Green Fashion

7/21/2019 Green Fashion

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SUMMER PROJECT

ON

RAJAT VATSYAYAN (ROLL- 15)

SOMNATH NANDY (ROLL- 26)



ACKNOWLEDGEMENT

We hereby acknowledge that the content of this report on green fashion is true to our

knowledge and ability. We wish to thank our college, National institute of fashion technology for

providing us this opportunity. I am grateful to our Course Coordinator Mr. Jyoti Prakash

Behra, Assistant Professor for providing us this opportunity. We also wish to etend our

sincere gratitude to our mentors Mr. Bikas Agrawal, Assistant Professor ! Mr. J. Pari

Assistant Professor for their constant help and support.

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TABLE OF CONTENT

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A growing range of factors distinguish ethical from traditional fashion, including use of

sweat shop free labor, energy efficient processes, alternative energy, and low impact dyes

in manufacturing. &owever, to the etent that fashion consumers make an effort to choose

an ethical wardrobe, they usually do so by trying to pick up an eco:friendly fabric. 0he birth

of sustainable fashion started with the "71<s tree:hugging hippie dedication to locally

grown, pesticide:free, and handmade goods, but has grown into one of the mostsophisticated and highly influential markets in the world, and has spread its value:based

philosophies to every nook and cranny of the business, in the hopes of making the world

better through fashion. 5arge companies like Esprit , Patagonia, Speedo, Gap, H&M

and Nike have made progress toward ethical standards. Industry pioneers, such

as Katharine Hamnett and Linda Loudermilk carved the way and continue to set standards

for new fashion leaders to look to. Correct identification of materials=fibers and product

development processes can significantly reduce the overall environmental impact. 0he

choice of materials during the design phase can also considerably reduce the cost of

disposal at the end of the life stage. 0he challenge for retailers, however, is to identify

materials that are both eco:friendly and available at a commercially viable price. Customers

can be motivated to go for green fashion by increasing their level of awareness about the

merits of eco:friendly clothes on the one hand and environmental ha>ards of the production

process involved in non:eco:friendly fibers.

#NT!OD$CT#ON

W*' DO WE NEED G!EEN FA*#ON+

• 0he re,-r-osi/g o0 te1tiles is often considered the most responsible mode of eco:

fashion. In the nineteenth century, dresses were sometimes reworked to correspond to

changing silhouettes?a testament to the lasting value of tetiles. 0oday, numerous

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http://www.esprit.com/sos/esprit/what.php?WYSESSID=rpwxnxsg

http://www.patagonia.com/us/footprint/index.jsp?src=vuca0045

http://www.warnaco.com/index.cfm/category/1/section/88/content/260/

http://www.gapinc.com/content/csr/html/MakeADifference.html


http://about.hm.com/us/corporateresponsibility__responsibility.nhtml

http://nikeinc.com/pages/responsibility

http://www.katharinehamnett.com/

http://www.lindaloudermilk.com/











designers engage in methods of @upcycling, creating fashionable, new garments from

worn materials.

• Practices associated with growth o0 /atral 0i2ers or the 3a/0a4tre o0

sy/theti4s result in some of fashionBs most environmentally destructive

conseuences. Add to that the carbon emissions and impact of growing non:organic

cotton, which uses petrochemical fertili>ers and leads to reduced soil fertility, soi

erosion, water pollution and reduced biodiversity

• Waste materials from te1tile 5yei/g a/5 -ro54tio/ have historically resulted in some

of the most conspicuous forms of air and water pollution. In the nineteenth century,

some dyes contained highly toic chemicals, such as arsenic. 0oday, there are a

number of sustainable dyeing practices, ranging from technology:based digital to the

rediscovered art of hand:dyeing.

• 6ality 4ra0ts3a/shi-, convertibility, and uniueness are sometimes viewed as key to

the creation of clothing with lasting value and emotional connectivity?effectively

reacting against the @fast fashion cycle.

• 0he health and treat3e/t o0 i/5stry workers plays a key role in the historical roots of

eco:fashion. In the ;nited tates, garment workersB unions were established to ensure

fair labor practices and worker safety. 4ore recently, production outsourcing has raised

concern about the treatment of workers overseas.

