The Dutch Study: 41% of Labels Are Wrong

A study conducted in the Netherlands* on more than 10,000 garments revealed alarming statistics: labels were inaccurate in 41% of cases. Most of the sample consisted of post-consumer, non-reusable clothing items discarded by consumers and delivered to a textile sorting center. Significant differences were found in the accuracy of composition claims between pure and blended materials. Discrepancies were especially evident in garments mixing fibers (e.g., cotton + polyester), where the accuracy rate dropped to just 23%. Analyses suggest that the intentional exaggeration of cotton content is indeed plausible. For pure fibers, the accuracy rate rose to 77%.

This is not just a matter of dishonest marketing: misleading labels erode consumer trust, complicate recycling processes, and fuel greenwashing.

Examples from the EU Market

EU regulations require all textile products sold within the Union to display clear and legible information about their composition. However, checks conducted by NGOs and independent bodies have shown that some brands fail to comply — particularly when labels include implicit environmental claims (green claims) without solid evidence.

In the fur market, for example, a study** analyzing 667 items containing animal fibers found that 68% did not comply with EU labeling rules. Real and synthetic fur are becoming increasingly similar in appearance, texture, and even price. Consumers — most of whom reject real fur for ethical reasons — must receive accurate information to make informed choices. It is often assumed that a low price indicates synthetic fur, and that if an item contains real fur, such information should be clearly displayed on the label. However, the current labeling system fails to provide an easy way to alert consumers to the presence of real animal fur.

Greenwashing and Misleading Environmental Claims

Why It’s a Problem (Beyond Fraud): The Real Consequences

This kind of misrepresentation goes far beyond deceiving the consumer.

1. Compromised Traceability and Textile Recycling
   In a world where recycling and sustainable practices are essential, recyclers need accurate information about the fabrics they work with. For those involved in recycling or circular economy processes, knowing the exact fiber (cotton, wool, polyester, etc.) is crucial for proper material handling. The effectiveness of recycling relies on understanding a garment’s material composition, since different fabrics require distinct recycling methods. False labeling hinders sorting and reduces the quality of regeneration processes. Misinformation can lead to contamination of recycling streams, lowering overall efficiency and causing further environmental harm. Simply put, if we don’t know what a fabric is made of, we can’t treat or dispose of it properly.
2. Erosion of Consumer Trust
   When we discover that a garment isn’t what it claimed to be — for instance, “100% cotton” turns out to be a blend, or “Made in Italy” is a false indication — the relationship with the brand is damaged. Today’s conscious consumers highly value label honesty, and each deception undermines brand reputation. As shoppers become more attentive to sustainable choices, they often rely on labels to guide their purchases. Some consumers also have specific needs regarding fabric composition — for example, due to allergies, religious beliefs, or personal values. For many, understanding a garment’s material is also essential for assessing its environmental impact. When labels are misleading, consumers believe they’re making responsible choices, only to realize they’ve unknowingly supported practices that contradict their values.
3. Fueling Greenwashing
   Generic environmental claims (“eco,” “sustainable,” “green”) without real transparency create the illusion of doing the right thing, while the actual impact may be identical — or even worse. Deceptive labels become a marketing tool, not an information tool.
4. Legal Risks and Penalties
   In the EU market, brands that provide misleading information may face inspections, administrative sanctions, or compensation claims. Some countries are already scrutinizing environmental claims more closely to enforce greater transparency.

Do you already know of some real cases of false or misleading labeling in clothing?
Listen to this episode to find out what happened — in our country and beyond

The Causes Behind the Errors

1. Complex and Fragmented Supply Chains
   Textile supply chains often span multiple continents, involving numerous suppliers, dyeing processes, treatments, and finishing stages. Sometimes brands receive fabrics that are already blended or reprocessed, making accurate traceability extremely difficult.

2. Insufficient Testing and Quality Control
   Some brands do not test every batch or rely solely on visual checks instead of chemical analyses. This increases the margin of error when suppliers provide incomplete or partial composition data.

3. Costs and the Desire for Differentiation
   Claiming a high percentage of natural or “eco” fibers can make a product more appealing. In some cases, there’s a temptation to round up figures or present the “best-case scenario”rather than the truth.

4. Unclear Regulations or Poor Enforcement
   Labeling laws exist, but their implementation varies widely between countries. Minor violations are often barely penalized. Although brands and retailers are legally required to provide accurate information about the composition of products they place on the market, they have (so far) faced no public legal consequences for inaccurate labeling. When a brand discovers that a label is incorrect, the entire shipment — both in storage and in transit — must be recalled and re-labeled.

What a Sustainability-Focused Brand Should Do

The Dutch study serves as a wake-up call for brands in the sustainable fashion sector. It highlights the need for clear standards and rigorous controls in labeling practices to ensure accuracy. As sustainable brands strive to differentiate themselves in a saturated market, a commitment to labeling honesty can enhance credibility and strengthen consumer trust.

Brands that prioritize accurate labeling not only embody their sustainability values but also empower consumers to make informed choices. By ensuring the accuracy of fabric composition and country-of-origin information, brands can contribute to a more transparent fashion system.

The positive ripple effects of precise labeling go far beyond immediate trust: they encourage a shift toward circular economy principles, where consumers feel confident about recycling or reusing their garments — ultimately helping to reduce waste.

The Importance of Accurate Textile Labeling

In 2020, the Global Fashion Agenda report emphasized the importance of transparency, calling for greater traceability across fashion supply chains. This ongoing dialogue among industry stakeholders aligns closely with the findings of the Dutch study, pointing to the systemic change needed for the future of sustainable fashion to truly thrive.

In conclusion, incorrect labeling represents a major barrier to achieving a transparent and sustainable fashion landscape. As fashion enthusiasts and brands advocate for change, it is vital to remember that sustainable fashion is not solely about using eco-friendly materials — it encompasses the entire lifecycle of a garment. Ensuring that labeling is accurate and trustworthy is essential if we are to move toward a truly ethical and sustainable industry.

Brands should take immediate action to improve the accuracy of their labeling practices. For consumers, recognizing the importance of carefully examining labels can help guide choices that genuinely reflect their values. Together, we can foster a fashion industry built on trust, transparency, and sustainability.

* Clothing labels: accurate or not?, Circle Economy for The Ministry of Infrastructure & Waterways, 2019.

** Mislabelled and Misleading – Fur labelling problems, Fur Free Alliance, 2017

Isabella supports companies in adopting targeted legal solutions for the ethical and transparent management of business practices, specializing in industrial property, environmental and social sustainability and transparent communication. Camilla focuses on legal advice in the area of ​​sustainability and ESG responsibility, helping companies comply with industry regulations and promote sustainable strategies.

Table of Contents:

1. Introduction to Sustainability in Fashion 0:00
• Need for Sustainability Evidence

2. Role of Lawyers in Sustainability 0:24
• Legal Support for Companies

3. Regulations and Responsibilities 1:38
• Shared Responsibility (Consumers, Companies, Government)
• Adaptation to Regulations

4. Emblematic Case Studies 2:43
• Case of a Textile Brand
• Case of Cosmetic Products

5. Risks Related to Communication and Marketing 11:19
• Use of Vague and Generic Slogans

6. Impacts of Sustainability Communication 12:28
• Risks of Greenwashing
• Types of Washing

7. Regulatory and Competitive Approach 15:17
• Need for Regulatory Compliance

8. Is Certification Enough? 17:11

9. Regulations: Obstacle or Opportunity for Sustainable Brands? 23:46

10. Conclusions and Recommendations 29:25
• The importance of consulting and education

Interview Transcript::

We often talk about the need to work on multiple fronts to reduce the negative environmental and social impact of the textile industry and fashion. When we talk to the public, who we then call consumers, we hear that companies must do their part.
When we talk to companies they tell us that government intervention is needed with more severe regulations. So today here we are to address the topic of regulations that are already or will soon be in act. While it is clear that everyone – consumer, company and government – has their share of responsibility, we are here today to talk about what companies have also asked for: regulations.
However, it seems to me that when the regulations have arrived, are arriving, brands feel a very distant need to implement them now and to comply, without waiting any longer, perhaps perceiving as distant the possibility of receiving sanctions or fines, or something that is still so distant from their daily reality. We would like to avoid especially small and medium brands from finding themselves unprepared when all these regulations become, perhaps overnight, in place, catching them unprepared and finding themselves facing obstacles from a legal compliance point of view. I know you have also followed some interesting cases, do you have one to tell?

