunity.
me l y
st e a
tru ou r
?
y
Can
SU
STA
INA
BL
ET
AG
4647
48 FIG. 23 - Vogue Portugal, 2019.
THE NEXT STEP
UNSUSTAINABLE TREND
The hype of sustainable living, eco-friendly fashion and zero-waste consumption
transformed into a trend, but with a very poor execution. As long as sustainable living is
not taken as a permanent life change and lifestyle and carries on as a trend, we’ll only
do more harm without noticing and can be even more hazardous than the initial problem
we are trying to fight off.
Raising awareness on the situation of climate change and the modifications needed
from our society is key, but like everything it has to be done carefully to avoid
downsides. Over the years, people concerned about global warming supported
and produced documentaries on polluting industries like the meat industry. The
documentary Cowspiracy caused a collective panic in society, decreasing the number
of consumers. This caused the consumption of fish to sky-rocket, causing a similar
problem as the meat industry.
Consequently, the same producers premiered their documentary on the fishing industry
called Seaspiracy, having the same result as fort panic on consumers.
Something similar is happening in the fashion industry. The documentary The True Cost
explores the toxic and corruption of the supply chain, governments and corporations.
Unlike Cowspiracy and Seaspiracy, The True Cost does not present false information
to its viewers, but definitely helps raise awareness on the many problems of the fashion
industry.
Forecasting the consequences when developing a strategy is of highly importance.
A number of movements have had negative outcomes over the decades because of
it. Today, fashion sustainability and a green lifestyle is considered a trend, due to the
huge success it has seen over the last decade, but sometimes with the wrong focus.
As explored before, greenwashing has a lot of responsibility for the failure of several
initiatives.
To this day, a lot of materials have been created from natural resources that also help to
reduce the Co2 of the food industry, using the same food waste. Young entrepreneurs
like Adrián López y Marte Cazarez work with renewable resources at a responsible rate
to develop leather like materials from cactus fibers and re-cycle synthetic leather to
create new textiles. Others scrap throwaway mangos from the supermarkets in Holland,
to create leather like material from the fiber of the fruit. Many other innovations like
mushroom, lycose, hemp, lotus, pineapple, bananas and many other natural materials
that go to waste.
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