• 0he treat3e/t o0 a/i3als in producing fashion has long been a subDect of debate, and

the use of fur, feathers, and animal skins in fashion has been viewed as both luurious

and barbarous. As the debate continues, many of todayBs designers use ethically:sourced furs, while others utili>e a variety of cruelty:free alternatives.

• It has been shown that the children and infants are highly sensitive to chemicals that are

used in synthetic material. Eapors from these chemicals can aggravate symptoms in

older people and those with respiratory problems.

W*AT # G!EEN FA*#ON+

A growing range of factors distinguish ethical from traditional fashion, including use of sweat

shop free labor, energy efficient processes, alternative energy, and low impact dyes in

manufacturing. &owever, to the etent that fashion consumers make an effort to choose an

ethical wardrobe, they usually do so by trying to pick up an eco:friendly fabric. 0hree criteria

are primarily used to distinguish the creation of eco:friendly from ordinary fabricsF

• 0he use of fewer toic chemicals

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• 0he use of less land or water, !

• 0he reduction of green house gases

ome fabrics perform better than others across all three of these criteria. &owever, in many

cases, one fabric is more preferable according to one of the criteria, than others, making for

complicated choices even without factoring in differences in fabric ualities, cost, labor

conditions or carbon footprint of product transportation.

ustainable fashion is part of the larger trend of sustainable design where a product is created

and produced with consideration to the environmental and social impact it may have

throughout its total life span, including its Gcarbon footprintG. According to the 4ay %<<2 Eogue

sustainable fashion appears not to be a short:term trend but one which could last multiple

seasons. (esigners say that they are trying to incorporate these sustainable practices into

modern clothing rather than producing @dusty, hippy looking clothes. GAt least 6,<<< chemicals

are used to turn raw materials into tetiles and %$H of the worlds pesticides are used to grow

non:organic cotton. 0his causes irreversible damage to people and the environment, and stil

two thirds of a garments carbon footprint will occur after it is purchased.G

*co:fashion is about making clothes that take into account the environment, the health of

consumers and the working conditions of people in the fashion industry. *co:fashion clothes

are made using organic raw materials, such as cotton grown without pesticides and silk made

by worms fed on organic tree. 0hese items dont involve the use of harmful chemicals and

bleaches to color fabrics are often made from recycled and reused tetiles. In addition, high:

uality garments can be made from second:hand clothes and even recycled plastic bottles.

BACKG!O$ND

0he birth of sustainable fashion started with the "71<s tree:hugging hippie dedication to locally

grown, pesticide:free, and handmade goods, but has grown into one of the most sophisticated

and highly influential markets in the world, and has spread its value:based philosophies to

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every nook and cranny of the business, in the hopes of making the world better through

fashion.

In the "7$<s the social elite wore couture and those who could not afford it followed fashion by

making their own clothes. 0he 1<s and 2<s marked the birth of mass production as fashion

houses started to manufacture clothes overseas at lower costs. In response, the environmenta

movement began in the "72<s, soon after hippie values had made a noticeable effect onfashion. hops selling ethnic:inspired clothing that supported communities in various ways

started to pop up all over. People began to purchase clothing for the values it represented and

not solely because they liked the way it looked. *ven with this new focus on social and ethics

values in the fashion industry, in the 6<s and 7<s mass production grew in an overwhelming

way and news of sweatshops caught worldwide attention along with understandable criticism

0he battle between values:based production and purely financially driven production stil

continues to this day, despite ethical fashion having provoked a revolution.

4any things have changed. )ver the years, sustainable fashion lost its look of sewn togethe

patches of burlap and tie:dyed fabrics that looked like canvas which were never going to make

it down a Jfashion weekB runway. *thical consumerism in the fashion industry now involves

every aspect from farming through to manufacture and development, constantly evolving and

keeping those of us who are following the movement on our toes, but most of all, incessantly

focused on the look and feel of the products.

5arge companies like Esprit , Patagonia, Speedo, Gap, H&M , and Nike have made progress

toward ethical standards. Industry pioneers, such as Katharine Hamnett and Linda

Loudermilk carved the way and continue to set standards for new fashion leaders to look to.