Camilla: “Yes, we have followed several cases, certainly one case that we can consider emblematic was that of a textile brand. It dealt with fashion, and used slogans referring to its products, proposing them as sustainable with zero impact, therefore a whole series of requirements that are certainly very interesting nowadays for those interested in sustainability. The problem of this brand was not so much the actual presence of these qualities as the lack of evidence to support their existence. Having to demonstrate to the consumer what zero impact was, what the advantages of this product were, there was actually no concrete and clear proof, there were no third-party certifications, there was no real traceability system. So it became a bit complicated to be able to explain why this advantage existed. We therefore decided to also do a rebranding job from a communication point of view, therefore working both with the communication department and obviously the production department and the entire traceability system to support the company and actually understand how to change this problem. Because unfortunately even having truly sustainable products it is necessary to also have an entire internal structure that can show it. This is what becomes a little difficult to understand for certain companies and certain realities and therefore we try to raise awareness and support in this sense. Even the new regulations are certainly helping to understand these dynamics.”

Isabella: “Among other things, in this case a very important element, an aggravating factor of this whole situation was given by the fact that an association of environmentalists had reported both via email directly to the company, and via reviews on various platforms, precisely this deceptive conduct, these false statements, in any case misleading or considered not very transparent. So also in this sense it goes without saying that we had to do some work on the credibility of the brand that risked being lost a bit and therefore the work of collecting data and collecting concrete evidence helped to defend ourselves in this sense.”

So as a small brand gains visibility, it still has to pay more and more attention because it ends up being in the sights of associations that defend this type of causes that touch and are touched by the claims that brands make. This case is very interesting also because sometimes it seems so far away that it could happen, that is, it seems that it could only happen to large companies, big names that we often mention within the various channels and instead it actually makes us think that it is something close to us. Do you also have another case to tell, always linked to regulations?

Isabella: “Yes, actually it is another interesting case that happened to us in this sense it concerns a brand of cosmetic products that basically went to define its products in general its production with the use of natural elements.
This aspect created a little bit of problems. Not so much for the use of materials that in reality were actually natural products, but for the fact that for a system of manufacturing procedures these products could not actually be defined as 100% natural. Among other things in this case another aspect that we would like to bring to attention is that the term natural in itself does not mean sustainable. It has evolved a bit in common language that saying natural means sustainability, but in reality it is not exactly like that both from a sustainability terminology point of view and also from a legal point of view, because in reality the term natural does not provide for this classification. So this aspect should also be highlighted because it clearly requires a certain underlying basis to be able to use it.”

Camilla: “Yes, let’s say that unfortunately the term is not directly linked to the word sustainability, on the other hand it is also true that unfortunately fortunately most consumers think so and therefore also in this sense, from a legal point of view, one could actually play on this thing. Because maybe the product can actually be 100% natural, let’s suppose, but on the other hand it still gives a message that can be considered misleading and therefore even with the regulations in force at the moment, since last year, in any case the use of this term could already be considered problematic. Let’s see now that then it is more right it can no longer be used fundamentally but there is also this element to consider in advertising.”

It is widely used, it often happens to read natural almost everywhere in cosmetic products but it also happens in fashion. I happen to find written in cotton therefore 100% natural very often and actually even for us who are not in your profession “natural” immediately evokes sustainable. There is very but very often this association that we should talk about more. It is not actually so appropriate, not everything that is natural and sustainable and not everything that is sustainable is natural. Thank you because this case is also very interesting.
We have also reported cases of big brands that have been the subject of complaints or public checks by consumer protection authorities or by consumer groups due to perhaps misleading statements. For example, we have witnessed the revocation of the Conscious label by H&M, the Joy Life label by Zara and in the same way ASOS has removed the Responsible Edit line. Can you think of other cases to mention relating to big brands?

Camilla: “Yes, it is a case that we remember because this too has been quite discussed, it is the case of Decathlon, for example, which had used the word ecodesign for several products. It qualified its products with this term, but in reality without actually specifying what ecodesign meant or why it fell under this terminology. Eco design is also a European regulation that then determines what the aspects of the product must be, but such a vague term without reference to the regulation and without reference to the sustainability characteristics was misleading. Also for this reason, in the case of Decathlon, this term was then removed and they implemented a completely different policy. Even the use of words that evoke sustainability but which are not specified, that is, it is not indicated why they are used, can be considered misleading for the consumer. The brand might not actually be sustainable or it could be but without demonstrating it, it still falls into a problem of communication of perception.”

If it isn’t demonstrable, then it’s as if it’s not sustainable, is that the right point?

Camilla: “Exactly, yes. This obviously applies to both large companies and small brands because the rules are always the same. Clearly, the larger the company, the more difficult it may be to actually trace the entire product process. Perhaps it starts out as a super sustainable natural raw material, then it gets lost in the process. Support and control are essential.”

What are the risks? What are the most common risks for those who have a sustainable fashion brand today in 2025, but also from now until next year, shortly?

Isabella: “In general, we can say that the most immediate risk, precisely in the choice and implementation of advertising and marketing campaigns, is that brands use generic assertions and slogans such as 100% sustainable, 100% green, environmentally friendly and so on. Certainly very catchy for marketing but based on a lack of concreteness. Because it is now well known that a 100% sustainable product is impossible to produce, so clearly the main risk in using these assertions is receiving reports from consumers. Because the attention that consumers now have towards issues concerning sustainability is very high. There are specific associations or websites where consumers can report the conduct and uses, advertising of certain brands. Furthermore, there is a clear risk of checks by the authorities, issuing sanctions, having to undergo both control procedures and clearly then issuing provisions that are not only economic, but are also inhibitory, that is, they can include the suspension of production in the most serious cases. Obviously also economic sanctions. Above all, however, enormous reputational damage. This concerns both the small brand that perhaps finds itself in a start-up phase of its business, but it also concerns the large company. Unfortunately, one false step is enough to end up in the cyclone and therefore have very large reputational damage.”

Camilla: “For a small brand it is perhaps even more impactful because, especially if at the beginning, it is true that many sanctions are based on what the turnover is, therefore they are proportionate to the turnover and the seriousness of the behavior, for a small brand however low the turnover may be there has perhaps been a large investment and therefore on the other hand these sanctions have a great impact and really risk blocking the birth and growth of this reality.”

That is what we would like to avoid. This is why we are here to talk about it today in this episode and in other contexts. We will tell what we are doing together. Hearing you talk about the risks reminds me of a maxim that a lawyer we turned to in the past for a matter related to the podcast. This maxim that I will never forget was: “Better to go to the lawyer sooner rather than later”. How true! I also think about the initiative that we are proposing now, where the value invested in a workshop that allows you to know and understand the risks and how to avoid them, the regulations that are in place, this value is certainly at least ten times less than the cost of perhaps many legal interventions later. Not to mention the reputational damage. Better to get informed sooner rather than later more than ever applies in this case too.

Isabella: “Yes, it is always better to act in advance. Education and consultancy from expert consultants in sustainability or lawyers, in general those who deal with these things, is essential for prevention. Also because the direction of legislators, both national and European, and in general international, is clear. A brand, whether small or large, that moves in that direction not only avoids, as you rightly said, significant damage also at an economic level, but will also become more competitive. Because it is a change that will be inevitable anyway. If the regulations have not already come into force, they will come into force soon. Let’s say between the end of 2025 and 2030, most of the regulations will come into force and therefore we must be ready precisely to be more competitive on the market.”

Camilla: “We know that everything is part of the European Green Deal package of regulations, but with many individual states that have already moved early. We see France, which has always been a bit of a pioneer in this sense, Italy perhaps a little further behind. From a point of view that is not strictly regulatory, but of guidelines and best practices, Italy is also absolutely moving. From an advertising point of view, for example, we have seen that even the IPA (editor’s note: Advertising Self-Discipline Institute) has moved, already providing references with respect to greenwashing, recently regulated. Or for example, even the National Chamber of Fashion has developed a series of fairly substantial guidelines that give practical indications for brands, even if not strictly related to regulations but to start a change that could previously be slow, which now necessarily becomes very fast. 5 years is nothing and at the latest in 2030 all the regulations, even those that are still being discussed, will come into force. So moving is absolutely necessary.”

For those who already have a brand, but also for those who are starting it, as you said before. Also because for those who are starting it, it is logical to immediately implement something that will be here in 5 years. Is having the certification enough? Does it guarantee that we are in compliance, that we avoid risks and sanctions?

Isabella: “Let’s say that certification is certainly a useful element and an element of great value, because it goes without saying that the name already says it certifies a certain procedure and a certain production. However, it is not a sufficient element to be able to say that the brand or company is 100% protected. This is because first of all there are certifications and certifications, more rigid and less rigid, which therefore require controls, procedures by different authorities, and there are those that have more or less value in terms of protection. There are certifications that are self-produced, which therefore have a different value from a certification that comes from an impartial body, a third party obviously. On this we see that there are in reality various self-certifications that are advertised in a certain way, but in reality we must also be very careful here. Because the regulations that are in force now and that will come into force provide for the certain and verifiable value of certification only if it comes from a body outside the production activity, an impartial body and therefore also on this. we must be careful.”

