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.

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Ogni anno la Fondazione H&M organizza il concorso Global Change Award, avviato nel 2015 per favorire il passaggio da un’industria della moda lineare a circolare. L’obiettivo è favorire la ricerca, il supporto e la diffusione di innovazioni dirompenti.

Sono stati da poco annunciati i vincitori dell’edizione 2019. Il nostro preferito? Clothes that Grow!

The Loop Scoop – Il progetto mira a passare da un modello “Take-make-waste” a un modello circolare in cui materiali e risorse preziose vengono utilizzate e riutilizzate di nuovo proponendo un sistema digitale che specifica come ogni scelta di materiale, taglio e produzione dell’indumento influisca sul pianeta, fornendo ai progettisti conoscenze e strumenti su come progettare con intento riciclabile. Le specifiche vengono quindi salvate come identità digitale, che i consumatori possono scansione per per accedere alle informazioni sulle migliori opzioni, incoraggiando i consumatori a riutilizzare, aggiornare o riciclare il loro abbigliamento.

Team: Ina Budde, Jonna Haeggblom
Nazione: Germania
Azienda: circular.fashion
www.circular.fashion

Sane Membrane – Questo progetto vuole offrire un’alternativa a coloro che amano la natura e desiderano indossare abiti che non causino danni all’ambiente, per via delle sostanze nocive aggiunte ai capi per aumentarne la resistenza a pioggia e intemperie. L’idea è una soluzione biodegradabile  non tossica, a base minerale e priva di fluoro che svolge il lavoro in modo altrettanto efficace ma naturale. Può essere aggiunto a qualsiasi tipo di indumento sotto forma di una membrana micro-sottile che protegge dagli elementi in modo sostenibile.

Team: Mario Stucki, Anna Beltzung
Nazione: Svizzera
Azienda: dimpora
dimpora.com

Sustainable Sting – Il progetto propone la coltivazione dell’ortica, per ricavare un tessuto sostenibile simile al lino, dove può crescere naturalmente al contrario di altre piante:  in pendii ripidi e difficili da raggiungere, dove l’irrigazione è difficile e i macchinari non arrivano. Gli avanzi di processo possono essere usati per fare carta e coloranti naturali. Oltre a fornire potenzialmente opportunità di lavoro e nutrienti a oltre 200.000 piccoli agricoltori in tutto il Kenya, il tessuto organico all’ortica è un’alternativa ecocompatibile ai tessuti convenzionali.

Team: Jonah Mwangi, Esther Muthoni, Sophia Mwai, Susan Macharia
Nazione: Kenya
Azienda: Green Nettle Textile

Clothes that Grow – Questo progetto presenta un’innovazione in attesa di brevetto per risolvere il problema dei vestiti dei bambini che nei primi due anni di vita crescono di 7 taglie. La soluzione è produrre abiti resistenti e accattivanti che crescono con il bambino, con una vasta gamma di taglie da 9 mesi a 4 anni. Ispirati dall’ingegneria spaziale e dalle geniali tecniche di piegatura degli origami per massimizzare il volume in una quantità minima di spazio, questi indumenti sono antivento, antipioggia e piegati in modo tale che le parti superiori e inferiori del capo possano espandersi e adattarsi a ogni bambino per anni.

Team: Ryan Mario Yasin, Arabella Turek, Fanny Lefebvre-Nare, Alicia Martinez-Rodriguez
Nazione: Regno Unito
Azienda: Petit Pli
petitpli.com

Lab Leather – Il progetto propone una vera alternativa alla pelle di origine animale, che ne eguagli tutte le proprietà uniche. La pelle Lab è derivata da fiori e frutti esotici peruviani, rendendola biodegradabile al 100% ed è possibile imitare virtualmente qualsiasi texture, colore, tenacità o spessore della pelle desiderata.

Team: Isemar Cruz Loayza, Jacqueline Cruz Loayza, Maria Pia Soto Rodriguez
Nazione: Peru
Azienda: Le Qara
www.leqara.com

English – Global Change Award: the 5 winner innovative projects towards a circular fashion industry

Every year the H&M Foundation organizes the Global Change Award competition, launched in 2015 to encourage the transition from a linear fashion industry to a circular one. The goal is to promote research, support and the scaling up of disruptive innovations.

The winners of the 2019 edition have just been announced. Our favorite? Clothes that Grow!

The Loop Scoop – The project aims to move from a “Take-make-waste” model to a circular model in which valuable materials and resources are used and reused again by proposing a digital system that specifies how each choice of material, cut and garment production affects on the planet, providing designers with knowledge and tools on how to design with recyclable intent. The specifications are then saved as a digital identity, which consumers can scan to access information on the best options, encouraging consumers to reuse, update or recycle their clothing. 

Team members: Ina Budde, Jonna Haeggblom
Country: Germany
Company: circular.fashion
www.circular.fashion

Sane Membrane – This project aims to offer an alternative to those who love nature and want to wear clothes that do not cause damage to the environment, due to the harmful substances added to the garments to increase their resistance to rain and weather. The idea is a non-toxic biodegradable, mineral-based and fluorine-free solution that does the job just as effectively but naturally. It can be added to any type of garment in the form of a micro-thin membrane that protects from the elements in a sustainable way.

Team members: Mario Stucki, Anna Beltzung
Country: Svizzera
Company: dimpora
dimpora.com

Sustainable Sting – The project proposes the cultivation of nettle, to obtain a sustainable fabric similar to linen, where it can grow naturally as opposed to other plants: in steep and difficult to reach slopes, where irrigation is difficult and machinery does not arrive. Process leftovers can be used to make natural paper and dyes. In addition to potentially providing job opportunities and nutrients to over 200,000 small farmers across Kenya, organic nettle tissue is an environmentally friendly alternative to conventional fabrics.

Team members: Jonah Mwangi, Esther Muthoni, Sophia Mwai, Susan Macharia
Country: Kenya
Company: Green Nettle Textile

Clothes that Grow – This project presents a patent-pending innovation to solve the problem of clothes for children who grow 7 sizes in the first 2 years of life. The solution is to produce resistant and attractive clothes that grow with the child, with a wide range of sizes from 9 months to 4 years. Inspired by spatial engineering and ingenious origami folding techniques to maximize volume in a minimal amount of space, these garments are windproof, rainproof and folded in such a way that the upper and lower parts of the head can expand and adapt to each child for years.

Team members: Ryan Mario Yasin, Arabella Turek, Fanny Lefebvre-Nare, Alicia Martinez-Rodriguez
Country: Regno Unito
Company: Petit Pli
petitpli.com

Lab Leather – The project proposes a real alternative to animal skin, which equals all its unique properties. Lab leather is derived from Peruvian exotic flowers and fruits, making it 100% biodegradable and it is possible to imitate virtually any texture, color, toughness or thickness of the desired skin.

Team members: Isemar Cruz Loayza, Jacqueline Cruz Loayza, Maria Pia Soto Rodriguez
Country: Peru
Company: Le Qara
www.leqara.com