Popular design houses such as Stella McCartney and Kuyichi are relentless in continuing to

raise the bar with new designs and higher standards each season. -air trade certifications

have been developed and continue to be revised and improved, to fight the deplorable

eistence of sweat shops. hows such as Estethica at 5ondon -ashion Week and he Green

Sho!s at New 'ork -ashion Week have been developed to facilitate and present the ever:

impressive works of sustainable fashion innovators worldwide.

T#MEL#NE7

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http://www.stellamccartney.com/default/

http://www.kuyichi.com/

http://www.londonfashionweek.co.uk/estethica

http://www.thegreenshows.com/











http://www.stellamccartney.com/default/

http://www.kuyichi.com/

http://www.londonfashionweek.co.uk/estethica





"71<F 8irth of sustainable fashion.

"72<F hops selling ethnic inspired clothing.

"76<F 4ass production started, people had become concerned about chemicals in

fabrics, particularly flame retardants in the polymers of synthetics.

"77"F -ashion entrepreneur afia4inney, who set up an environmental campaigning

N+).

"77%F (enim brand 5evi trauss uses sweat:shop labor.

"776F 8ritish -airtrade fashion company +ossypium began.

%<<1F *stethica : the ethical fashion arm of 5ondon -ashion Week was launched.

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!EPO!T BOD'

CA!BON FOOTP!#NT OF TE8T#LE

Fi2ers 9 'ar/s

0he energy needed to produce different fibers varies accordingly. -ibers can be divided into

natural and man:made fibers. -or natural fibers, energy is utili>ed in the form of mechani>ed

irrigation which runs on non:renewable fossil fuels of diesel ! gasoline that emit C) into the

atmosphere. Also the use of pesticides and synthetic fertili>ers for % harvesting the yields is a

maDor component for the carbon footprint. -or e.g. making Dust one ton of Nitrogen fertili>er

emits nearly 2 tones of C) euivalent greenhouse gases. % -or synthetics, very high amount

of energy is needed to both etract the oil from the ground as well as to produce the polymers

as it is done under high temperatures. Production of polyester fiber, the most widely used man:

made fiber, consumes non:renewable resources and high energy levels and generates

atmospheric emissions. A study done by the tockholm *nvironment Institute concludes that

the energy used to create " tone of spun fiber is much higher for synthetics than for natural

fibers. Acrylic is 3<H more energy intensive in its production than polyester and nylon is even

higher than that. 0he table shows the amount of energy

used in the production of various fibers which gives us a fair idea about the C)% emissions of

different fibers.

E/ergy se5 i/ the -ro54tio/ o0 :arios 0i2res

-ibre *nergy in 4K per kg of fibre

-la -ibre "<

Cotton $$

Wool 13

Eiscose "<<

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Polypropylene ""$

Polyester "%$

Acrylic "2$

Nylon %$<

FAB!#C

0here is no dramatic difference in the amount of energy needed to weave fibres into fabric.

&owever the manufacturing of some fibres into fabric is more energy intensive than other

fibres. Petroleum:derived synthetic fibres like polyester and nylon and the @natural man:made

fibers such as lyocell and rayon generally reuire additional energy to cook and reduce wood

pulp into the liuid solution that is forced through spinnerets to become a fibre which is straight

made into a nonwoven fabric. esidues from fibre preparation sometimes emit pollutants

during heat setting processes. 0he spinning, weaving and knitting stages use a lot of energy,

produce solid waste and generate dust and noise and also involve the use of lubricants and

oils to strengthen and protect the fabrics from the stresses of processing. 0his translates into

huge uantities of fossil fuels : both to create energy directly needed to power themills,

produce heat and steam, and indirectly in the form of many chemicals used in the production

of the fabrics.

TE8T#LE P!OCE#NG9F#N#*#NG

0etile processing ! finishing are applied to the fibre or fabric for value addition. 0hey basically

comprises of pretreatment, dyeing, printing and finishing processes which use a significant

amount of water, energy and chemicals thus producing substantial amounts of effluent.