Camilla: “We have seen several companies, even quite structured ones, that have produced self-certifications, certainly with experts, all useful, but not sufficient. Because self-certification is worth what it is worth. On the other hand, it must also be said that certification may not be sufficient, also because there are many certifications that qualify the product. We said before for example as natural, I am also thinking of organic cotton, but then you also have to see what other products the company offers, what other impacts the company has on the environment. Having a product certified for certain requirements does not automatically imply sustainability, because for example then on everything else you are not actually sustainable. Then we talk a lot about environmental sustainability which is a bit of a focus, it is also perhaps the most difficult part at this time to manage, but let’s remember that sustainability is also social, it is also economic. So maybe a certification is about being green, but on the other hand it doesn’t really fit in with social sustainability, with equality in the workplace, a whole series of issues that instead need to be evaluated, because sustainability is 360 degrees.”

Thank you for remembering it, because this is a fundamental concept that the more we talk about it, the more we tell about it, the better. It reminds me of another question, because we touched on the topic of green washing, in the communication section. In addition to everything that concerns the environmental impact, in reality there are also risks when you touch on other types of washing. This is something that we will explore in the workshop that we are proposing, but I ask you to mention these other types of washing that can be risked.

Isabella: “In fact, in recent years, different types of washing have been classified. We have green washing, which we talked about now. We have pink washing, that type of phenomenon whereby certain periods of the year are exploited, usually around November, when there is the day against violence against women. That type of advertising that exploits support for women’s rights or in general for women’s rights to job opportunities, equal access to job opportunities, to give prestige to their products or their marketing campaigns. The same thing goes for rainbow washing, therefore for support for the LGBTQIA+ community which often uses colors, therefore the rainbow flag, to modify the packaging of products to make the consumer associate that product with support for the specific community. We could really list many washing phenomena.”

Camilla: “It also concerns ethnic minorities, but we have also seen in other cases where support for sport is promoted for example and then it actually isn’t there. Many types of washing, actually misleading advertising, because we are talking about cases in which support is professed but then in reality it doesn’t exist. We always come back to the same thing, to be able to demonstrate, to have concrete proof of the support, of the commitment that the company or small brand actually wants to give to certain categories of people or to certain types of environmental, social well-being. We have seen in the case of rainbow washing for example Primark. It was attacked a lot precisely because it had prepared this very captivating campaign, which actually gave the impression of important support for the community, but on the other hand it then started a collaboration with Turkey and other states where in reality the rights of the LGBTQIA+ community are not actually so protected. So this contrast was created that the public didn’t like, which actually reported the conduct. From a reputational point of view it was quite heavy. The Primark case was emblematic with respect to rainbow washing.”

Thank you for giving a clearer example of what is meant and what is involved when you risk entering a somewhat delicate area, and what it means to avoid this type of risk as well.
Do regulations, in your opinion, help or complicate the work of brands that are sustainable? Are they a brake or a push for sustainable fashion? What do you think?

Isabella: “As lawyers, we think that at first glance the regulations, especially at a time like now where they can be many and fragmented, can certainly generate a lot of confusion. At first glance they can seem like an obstacle to production, to placing on the market, to freedom of communication. In reality, the global system now speaks clearly: we are in a moment where a change of direction must necessarily be made, with regard to overproduction, excessive production, the lack of a recycling system that allows for a lower environmental impact. The direction is clear as we said before. If the brand or the company decides to move in this direction and it is a decision that is actually inevitable, because sooner or later it must be done for everyone, this will allow them to be more competitive. We recommend, not because we are lawyers but in general, to take these steps, to decide to make their production compliant, to regulate their production. If done alongside consultants, sustainability consultants or lawyers, it helps step by step to create a process that is, in addition to being sustainable for the brand itself at an economic level, at an investment level, which also allows you to implement all those steps that then allow you to be protected, to work in peace, to exploit advertising marketing, but to do it in the right way. In addition to being protected from a legal point of view, also to be competitive and real, that is, to provide concrete data, true data.”

Camilla: “Paradoxically, perhaps the legislation is true that it is very varied and abundant, especially in the last period, but on the other hand it actually allows us to have very concrete, very specific guidelines that did not exist before. Before, there was a bit of this freedom whereby everyone did what they wanted and we were all sustainable, let’s put it that way. Instead, this actually allows us to qualify companies that are truly sustainable and give added value and also allow the company to understand what it means to be sustainable. They are a little complex, they need to be analyzed and the support of external consultants certainly helps, but this investment absolutely returns in everything that is a reputation, communication, the well-being of both the company and society.”

We too, as consumers, feel slightly more protected, and that we could trust a little more in the future what companies tell us, knowing that there is a system that guides and supports us from this point of view. Regardless of the regulations and the risk of sanctions, do you think that the actions that are proposed by Italian and European regulations are in any case steps that show us a serious and credible commitment on the part of the company? What do you think?

Camilla: “Certainly yes, because they give these indications on the certainty of the information that is given and this regardless of what the legislation is fundamental, because the consumer can make an informed, free choice and therefore choose to support companies that are concretely committed to their activity. This is certainly a step forward, it helps regardless of what the risk of sanctions is. Clearly a company should choose to take these steps regardless of fear, danger but for a concrete commitment to the environment, but even those who have greater difficulty understanding some dynamics the legislation can help.”

Are these steps of planning how to treat fabrics at the end of their life cycle or introducing a digital passport or designing a garment with the end of its life cycle in mind useful in your opinion? It’s not that just because the regulations tell us so, but do all these initiatives within the royal framework actually go in a sensible direction?

Isabella: “Yes, it absolutely makes sense and the direction taken is clear in general. In our opinion there is an increasing attention among consumers, associations but also by companies themselves, brands. It is all channeled in the same direction.”

We have anticipated the workshop that we are organizing together. We are pleased to launch this initiative precisely because we want small and medium-sized businesses to also be informed and ready to be in line with the regulatory framework. And not only that: within the workshop we will also touch on the part of sustainability strategy, so we have the two parts, legal and strategic. We will see all the various phases of production and also of the sale and what follows after a garment, a fashion accessory, how in all these various phases you can improve your own environmental and social impact.

To learn more, click here.

We talk to Sulakshana Chemudupati, our collaborator at Dress ECOde as a sustainable fashion consultant. She has worked for 15 years in the fashion retail industry as a design professional with successful mainstream brands in India and the UAE. We completed an MBA in sustainability management together, that’s where we met. Listen to this episode (in English): you’ll see India with different eyes!

Read the episode transcript:

Hi, Sula, I’m so happy that we finally managed to do this interview and I’m curious about India and sustainability. I have so many questions for you. So let’s start with the first one. Do you have any data about how many fashion companies, fashion brands and designers there are in India?

“The fashion industry in India is massive and rapidly growing and as you know we are a manufacturing based country. So the fashion and textile industry in the country employs around 45 million people. And it consists of both organised and an unorganised components, making it quite hard to have an exact count of the number of registered businesses, but as of 2024, according to Statista, the revenue of the Indian apparel market is close to about 105 US billion dollars. And of course this consists of businesses that are across manufacturing, so spinning, dyeing, as well as construction, garment construction, as well as independent labels, small brands, more established brands that are owned by huge groups such as Reliance Retail, Future Group and Arvind Brands.”

Wow, 45 million, definitely it’s a significant industry in your country, employing such an amount of workers. I’m curious about what kind of sustainability realities there are.

“After having worked in Dubai for about 10 years and now returning to work in the Indian market, I do appreciate the numerous lessons we have here for anyone who’s aspiring to be sustainable. We have a lot of new developments as well as inherent cultural practises that can easily be seen as naturally sustainable. We tend to use clothing until the absolute end. We pass them onto our siblings or cousins as we grow up. We repair and reuse them and it’s even a joke that we repurpose them for say. You know, cleaning around the house when they’re of absolutely no other use. This means that the lifespan of each garment is far longer than just wearing and discarding. Or at least it used to be until we’ve also had the growth of fast fashion now, but this was a common middle-class practise of really using pieces until they’re no good for anything.”

It’s fascinating to see how cultural practises like hand-me-downs and repairing garments have long been the norm in India. These traditions not only extend the life of clothing but also create emotional connection with them, something that’s missing in the fast pace consumerism many of us are used to. This is a reminder that sustainability often means looking back to go forward.

“We also have the benefit of easy access to custom tailoring. And this has always given us a way out from fast fashion. It’s made us more innovative and more creative. Apart from this, each Indian region has its own unique and beautiful textiles crafts, embroidery crafts that have been passed down for many generations. There are many Indian designers were now giving these crafts new identity and making them known globally through their successful label.”

It’s truly inspiring how Indian designers are briefing new life into traditional crafts and taking them to a global audience. This blending of heritage with modernity not only preserves these artisanal skills but also positions them as aspirational. It’s very brilliant example, Sula, of how fashion design can bridge the past in the future, creating a model of sustainability that’s deeply rooted in culture.

“And as you know, we have a traditional garment called the sari, the 9 yards of fabric, and this is often passed on from mother to daughter. And that’s an absolutely invaluable tradition because not only is that good for the environment, it’s also great to create that sense of community and every piece that’s passed down it has a story, and it creates a lot of appreciation of our textiles. In addition, the traditional methods that are involved in some of our textile crafts like Kalmakari for example, which is hand painted storytelling on fabric, uses a lot of natural ingredients to create those. So, these are aligned with the so-called slow fashion practises as we call them today. There are also several NGO’s in India that are doing a lot of impactful work in training and creating employment for rural artisans. So that looks after the social aspect of sustainability. There are brands like Fabindia, Anokhi and Good Earth which are contemporizing these crafts and through employment of these craftspeople really keeping those craft alive. So, there is a conscious preservation of these crafts, and contribution towards the social aspect of sustainability and taking care of everyone down the chain. When we come to the industrial side of things, there are many Indian textile mills and manufacturers that are really working on their sustainability standards and trying to achieve the most cutting edge certifications to be able to comply with the export countries, like the USA and the EU. And according to the Sustainable Apparel Coalition, many Indian manufacturers are adopting the Higg Index, for example, to measure and improve their sustainability performance. So, as you can see, there is a lot of sustainability both in our heritage, in our culture, as well as in modern development. To me, all of these facts are very encouraging and it shows that there is a lot that is inherent in our system.”

The adoption of tools like the Higg index shows a commitment to measurable change. It is a good example how it’s possible to mix together tradition and innovation and modernity in order to find a model that can be more sustainable, where sustainability is an advantage. Which sustainable Indian practises or realities or habits do you like most and why, Sula?

“My most beloved sustainable practise in India is definitely that of hand me downs. This year I myself inherited a pair of beautiful vintage denims from my grandmother which she wore on a trip abroad many years ago, a satin jacquard sari from my mother, a wool blazer from my father’s military days. And these are all in flawless condition. And some of them many decades old. I can’t explain in words the joy that it brings me to wear these pieces because each of them has a unique story. Each of them has travelled with these people and it’s been part of important moments in their life. When I wear these and converse about them and we talk about those stories, I feel like it makes me rethink the way I consume fashion. It slowed me down. It’s allowed me to cherish every single thing I have and look at it differently instead of constantly seeking out new objects, which I myself, I’m guilty of”.

I absolutely love your personal connection to hand-me-downs. It’s such a beautiful practise, one that combines sustainability with the storytelling. Every piece you mentioned carries a legacy, a sentiment that’s really felt when purchasing something new of the rack. It’s a reminder of the value of clothing behind its monetary worth. Let’s go deep into the sector side. Which type of sustainable realities and innovations do you think will lead the change in your country?

“The one innovation that I think is already leading the change is the extensive R&D that is being carried out in some of our countries large- and small-scale mills. In creating textiles which are compliant with international sustainability certifications, as well as artisanal textiles that are made from the most cutting-edge fibre innovations. I recently encountered a textile professional in South India who is creating a vertically integrated supply chain that will focus on plant-based silk at scale. So, it’s going to be these his uniting the rural resources, the farmers in that area to be able to provide a very, very unique innovation at a scale that can be adopted by brands in the mainstream. That is a win-win situation, and we have many such inspiring stories in our country. I think textile innovation will be at the front of that for India.”

Investing in R&D and building a robust sustainable supply chain are absolutely crucial for driving innovation in sustainability. It’s inspiring to see how Indian mills are not only advancing technologies like water-saving processes but also creating vertically integrated systems for unconventional fibres. These efforts lay the groundwork for a truly sustainable fashion model, I believe, where every step, from sourcing to production, aligns with the environmental and social goals. Are there any weaknesses in the sustainable fashion sector in India. What can be improved in your opinion?

“One of the biggest challenges and also in irony facing textile companies in India, especially the ones that are really working on their sustainable innovations, is that the adoption of these innovations within India by Indian brands is quite low. It’s not at the level that is highly profitable for them, and most of it is actually exported out of the country. I learned this while interacting with textile mills. It is because of the pricing factor. Certain innovations do come with a price. It’s when the adoption of these can increase that the pricing can also come down. It is kind of a chicken and egg situation right now. And to improve this, I think the consumers can play an important role as well. So first by creating a lot of general awareness around how devastating the fashion industry is and the environmental impacts it has in the way it’s being followed now, and how much of a positive influence Indian consumers can have by wanting to know about the raw materials, wanting to know where their products came from. Where was it dying? Where was it manufactured? Understanding all of that as well for brands to create their transparency for consumers, so that everyone can make an informed decision. This will drive change. This will improve the demand for these fabrics and, in turn, the textile companies will see an increased appetite within the Indian market for these innovations.”

You have highlighted a critical paradox. Indian textile companies produce sustainable fabrics that are more in demand internationally than domestically. This speaks to the global appeal of Indian craftsmanship but also to the need for greater awareness and accessibility within India itself. Bridging this gap could unlock so much potential for the domestic market. Do you think is it possible?

“It is a change that will take time, but I do have hope because the heightened awareness that is coming with the Gen Z consumers around environmental issues shows that there’s scope for positive transformation and for this sector to have really enormous growth and positive impact. With respect to a traditional textiles, the challenge there or the weakness there is that as soon as you scale a very traditional method and you try to meet the high volume demands of say a bigger brand, then the eco-friendly principles have to be compromised and then it’s not sustainable anymore. So that’s another big challenge on the side of the traditional textiles.”

It’s a delicate balance, scaling traditional methods to meet global demand without losing their inherent sustainability. This highlights the need for innovative solutions that preserve these eco-friendly principles while ensuring they remain viable at larger scales, if largest scales are itself sustainable. It’s a challenge, but also an opportunity to redefine how tradition and modernity can coexist sustainably. So, a question comes into my mind: are Indian consumers valuing sustainability?

“In the context of fashion, although sustainability is becoming a familiar concept in India, we have a vastly contrasting consumer base. We have an upper middle-class customer with higher disposable incomes who can think beyond their basic needs and consider the environmental impact. And according to a report from McKinsey, The State of Fashion 2020, 43% of the urban Indian consumers are willing to pay a premium for sustainable fashion products. Now, whether this translates to actual purchases is not known, but this is to say that there is a demand for it. The remaining are in an emerging middle-class. Maybe they are the first of their family in a big urban city with the growing appetite for trendy fashion. So, for this customers meeting their material aspirations first is the bigger priority.”

It’s interesting to hear about the growing willingness among urban consumers to pay a premium for sustainable fashion. However, it’s clear that affordability and aesthetics are key to converting that intent into action. This is a challenge, and an opportunity for brands to innovate and connect with a wider audience. What about the other kind of consumers?

“Currently, for the average Indian consumer to prioritise sustainable fashion, they must be able to buy it at the same price as any other clothing item, and they need to see a comparable level of aesthetics and trend relevance to what they see in the mainstream brands.”

That’s such a critical point. Price and design are often the deciding factors for consumers, especially in a competitive market. Making sustainable fashion assessable, both in cost and style, is key to shifting consumer behaviour. It’s about showing that sustainability doesn’t mean compromising on beauty or affordability but rather enhancing the value of what we wear. Do you think the Indian fashion industry will affect the global one? If yes, in which way?

“In my opinion, the evolution in the Indian fashion industry is already affecting the global scenario. It has in the past and it will continue to do so. Because of its uniqueness, some of our artisanal based luxury brands have been gaining recognition on international runways and we see them stocked in boutiques across Europe and the US, highlighting the global demand for ‘Made in India’. In recent years, we’ve also seen celebrities wearing traditional inspired Indian clothing to events like the Met Gala, like the Oscars, and its instances like this that influence consumers everywhere. I recently visited the Vienna Museum in London and saw the work of several Indian origin designers being sold in their stores that use traditional Indian textiles and that was a really proud moment for me. It reinforced the feeling that India has an influential place in the global fashion scenario.”

India’s impact on global fashion is undeniable, especially with artisanal brands and natural fibres gaining recognition internationally. But what stands out to me is how stories of Indian craftsmanship like the sari at the Met Gala are sparking global conversations about sustainability and heritage. It’s storytelling at its most powerful. Sula, you live both in Portugal and in India. Can you see differences in sustainable fashion between Europe and India?