Chemicals used for finishing contain heavy metals like copper, chromium and cobalt !

formaldehyde. 8leaching also done prior to dyeing is 1 times more epensive ! is only active

at temperatures above 1<LC thus making the process energy intensive. 8efore "7$1, the

maDority of clothes were dyed using natural dyes, but technological changes, industriali>ation !

population growth brought about a rapid increase in tetile production.

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END P!OD$CT MAK#NG

0he final stage of making a fabric into" a finished tetile product reuires designing,

merchandising, scheduling productions and making of prototypes. 0his phase adds to the

carbon footprint in the form of electricity which is needed to run machines like electric cutters,

sewing ! fusing machines, steam iron sets etc. Also the boilers used to generate steams, used

in pressing consume a lot of diesel fuel thus adding to the carbon footprint.

$AGE 9 D#POAL OF T*E END P!OD$CT

It is a phase when the garment reaches the consumer and this phase has a high negative

impact on the environment. Washing, drying and care for the clothes decides how high these

impacts are. 5aundering contributes highly to the carbon footprint. 0he carbon emissions are

created to generate the electricity used to wash clothing in warm temperature water and

tumble dryers. 0he maDor part of environmental impact in the lifecycle of a garment arises from

the consumer use phase which is a recurring phase during maintenance and irreversible

phase when non:biodegradable substances are disposed off.

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COMPONENT OF APPA!EL L#FEC'CLE

0he cost of adhering to environmental regulations escalates as the apparel lifecycle enters

higher stages. 0he concept and design phase of the product lifecycle is the least capita

intensive and most effective for reducing the overall environmental impact of manufacturing

apparel. 0he cost of green compliance is highest while disposing of retired items of clothing.

Correct identification of materials=fibers and product development processes can significantly

reduce the overall environmental impact. 0he choice of materials during the design phase can

also considerably reduce the cost of disposal at the end of the life stage. 0he challenge for

retailers, however, is to identify materials that are both eco:friendly and available at a

commercially viable price. 0hat being said, retailers should do their best to find greener

alternatives to environmentally unfriendly materialsM when pure green alternatives are not

available, low environmental impact fibers can be used. An eco:enabled P54 can help

designers make such choices.

upply chain optimi>ation can also save energy. Consolidating the geographical widespread

apparel product lifecycle for eample, by positioning local offices and distribution centers

close to supply chain partners can cut down the cost of transporting raw materials and

finished products. Innovative software and information systems plot smarter delivery routes

that optimi>e transportation costs. uch savings can compensate for high green raw materia

costs and maintain the profitability euilibrium.

0he entire apparel lifecycle has a significant negative environmental footprint. )ptimi>ation of

the following three focus areas can ensure the creation of sustainable apparelF

(esign and development o *co friendly materials, fabrics, composites and colors

o 4anage local and global regulatory complianceo 5ess resource=energy intensive process

upply chain management o educe overall transportation carbon footprint

o 4inimal and eco friendly packaging

o *fficient storage and distribution

Product disposal o Improved recycling, reuse and recovery

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o 4inimal solid= landfill waste

C*ALLENGE #N C!EAT#NG ECO LABEL

No consolidated data repository on green attributes and toicity levels of appare

components such as fabrics, dyes, composites, buttons and packaging materials.

Earied regulatory reuirements for different countries and apparel categories.

Insufficient transparency in the sourcing process to firmly establish green credentials

8alancing the fashion and comfort uotient of apparel made with eco:friendly materials.

Precisely calculating the overall green uotient and )I during the design stage.

5ack of information on and availability of eco:friendly materials and suppliers.

Inadeuate knowledge among designers and manufacturers regarding green

characteristics of apparel components.

G!EEN PLM FO! FA*#ON

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$REEN PLM %&'%a()*&+

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8y enforcing green strategy at design stage retailers can ensure sustainable product

development with minimal cost of green compliance. +reen P54 adds a layer of processes around the regular P54 framework to ensure that

the individual processes address environmental concerns and the end product is

environmental friendly. Ouick )I analysis will yield information about commercial viability of green apparels

thus allowing retailers to implement a successful and profitable green label strategy. ;sing green P54, the environmental impact at different stages of the apparel lifecycle

can be effectively assessed and the most eco: compatible and financially feasible

designs can be marketed. -or instance, green P54 can automatically replace different components of the

proposed apparel designs like buttons, threads, fibers, >ippers, colors etc with eco

friendly substitutes, and display the eco:friendly versions along with their cost

components such as raw material, manufacturing and shipping.