“A big positive I see in India is that we are a country that’s very self-reliant on textile and apparel manufacturing. We also export to the rest of the world and this, alongside our very rich heritage of textiles, enables an environment for innovation and entrepreneurship in sustainable fashion. It allows lots of labels and small companies to offer really unique products. Just as a consumer scrolling through Instagram discovering all of these new and emerging labels that are based on Indian textiles that have sustainability values, I feel spoiled for choice. Where I see growth for India is in the resale market and in embracing thrift culture. Although it is emerging, you see it more prevalent with the Gen Z, and there are some influences on Instagram now as well who reveal really nice sources of shopping thrift. I think Europe is a really good inspiration for that. According to Thread Up, the online resale market in Europe is expected to reach around 32 billion in 2024. This plethora of choices that’s available through platforms like Vinted and Vestiaire Collective that even make luxury brands accessible. I think this is something that India can really grow towards. Because we also have our bridal and festive couture that is probably only worn once or twice ever, and it’s such a good opportunity to resell.”

Merging traditional low impact production with the thriving resale culture could be a game changer for sustainable fashion. On one hand it preserves the heritage and eco-friendly practises of traditional methods, and on the other resale extends the life of garments, reducing waste. Together, they create a circular model that respects both craftsmanship and environment – a true blueprint for sustainable fashion society, I think. Last questions. How much is sustainability linked to Indian culture, the ancient and modern one? Any curiosity that Europeans usually ignore?

“Indian fashion embodies sustainability through resourcefulness and reverence for materials. We have a rich landscape of Indian labels, brands and boutiques that are really leveraging our textile crafts that have been passed down through generations, creating really beautiful pieces while also educating consumers about them. We’re also seeing some upcycling services emerging, which are taking heritage textiles and saris and converting them into daily wear pieces. Apart from this, we also have in our culture several opportunities, festivals and special occasions where many people turn to custom tailoring rather than buying off the rack, which to me is an inheritance sustainability trait. I think this reinvention and celebration of textile traditions doesn’t translate as much in mainstream European fashion. While there are high end couture houses and ready to wear designers that employ artisans, we don’t see a lot of traditional textiles contemporized for High Street clothing, for example. I think it would be really refreshing to see capsule collections in retail brands that, for example, adapt traditional Belgian lace or the azulejo patterns of Portugal, and really employ traditional craftspeople in doing so. For me, that’s definitely one lesson that Europe could take away from India.”

Definitely your point about custom tailoring during festivals resonates deeply. It’s not just about creating something unique, it’s a celebration of craftsmanship and individuality. This kind of intentionality could inspire other cultures to reintroduce slow fashion practises into their mainstream traditions.

“Overall sustainability as both environmental and social aspects, and by embracing it as a holistic methodology that we can apply to our processes. Instead of treating it as an added benefit or an afterthought, we can really begin to see transformation in the industry in all parts of the world.”

I couldn’t agree more with your call for sustainability to be holistic. It’s not just an environmental challenge about a social and cultural one. By embedding these principles across every aspect of fashion, from designer care, consumer education, we can create a truly transformative industry. And I’m so happy to contribute to that with you, Sula. We are collaborating with the Dress ECOde project in order to change the fashion industry. I’m totally agree with you and our approach is holistic on that. Thank you very much Sula, ‘m so glad to collaborate with you, and thank you a lot for this interview.

Want to work with us and transform your brand in a circular success? Book a call o write us!

On average, a whopping 82% of textile waste was post-consumer waste, household and non-household sources combined, followed by an additional post-industrial waste (17%) and pre-consumer waste, accounting for 1% (European Environment Agency, 2024).

Currently, only 22% of post-consumer textile waste in Europe is collected for reuse or recycling, with about 85% of Europe’s discarded textiles ending up in landfills or incinerated (McKinsey & Company, 2022).

These figures highlight the urgent need to invest in and scale up sorting and recycling capacities in Europe. Without such efforts, an increasing amount of collected textile waste risks being sent to the Global South, where it often ends up in landfills, further polluting the environment.

Countries like Germany, France, and Italy are at the forefront of addressing this challenge through a combination of innovative solutions, legislative frameworks, and industry collaborations. Let’s have a look into the different approaches of these three countries and how they can serve as a blueprint globally.

Germany – Efficiency and Challenges in Textile Waste Management

Germany is recognized as a leader in waste management, yet the country faces significant challenges with textile waste. Germans consume approximately 19 kilograms of textiles per person annually, generating around 1.56 million tonnes of textile waste each year (McKinsey & Company, 2022). Despite a national collection rate of around 64%, the majority of textiles collected are exported, often to countries in the global south with less developed waste management infrastructures (Umweltbundesamt T. 3., 2022). Projections indicate that by 2025, textile waste per capita in Germany will increase to 17 kilograms, nearing two million tonnes annually (bvse).

The primary collection method in Germany happens through depot containers, which account for 88% of collected textiles. However, the high operational costs and declining quality of collected textiles pose significant challenges to the recycling process. The amount of textiles identified as waste during sorting has doubled, while reused textiles decreased by 7% in 2020 compared to 2015 (bvse).

Additionally, in cities like Berlin, there is a culture of “zu verschenken,” where people leave their old clothes and other items on the street for others to take for free. While this practice is well-intentioned, it often results in clothes being left in poor condition, effectively becoming waste. This underscores the growing need to raise awareness among citizens about how and where to properly dispose of old garments.

France – A Frontrunner in Legislation

France has been a pioneer in legislative efforts to address textile waste, becoming the first country in the world to establish a legal framework for managing textile waste through an Extended Producer Responsibility (EPR) policy as early as 2007. With this framework, all businesses producing clothing and textiles for the French market are responsible for the end-of-life management of their products (King, 2024). However, while this law represents a significant step forward, its effectiveness is limited because compliance is voluntary for the industry. A more binding framework covering the entire supply chain would likely be more effective in ensuring widespread adherence.

In 2022, France strengthened its commitment to waste reduction with the implementation of the Anti-Waste and Circular Economy Law. This law mandates that producers, importers, and distributors must give, reuse, or recycle their unsold products. It also introduces measures such as requiring items to be repairable, compostable, or recyclable, with sanctions for non-compliance. Additionally, the law mandates that plastic filters be installed in washing machines by 2025 to limit the release of microfibers into the ocean, significantly reducing pollution (COSH!, 2022).

France’s EPR scheme for textiles is managed by Refashion, a Producer Responsibility Organization (PRO) accredited by French authorities. Refashion oversees the collection, recycling, and disposal of textiles, with over 44,000 collection points across the country (King, 2024; Wilson, 2021). Despite this robust infrastructure, the recycling operations are not yet fully industrialized or profitable, underscoring the need for continued investment in sorting and recycling technologies to manage the growing volumes of textile waste.

One of the significant gaps in France’s EPR system is the monitoring of used clothing sold through online platforms, which complicates the recycling process. Addressing this gap, along with measures such as their tax on fast fashion, could enhance the effectiveness of France’s efforts to manage textile waste and promote a more sustainable fashion industry.

Italy – Tradition Meets Innovation

Italy is recognized for its rich textile heritage, particularly in regions like Prato, which has become a leader in textile recycling and waste management. Prato has developed an extensive system for processing post-consumer textiles, mainly focusing on wool recycling. The city houses several small and medium-sized businesses that specialize in different stages of textile production and recycling. This region is responsible for recycling a significant portion of Italy’s textile waste, with figures indicating that Prato processes approximately 22,000 tonnes of wool each year (ETC CE Report, 2024; Dahlbom et al., 2023).

In terms of overall textile waste management, Italy produced about 480,000 tonnes of textile waste in 2019, with 50% coming from the textile industry, 30% from urban waste sorting, and the remaining 20% from other activities (Consorzio Detox, 2022). Italy was also the first European country to mandate the separate collection of textile waste as of January 1, 2022, in an effort to comply with and exceed EU directives on circular economy practices (Consorzio Detox, 2022).

Despite these efforts, Italy faces several challenges, particularly the need for greater investment in recycling technologies and infrastructure, as well as addressing the fragmented nature of the country’s waste management system. Although Italy has the highest number of sorting and recycling facilities in Europe, particularly in Prato, precise statistics on sorting and recycling are difficult to obtain due to the overlap between preparation for reuse and recycling processes (ETC CE Report, 2024; The Unique Magazine, 2022).

Possible Solutions Towards a Unified European Strategy

Germany, France, and Italy each provide valuable insights into addressing the growing issue of textile waste. Germany’s focus on improving collection and sorting mechanisms, France’s legislative leadership through EPR, and Italy’s blend of tradition and modernity highlight the diverse strategies employed across Europe. However, the challenges these countries face indicate that a more unified and comprehensive approach is needed across the continent. What also becomes crystal clear is how Europe generally needs to invest more into sorting waste and support R&D in textile recycling. Here are some potential solutions and strategies that could be adopted to enhance textile waste management on a European scale.

1. Enhanced Collection Systems

Integrating advanced collection systems with AI and sensor technologies could help optimize the sorting and recycling processes. For example, Sensoneo has developed waste fill level monitoring through the use of ultrasonic beams. These technologies can streamline collection routes and improve the accuracy of sorting, thereby increasing the efficiency of recycling operations (Sensoneo, 2024).

2. Investment in Recycling Technologies

A substantial increase in investment in innovative recycling technologies, particularly for mixed fibres, is essential for the sustainability of textile recycling processes. According to McKinsey & Company, an investment of €6 to €7 billion by 2030 could enable fibre-to-fibre recycling to manage 18–26% of gross textile waste, potentially generating profits of €1.5 to €2.2 billion and reducing CO₂ emissions by approximately 4 million tons (McKinsey & Company, 2022).

3. Expansion of Extended Producer Responsibility (EPR) Schemes

Expanding EPR regulations across Europe could ensure that producers are held accountable for the entire lifecycle of their products. This would help to promote eco-design from the outset, encouraging manufacturers to create products that are easier to recycle, repair, or upcycle. However, for EPR schemes to be truly effective, they should include mandatory compliance rather than relying on voluntary participation.

4. Eco-Design and Design for Longevity

Designing products with longevity in mind is a critical strategy for reducing textile waste. Eco-design involves the systematic integration of environmental aspects from the design and development stages, ensuring that products are made to last longer, can be easily repaired, or are biodegradable. This approach reduces the environmental impact of textiles throughout their lifecycle.

5. Promotion of Repair, Upcycling, and Take-Back Programs

Encouraging consumers to return their old clothes through take-back programs, and offering incentives for repairing garments rather than discarding them, can significantly reduce textile waste. Upcycling, where designers repurpose old textiles into new garments, is another effective strategy that not only reduces waste but also creates unique fashion pieces.

6. Second-Hand Markets and Clothing Rentals

Promoting second-hand markets and clothing rentals as alternatives to purchasing new items can help curb the demand for fast fashion. By extending the life of existing garments through these practices, the pressure on production and waste management systems is reduced. This shift towards a more circular economy is essential for sustainable consumption.

7. Zero-Waste Pattern Cutting and Biodegradable Materials

Adopting zero-waste pattern cutting techniques and using biodegradable materials in the design stage are forward-thinking strategies that can drastically reduce textile waste. These methods ensure that minimal fabric is wasted during production and that the end products have a lower environmental footprint when they reach the end of their useful life.

Conclusion

By joining forces and prioritizing collaboration between countries within the EU, sharing best practices and knowledge, and investing in new technologies, Europe can lead the way in creating a more sustainable future for the textile industry. The road ahead is challenging to say the least, but with a genuine effort and more investment for innovation, the vision of a circular economy for textiles is within reach. A unified European strategy that incorporates these solutions will not only address the current issues but also pave the way for a more sustainable and responsible fashion industry.

Inge Duiker

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Renewcell

Renewcell is a Swedish company known for its technology that recycles cotton T-shirts and jeans destined for landfill into a new material, Circulose, which can be used by spinners and weavers to create lyocell or viscose which is normally obtained from the deforestation of millions of trees. Circulose has been used by H&M, Levi’s, Tommy Hilfiger, Calvin Klein and Zara to produce new clothing.

At the end of February, Michael Berg, chairman of the board of directors of Renewcell, announced the bankruptcy in a press release: “This is a sad day for the environment, our employees, our shareholders, and our other stakeholders, and it is a testament to the lack of leadership and necessary pace of change in the fashion industry”. Nicole Rycroft, founder of Canopy, described the news as a “sobering moment” for the global fashion industry (Just Style).

The bankruptcy came just over a year after Renewcell’s flagship factory opened. What exactly happened?

• Insufficient support along the value chain: Despite the commitment of more than 15 leading brands, including H&M, Levi Strauss & Co, Ganni and Inditex (Zara), demand for the product has been lower than expected, leading to a lack of sufficient long-term financing for the continuation of the business. For example, H&M had agreed to purchase 18,000 tonnes by 2025. Renewcell revealed that it had not received any orders in November 2023. While brands have made promises, they have often failed to deliver on them effectively. Using more sustainable materials just for a capsule collection does not make  the large-scale production of these alternatives viable.

• Obstacles in the supply chain: Renewcell’s business model has faced challenges due to the lack of vertical integration and connections along the supply chain. This may have made it difficult to control the entire process and scale the business efficiently (Nikolay Anguelov, public policy expert at the University of Massachusetts Dartmouth, to Drapers). Furthermore, the lack of national infrastructure for circular fashion processes has further hindered progress.

• Management: According to Scandinavian Mind, the company has shown signs of unstable leadership, highlighted by the resignations of spokespeople Harald Cavalli and Nora Eslander, who were replaced by a high-profile marketing executive based in New York. The sudden dismissal of CEO Patrik Lundström, followed by a share sale ahead of a negative earnings call, further undermined confidence in management.

• Pioneers’ challenges: As is often the case in emerging industries, early players like Renewcell face significant obstacles. Progress in these industries is frequently uneven, dependent on massive and critical adoption (Rycroft to Fast Companies) and support across the entire value chain. Furthermore, some established players may resist by seeing pioneers as a threat to their dominance in the industry.

• Weak collaboration and stakeholder engagement: Companies in the industry recognize the importance of collaborating and involving key players. No single company can transform the entire supply chain alone or bring an entirely new supply chain to market. Even if the conditions are there for a revolution in the sector, the fashion value chain is not quite ready to support the pioneers (Just Style). Collaboration between companies is necessary.

• Competitiveness: The challenge with the competitors lies in comparing the cost of cheaper virgin fibers to more sustainable options like Circulose, which tend to have a higher market price. According to Rycroft, Circulose’s relatively high cost reflects its status as a leading innovation on the market. Renewcell expected to be able to lower the cost in a few years (Green Biz). This comparison highlights the fashion industry’s short-term approach and its focus on profits. For many businesses, particularly those listed on the stock exchange, achieving optimal profit margins remains a priority, despite growing attention to the environment and ethics (The Interline). Renewcell’s business model, which requires brands to order Circulose recycled dissolved pulp, places an additional burden on them. This deviates significantly from usual fiber sourcing practices, as most brands are unfamiliar with the origin of the fibers used in their fabrics. A brand may be pressured to choose between a more expensive but sustainable material, investing in a future supply chain, or continue to use less expensive and less eco-friendly materials to maintain short-term profitability. The situation reflects a broader trend in the fashion industry, which shows a reluctance to support and adopt innovations necessary to ensure long-term sustainability. Growing demand coupled with limited supply has no history of reducing prices, making it clear that the industry must take significant steps to meet future challenges (Forbes).

• Sustainability and logistics: Despite sustainability efforts, Renewcell’s international shipping practices have raised questions about the true sustainability of the process. Sending Circulose textile fiber to China for further production raises questions about the overall sustainability of the production cycle. Furthermore, due to the characteristics of the chemical recycling process, the Renewcell solution is mainly applicable to textile production waste, rather than to post-consumer textile waste.

• Lack of financial support: Lack of adequate funding and pressure to achieve rapid returns on investments have been key factors hindering the growth of Renewcell’s (Drapers) sustainability initiatives. Despite advanced negotiations with major shareholders and financiers, including H&M, BNP Paribas and the European Investment Bank, along with other potential investors, they have failed to secure the liquidity and capital needed to support business operations. The lack of long-term financial support has put business continuity at risk. Renewcell attributed this situation to the current capital market climate, highlighting the difficulty in raising funds for future strategic developments and the orientation towards rapid returns on investments (ROI). These factors led to the difficult decision to file for bankruptcy, despite confidence in the company’s long-term potential. Global interest in sustainability is constantly growing. However, obtaining funding at this crucial time has proven to be a difficult task. The role that sustainable materials play in combating climate change is relevant, but many people still view their long-term feasibility and scalability with skepticism. As a result, many investors are directing their funds towards sectors considered more profitable or less risky, for example artificial intelligence.

Mylo

Mylo is an innovative material developed by the US company Bolt Threads. It is a biomaterial derived from mycelium, the fibrous part of mushrooms. Mylo is designed to be a sustainable alternative to animal leather, offering an eco-friendly option for the fashion and design industry. The production of Mylo involves the controlled cultivation of mycelium, which is then processed and treated to obtain a leather-like material, but without the use of animals. Mylo has attracted the interest of several companies in the fashion and design sector who are looking for more sustainable materials for their products. Bolt Threads has collaborated with brands such as Stella McCartney, Adidas, Kering, Hermes, demonstrating the potential of this biomaterial in helping reduce the environmental impact of the fashion industry.

At the end of June 2023, Bolt Threads paused production of Mylo. “We’re not immune to the macroeconomic pressures that everyone else is facing, so we’ve put Mylo on hold to rethink what works and what will work in the future,” Dan Widmaier, CEO of Bolt Threads, tells Vogue Business.

In addition to the impact of inflation, financial support was found to be substantially insufficient, preventing the product from reaching significant commercial scale. Widmaier stressed that interest and adoption of alternative materials by luxury brands has not been enough to ensure Mylo’s success. Despite collaborations with prestigious brands and the commitment of figures such as Stella McCartney, Mylo has struggled to achieve the scalability necessary for an effective market introduction.