KE' CAPAB#L#T#E OF G!EEN PLM

0he following are the key capabilities of +reen P54F

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$REEN APPAREL PLMRE$ULAR APPAREL



*co:indeing of green characteristics of materials, composites, dyes, fabrics and other

components. ingle window view of wide ranging environmental and regulatory compliance

reuirements. &igher visibility in procurement and manufacturing operations to validate the green

credentials of eco labels and meet reuisite traceability reuirements.

*nterprise:wide green alignment and measurement of internal and eternal compliance

with green guidelines through reporting and alerts. Precise )I calculation during the design phase.

e:engineered supply chain to enable both green sourcing and minimal transportation

carbon footprint.

ECO,F!#ENDL' FAB!#C

&ere we can put a look at some of the new fibres which are considered to be eco friendlyF

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BAMBOO , 8amboo is a grass, so it is biodegradable and has the ability to breathe. As

the fastest growing plant in the world, it is also highly renewable. It has antibacterial and

antifungal properties. 0he fabric is soft, luurious, stretchy, comfortable, and strong

great for daily wear and active wear.

8A48))

CO!N F#B!E , 0he starch and sugars are etracted from corn, and processed to make

a fibre called Natureworks P5A. 0his process is currently being done by Cargill (ow

Polymers, and the resulting fabric is called Ingeo. 0he fabrics are comfortable and can

resemble cotton, silk and wool, but with a lower cost, easier care higher durability and

superior wicking capabilities. COTTON ; O!GAN#C , Non:organic cotton accounts for approimately "< percent of

the worldBs pesticides, and %$ percent of the worldBs insecticides. 0hese chemicals are

associated with health conseuences such as cancer, birth defects, and asthma. Non:

natural bleaches and dyes release further toins. )rganic cotton is grown chemical:free,

and the tetiles are often dyed with natural dyes.

*EMP , &emp plants grow uickly and densely. 0hey reuire only an average amount

of water and are pest:resistant. 0hey do not reuire herbicides, pesticides, or fertili>ers.

&emp can be spun into yarns with minimum processing. 0he fibres are more durable,

absorbent, and insulating than cotton. M#LK #LK , +oatsB eggs are mied with genetic material from spiders, so that the

female goals produce milk that contains silk fibres. 0he resulting fibre is biodegradableand durable. 0he downsideF its genetic engineering, and kind of gross.

!EC'CLED POL'ETE! , 0he polymer from recycled soft drink bottles is melted and

etruded as a new fiber. It reduces energy consumption and saves raw materials. 0he

polyester is more fire retardant, easy to clean, and inepensive. A particular brand of

polyester *copun04Q is a warm and durable fleece popular among back:packers.

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O' #LK , oy silk is made from the by:products of tofu. 0he liuid is etruded into

fibres, which are dried and then spun into yarns. 0he high protein content allows it to

easily absorb natural dyes. 0he fabric is soft, luurious and breathable, as well as

durable and washable. It is often referred to as @vegetable cashmere. WOOD P$LP , 5yocell and 4odal are two fabrics produced in a solvent:spinning

process from wood pulp. 0he resulting fabric is very smooth and supple, which is good

for sensitive skin. It also has very good wicking properties, keeping moisture away from

the skin. WOOL ; O!GAN#C , Wool is a renewable resource, and natural dyes can be used. -or

organic wool, the livestockBs food is organic, and no growth hormones or synthetic

insecticides are used.

)+ANIC W))5

G!EEN FA*#ON B!AND

P*I

P*I is an eceptional eco friendly fashion brand. Clothes are made eclusively from organic

cotton, reclaimed silk, and tencel fabric. 0encel fabric is softer than cotton and is made

sustainably from the cellulose fibers of sustainable tree farms.