The future of sustainable fashion

Renewcell’s decline has sparked a wave of global concern, including over its supply chain. Factories and waste handlers in Bangladesh, Turkey and Kenya, previously partnered with Renewcell for disposal and reuse, are having to look for alternatives (Forbes).

The stories of Renewcell and Bolt Threads are a sign of the need for greater commitment and collaboration from companies and governments to adopt and support circular practices. The Canopy founder urged all stakeholders in the fashion industry to align their actions with sustainability promises and fully embrace available market solutions for real change.

It is not a constructive choice to create “sustainable” capsule collections: a broader, long-term commitment is needed.

In response to the failure, members of the Circulose Supplier Network are launching a campaign to “save” Renewcell, highlighting the importance of coordinated action by various stakeholders to promote sustainability solutions. Burak Orhan Arifioglu, a board member of yarn seller Karacasu Tekstil in Turkey, is circulating a petition on LinkedIn urging other suppliers to continue developing Circulose fibres (Green Biz).

However, there is still optimism for the future of sustainability in the fashion industry. As new directives and regulations come into force globally, it is crucial that the entire industry invests more and prioritizes long-term gains over short-term ones. The European Union has announced a series of new regulations that will push clothing companies towards more sustainable practices, thus providing a potential boost to future demand.

Established investors and industrial giants must understand the importance of supporting start-ups like Bolt Threads and Renewcell to ensure that the industry’s green revolution does not get stuck in its infancy.

With investor support, corporate commitment and a long-term regulatory environment, the industry can make great progress in the fight against climate change. It is only through collective commitment and a long-term vision that we can hope to transform the fashion industry into an example of sustainability and environmental responsibility for future generations.

Source: Drapers; Just Style; Fast Companies; Green Biz, The Interline; Forbes.

With the upcycling of the most diverse materials, the ecological dresses walk the catwalk in Frasso Sabino (province of Rieti). An unmissable appointment. Every year the creativity of recycling designers shows how it is possible to look at what we would otherwise throw away as waste with different eyes.

The clothes parade through the streets of the small village under a clear sky, among the tables arranged for the occasion. In the jury, we observe them one by one to evaluate the complexity of the realization, the recycling of materials, the originality, the creative commitment. In the meantime, a special dinner cooked in a pot and without meat is served.

Thanks to Serena, Simona, the artists, the Frasso Sabino pro loco for their commitment to creating an important initiative to raise awareness on issues that are important to us, such as those of waste and more sustainable fashion.

13 are the dresses competing this year. We describe them one by one: they will amaze you for the often unusual materials for the creation of a runway dress!

Which would you have chosen? What do you think is the most ecological?

First place: Patria (Donata Claps)

It is a reproduction of the Ukrainian national costume created by the artist as an anti-war cry. Would you ever guess what it was made of? Patria is a dress that stands out as such, has no trace of waste, makes you forget about recycling and brings back to fashion.

Made with: disposable surgical masks, hospital gauze, plastic plates and bottles, garbage bags, plastic hay bale twine, umbrella cover, ears of corn.

Second place: Flapping of wings (Joy Fumi Akinseye, Sundus Saeed, Valentina Ferrari from Sartoria Sociale KORE)

Created by three designers and pattern makers from three different countries (Nigeria, Pakistan and Italy), the dress wants to convey at the same time the lightness of a butterfly’s flight and the threat of its extinction, with the hope that nature will regenerate itself.

Made with: garbage bags, kitchen filters, bubble wrap, plastic construction site net, clear plastic, dusting duvet, Coca-Cola bottles, electric cables.

Third Place: Opposites Attract (Vive e cattive Show)

Quattro colleghe hanno voluto riutilizzare i rifiuti prodotti durante il lavoro per creare un abito che richiamasse proprio la loro attività. “Il positivo e il negativo, il pieno e il vuoto che si completano alla perfezione, bianco e nero che rappresenta lo yin e lo yang, le forze opposte da cui tutto si origina”, così descrivono il vestito.

Realizzato con: film in resina di colore nero, scarto di stampa termica, impianto in pellicola litografica, polietilene espanso residuato da operazioni di imballaggio e confezionamento, carte di protezione lastre per stampa litografica, cartoncino di scarto derivato dalla fustellatura di scatole.

Four colleagues wanted to reuse the waste produced during work to create a dress that recalled their professional activity. “The positive and the negative, the fullness and the emptiness that complement each other perfectly, black and white representing yin and yang, the opposing forces from which everything originates”, so describe the dress.

Made with: black resin film, thermal printing waste, lithographic film plant, expanded polyethylene residual from packing and packaging operations, protection papers for lithographic printing plates, waste cardboard derived from the punching of boxes.

Short circuit (Simona Toma)

Inspired by the artist’s experience, who says of himself: “Being in short circuit requires the strength to dismantle, reshuffle and relaunch the self”.

Made with: corks, mosquito net, plastic straws, iron hanger.

Flames and weaving (School of arts and crafts Nicola Zabaglia – Monica Cosimi, teacher; Cristiana Pompei, teacher; Maftuna Halimova and Angelina Saura, students)

Students and teachers created a sculpture dress that recalled the flames of incinerators. The waste becomes a whole of intertwining in the fusion.

Made with: strips of photographic paper scraps, ribbons, nylon canvas scraps, plastic sticks, bottle caps, coffee capsules.

Tree (Valeria Zingaretti)

As the musical dress passes, the sounds of nature are heard. They come from the swaying of harmoniously inserted sticks to dress us with what nature itself offers.

Made with: waste woods collected on the beach, beige organza.

Controversial (Erika Petrozzi)

Created with medical waste, the artist wishes to make us reflect on the hope of life and rebirth, after a long period of suffering.

Made with: masks, drug capsules, fishing line.

Green hope (Andreina and Eleonora Amodeo)

Soft and wide, the dress is an invitation to build a future without waste with hope and common sense.

Made with: construction site cloth, masks and masks holders, coffee capsules.

CambiaMenti (Associazione Carta Bianca)*

The only men’s suit in the competition was created with the intention of making people reflect on the changes that man is bringing to the ecosystem, to modify mentality.

Made with: paper, mosquito nets, metal structure of disused umbrellas.

*wordplay: it literally means ‘changes’ but in Italian sound like ‘change minds’

Rain of colours (Nadia Assogna)

1,710 discs cut one by one from thrown umbrellas to create 95 pom poms, hand-sewn to form flower petals on the bodice and skirt. Care and patience for a stunning result. “I would like no one to abandon broken umbrellas and any kind of waste on the street”, explains Nadia. “Do not leave waste on the street! It costs you nothing but the world gains in health”.

Made with: umbrellas of various colors and sizes now unusable collected over the years with the collaboration of friends and relatives, an old bra, wire frame, plastic and metal hoods.

The rebirth (Centro Antiviolenza Angelita from Rieti)

With this dress, the artists send a clear and strong message: “We must free the planet from the suffocation of plastic as well as every woman from all forms of violence”.

Made with: garbage bags, plastic bottles, cans, straws.

Relax (Laura Toma)

Laura was inspired by the film “Freakout” with its story full of magic, extraordinary and hateful characters, but with a great desire to improve the world and make others feel good. A meticulous interweaving of commonly used wraps and other scraps: you wouldn’t say it’s made with Easter egg cards!

Made with: Easter egg and snack wrapping, cushion lining, flower bouquet net, beer and plastic bottle caps, plastic bottles, rubber bands.

My footprint (Simona Malerba)

The intent of the dress is to lead us to reflect on the ecological footprint that each of us leaves on the planet through our choices. What we eat, the way we dress, our behaviors. Everything leaves an indelible mark.

Made with: scraps of bath sponge, bubble wrap and packaging scraps, plastic hooks made from shower curtains, toilet paper rolls, paper clips, a bunch of wheat and an olive leaf.

Here we wrote about the previous editions: find out the dresses of the past fashion shows!

Photos by: Gregorio Maria Mattei, Dress ECOde, Francesco Franceschi, Sara Gentili. Video by Dress ECOde.

Textile consumption in Europe has the fourth largest impact on the environment and climate change, after food, shelter and mobility.

The strategy implements the commitments made under the European Green Deal (#EUGreenDeal) and the new action plan for the circular economy. The EU thus begins to define end criteria for textile waste used not only as clothing, but also for household, cars, medical equipment, buildings and many other applications. The strategy aims to propose actions for the entire life cycle of textile products, supporting the ecosystem in the green and digital transitions, even in the design and consumption phases of fabrics. The Commission will work to enhance resource-efficient manufacturing processes, reuse, repair and other new circular economic models.

EU Environment Commissioner Virginijus Sinkevičius said the committee wanted fast fashion to go out of fashion: “By 2030, textiles placed on the EU market should be durable and recyclable, made to a large extent by recycled fibers”.

Re-use and repair

The strategy encourages Member States to support re-use and repair practices at national, regional and local levels and to adopt tax cuts and other tax measures to facilitate their adoption. The EU is proposing new rules that foresee a mandatory minimum use of recycled fibers by 2030 and a ban on the destruction of many unsold products.

Microplastics

The Commission wants to address the unintended release of microplastics from synthetic fabrics, considering measures to prevent and reduce it through product design, improvement of production processes, pre-washing in industrial production plants, labeling and promotion of materials innovative.

Export

The Commission will work to limit the export of textile waste and increase transparency and sustainability in the trade in waste and textiles by promoting sustainable textiles globally. To avoid the mislabeling of waste as second-hand products, the strategy foresees the development of criteria to distinguish it correctly.

Social

The strategy proposes the promotion of decent and fair working conditions, in particular with reference to gender equality, because most of the textile workers in the world are women (70% -80%). Through the Better Work program, the Commission continues to support partner countries to improve working conditions and comply with international labor standards.

The proposal also includes the introduction of a sustainability obligation for large companies to address negative impacts on human rights and the environment throughout their global value chain.

Consequences for producers and companies

The sector will have to commit to reducing the environmental footprint and introducing the principles of circularity. The Commission is working to support the transition process by preparing a roadmap to develop and streamline industrial technology research and innovation and by making financial support available (under Horizon Europe’s European Partnerships, the LIFE programme, and the Digital Europe Programme for the development of skilled experts to support the textiles industry in its digitalisation).

Give your feedback

The Commission invites all stakeholders and in particular SMEs, public authorities, social partners and research organizations to express their views on how best to achieve the transition while strengthening resilience. Anyone interested can provide feedback through an online survey and follow-up workshop.

Source: European Commission

Puoi ascoltare qui l’articolo: Strategia Tessile EU

Il consumo di tessili in Europa ha il quarto maggiore impatto sull’ambiente e sui cambiamenti climatici, dopo cibo, alloggio e mobilità.

La strategia attua così gli impegni presi nell’ambito del Green Deal europeo (#EUGreenDeal) e del nuovo piano d’azione per l’economia circolare. L’UE inizia infatti a definire i criteri di fine vita dei rifiuti tessili utilizzati non solo come abbigliamento, ma anche per la casa, le automobili, le apparecchiature mediche, gli edifici e tante altre applicazioni. La strategia vuole proporre azioni per l’intero ciclo di vita dei prodotti tessili, supportando l’ecosistema nelle transizioni verde e digitale, anche nelle fasi di progettazione e consumo dei tessuti. La Commissione si impegnerà per potenziare i processi di produzione efficienti sotto il profilo delle risorse, il riutilizzo, la riparazione e altri nuovi modelli economici circolari.

Il commissario per l’ambiente dell’UE, Virginijus Sinkevičius, ha affermato che la commissione voleva che il fast fashion uscisse di moda: “Entro il 2030 i tessuti immessi sul mercato dell’UE dovrebbero essere longevi e riciclabili, realizzati in larga misura da fibre riciclate”.

Riutilizzo e riparazione

La strategia incoraggia gli Stati membri a sostenere prassi di riutilizzo e riparazione a livello nazionale, regionale e locale e ad adottare riduzioni e altre misure fiscali che ne favoriscano il ricorso. L’UE propone nuove regole che prevedano un uso minimo obbligatorio di fibre riciclate entro il 2030 e il divieto di distruzione di molti prodotti invenduti.

Microplastiche

La Commissione vuole affrontare il rilascio involontario di microplastiche da tessuti sintetici, considerando misure di prevenzione e riduzione del fenomeno attraverso la progettazione dei prodotti, il miglioramento dei processi di produzione, il prelavaggio negli impianti di produzione industriale, l’etichettatura e la promozione di materiali innovativi.

Esportazioni

La Commissione lavorerà per limitare l’esportazione di rifiuti tessili e aumentare la trasparenza e la sostenibilità nel commercio dei rifiuti e dei prodotti tessili, promuovendo tessuti sostenibili a livello globale. Per evitare l’etichettatura erronea dei rifiuti come prodotti di seconda mano la strategia prevede lo sviluppo di criteri per distinguerli correttamente.

Sociale

La strategia propone la promozione di condizioni di lavoro dignitose ed eque, in particolare con riferimento all’uguaglianza di genere perché la maggior parte dei lavoratori tessili nel mondo sono donne (70%-80%). Attraverso il programma Better Work, la Commissione continua a sostenere i paesi partner per migliorare le condizioni lavorative e conformarsi alle norme internazionali del lavoro.

La proposta include anche l’introduzione di un obbligo in materia di sostenibilità per le grandi aziende di risolvere gli impatti negativi sui diritti umani e sull’ambiente lungo tutta la loro catena del valore globale.

Conseguenze per produttori e aziende

Il settore dovrà impegnarsi nella riduzione dell’impronta ambientale e nell’introduzione dei principi di circolarità. La Commissione è al lavoro per sostenere il processo di transizione, preparando una tabella di marcia per sviluppare e razionalizzare la ricerca e l’innovazione della tecnologia industriale e mettendo a disposizione supporto finanziario (nell’ambito delle Partnership Europee di Horizon Europe, del programma LIFE e del Programma Europa Digitale per lo sviluppo di esperti qualificati a sostegno dell’industria tessile nella sua digitalizzazione).

Dai il tuo feedback

La Commissione invita tutte le parti interessate e in particolare le PMI, le autorità pubbliche, le parti sociali e gli organismi di ricerca a esprimere le proprie opinioni sul modo migliore per realizzare la transizione, rafforzando nel contempo la resilienza. Tutti gli interessati possono fornire feedback attraverso un sondaggio online e un workshop di follow-up.

Fonte: Commissione Europea

About 550 kg of clothes were analyzed in the first ever study on fibers thrown into textile collection containers.

Developed by INTEXTER * of the Universitat Politècnica de Catalunya (UPC)) and student Beatriz Rodríguez of ESEIAAT **, the study is included in the report Análisis de la recogida de la ropa usada en España (Analysis of the collection of used clothing in Spain)***.

Analyzing the composition of the textile products in the bins through an innovative methodology, the research shows that:

• 62% of the clothes contained in the bins are reusable and 37% are recyclable. The most common fiber is cotton, with 50% in recyclable clothing and 60% in reusable clothing. Polyester follows, with 30% in both types. Cotton and polyester account for approximately 80% of recyclable clothing and 88% of reusable clothing.
• Acrylic, polyamide, wool and rayon viscose represent a much lower percentage. In the case of acrylic fiber there is a notable difference between recyclable garments, which represent 12.4%, and reusable garments (3.1%). Acrylic fiber is commonly used in outdoor clothing which is more likely to deteriorate during use, so the reuse rate of these garments is lower than recyclable.

According to INTEXTER director Enric Carrera, “In light of the analysis, we can say that the recycling strategy of post-consumer textile waste should focus on recovering and reusing 80% of the predominant fibres, namely cotton and polyester”.

The study also includes an analysis of the fiber composition of 700 garments from some of the leading fashion brands.

T-shirts, sweaters, jeans, underwear, socks and shirts from Zara, H&M, C&A and Mango reveal that 66.8% of garments are made of mixed fibers, thus significantly limiting the recycling potential. Only 37.3% of the garments studied are made 100% with a single fiber.

The compositions analyzed are not entirely representative because depending on the season (winter/summer) they can vary considerably, the study is therefore to be considered indicative.

Regarding home textiles, 361 articles were analyzed.

Sheets, towels, tablecloths and curtains from Ikea, Zara Home, H&M Home, 10xDIEZ and Carrefour are mainly made with a single material (80%). The most common fibers are cotton, polyester, linen, viscose and lyocell, in that order. Sheets and towels are made primarily of 100% cotton, while tablecloths and curtains of 100% polyester, although binary blends of cotton and polyester or cotton and linen are also used.

UPC’s INTEXTER also carried out an extensive literature review of existing studies on how much CO2 is saved by reusing clothing.

According to the study, carried out with an accurate methodology, the estimate of CO2 savings by reusing 1 kg of clothes is higher than what the EU has outlined so far ****: one kilo of unwanted clothes is enough to avoid the production of 25 kg of CO2.

It doesn’t seem like it, but with small gestures such as recovering, modifying, repairing, donating or selling clothes that we no longer use we can help improve everyone’s quality of life! In the Upcycling section of the site you can read some articles on the subject.

*Terrassa Institute of Textile Research and Industrial Cooperation.

**Terrassa School of Industrial, Aerospace and Audiovisual Engineering.

***Made by the Cáritas cooperative Moda re- and the LAVOLA consultancy company.

****3.169 kg of CO2 saved for every kg of unwanted clothes.