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Rkano )rganic Cotton ocks

Rkano makes athletic socks and fashion socks for both women and men. Rkano also makes

really cute striped socks, too. Rkano socks are certified organic cotton, made from natural

fibers without bleach, and use low:impact dyes which are better for the environment.

)lsenhaus

)lsenhaus makes eco:friendly shoes from sustainable materials like cork and organic

cotton.)lsenhaus also makes shoe fabric from recycled 0Es. Polyester microfiber is spun from

old:fashioned television screens.

*;* (enim

*;* denim is made from recycled Deans from waste in the denim tetile industry in China.Chinas landfills are overflowing with waste from the tetile industry, and ethical manufacturing

policies are enforced to protect workers. 0he Deans are made from 6<H recycled denim.

LAN#F#C#O NELLO GO!#

5anificio Nello +ori produces fabrics that are Cardato egenerated. 0he mill is located in the

Prato region of Italy. According to 5anificio Nello +oriBs ; agent +iovanni CarlesiF @Cardato

egenerated is an ecological product based on the concept of reuse. 0hese fabrics are C)%

neutral and have >ero impact on the environment. 0o bear the mark JCardio egenerated C)%

neutralB, fabrics mustF

S be made with at least 2<H recycled material clothing or scrap materialQ

S have their C)% emissions accounted for, their producers having purchased, from the

Chamber of Commerce, emission credits corresponding to the volume of production

concerned.

CAE T$D'

Peo-le Tree7 Desig/i/g 5i00ere/tly

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People 0ree, the 8ritish:Kapanese fair trade fashion company, has a design process which

sets them apart from other fashion brands. 0heir trend conscious designs are built around

traditional skills and utili>e hand:weaving, hand skills and organic cotton to maimi>e

employment. 0hey commit to increasing orders from their network of producers year on year to

build continuity and community and start their design process with these producersB skills in

mind.

8ackground

People 0ree began life as +lobal Eillage in Kapan in "77" and launched its ;T operations in

%<<". 0he ethos of the design is to creatively eplore ways in which to balance wellbeing of

makers with delight for wearers. 0hey are manufacturers of fashion and accessories for men,

women and children. 0here is a simple idea behind the company Jfor every beautiful garment

People 0ree makes, thereBs an eually beautiful change happening somewhere in the worldB

0he driver behind the brand is founder and C*) afia 4inney who has been awarded an 48*

and has been recognised in the Asian 8usiness Awards for her work with Asian producer

communities. 0he company was also awarded the W+N +lobal -ashion Awards and &igh

treet -ashion 8est *thical -ashion Awards in %<"< for fashion and accessories.

0he company has offices in Kapan and 5ondon, responsible for design, sourcing retail and

producer capacity development. 0heir core customers are %$:#< year old females, however

they also sell a significant amount of organic cotton babywear, kids ! teen tees, and menBs

clothes. 0he companyBs main outlets are its online store and selling product through 1<< fair

trade shops in *urope and Kapan, as well as in 0opshop and Kohn 5ewis on the ;T high street.

World -air 0rade )rgani>ation

People 0ree is a design:led company that sees clothing as a vehicle for poverty alleviation.

0hus its focus is on community centered sustainability through economic stability, skills

preservation and low impact production methods. 0he company aims to maimi>e use of loca

skills hand:woven fabrics, hand screen printing and hand embroideryQ to create employment

0he company is a member of the World -air 0rade )rgani>ation. It works closely with fifty fair

trade groups in marginali>ed communities across fifteen countries including 8angladesh

working along the supply chain from growing cotton to weaving and embroidery to stitching.

People 0ree producers are also involved in community development and training for workers.

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In 8angladesh, they work with the community proDects wallows, Artisan &ut, -olk

8angladesh, and Tumundini.

Alongside a focus on the wellbeing of the people involved, focus is given to ecologically

sensitive methods of sourcing and production. $<H of their cotton is organic and -airtrade

certified by -airtrade International. 4ore than 76H of People 0reeBs products are imported by

sea from their fair trade producers in the developing world, thus saving energy.

0he design process starts with a Jkick offB meeting between the People 0ree teams in the ;T

and Kapan, who work collaboratively to plan fabrics, colour palettes and share inspiration.

(esigns are inspired by trends, but more fundamentally by the producers they work with.

People 0ree design, production and technical teams regularly visit producers to get to know

their capabilities, check uality and resolve any problems. 0he designers start the process by

thinking about the skills of the people they will be working with. &ow can those skills be best

utili>ed/ Will there be a market for those products/ &ow can the design process enhance and

develop the skills of the producers/ People 0ree invests heavily in promoting -air 0rade and

awareness of the environmental problems with conventional fashion to build customer

awareness. *ssential to the balance between buyer and maker is the prereuisite timescales

Preparation for a new collection starts up to eighteen months ahead, a whole fashion season

ahead of the high street. 0his means that producers can plan their production, preventing the

bottlenecks prevalent in mainstream fashion that can result in unpaid overtime to fulfill orders

and insecure employment due to peaks and troughs in orders. People 0ree designers ordertheir fabric from source, right down to ordering specific cotton plants to be planted to provide

the perfect cloth for their collection.

E8TENT OF AWA!ENE AMONG C$TOME! ABO$T G!EEN FA*#ON

0he etent of awareness regarding green fashion among Indian citi>en is considered to be

uite low. 0his is the reason that green fashion has not become sustainable in indiainspite of

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the increasing awareness about environmental degradation , environmental pollution and its

ha>ardous effect on the health of the people.

0able "F Percentage distribution of customers according to their age group and awareness

about green fashion

Age gro- Flly aware o3ewhataware

Not aware at all Total

$- to %< years &=.> %?.& =>.? =<<

%= to &( years %=.? %).& %=.? =<<

A2ot &( years ).% "(.< )?.? =<<

Total %< %&.( %(.( =<<

It may be seen that proportion of customers who are uite aware about the properties about

the fibres used in green fashion decreases with increase in their age group. 4ore than half in

the age group upto 3< years are uite aware as against only less than one fourth %3.7HQin the

age group of 3" to #$ years and less than one seventh "$.%HQ in the age group above #$

years . as the calculated value of chi:suare is much higher than its table value at # degrees of

freedom ,the association between age group and awareness about properties of eco

friendlyfibres or green fashion seems be highly significant.

!EAON FO! NON,POP$LA!#T' OF G!EEN FA*#ON

0he reason of non popularity of green fashion has to be looked into two different lines

"Q Why tetile industry is not prone to green fashion and%Q Why customers are not giving preference to green fashion

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0hose concerned with tetile industry well knows that this industry is ecological most harmful

industry in the world .0he eco:problems in tetile industry occur during some production

processes and are carried forward right to the finished product. In the production process of

bleaching and then dyeing, the subseuent fabric makes a toin that swells into our

ecosystem. (uring the production process controlling pollution is as vital as making a product

free from the toic effect. 0etile industry owners are also uite aware that the utili>ation ofrayon for clothing is adding to the fast depleting forests in India.

o far the tetile industry is concerned for non:popularity of green fashion, mainly due to the

following drawbacksF

In some cases, using green products and materials will cost much more than using

conventional materials. 0hey fear that the increase in cost will make clothes more costly

and beyond the reach of ordinary middle class families in India compels them for using

conventional material. 4oreover, 0ime is another area where going green is a disadvantage according to

tetile manufacturers. 0he tetile industry that goes green needs to spend time

researching the best ways to make the transition to green. In addition, the industry needs to locate sources of green material and green products

and make sure that personnel are properly instructed in the use of the new products.

CONCL$#ON

At last, we can discuss some ways to populari>e green fashionF

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Customers can be motivated to go for green fashion by increasing their level of

awareness about the merits of eco:friendly clothes on the one hand and environmenta

ha>ards of the production process involved in non:eco:friendly fibres.

Clothing labels generally reveal what fibers are used to make a garment and how to

clean it. &owever, those labels dont outline all the chemical finishes applied to the

garment or the environmental impact of the manufacturing process. If it is mademandatory for the tetile industry to specify clearly and prominently the adverse affect

and ha>ards of environment on non:eco:friendly clothes, people will become aware

themselves and donBt go for clothes made of such fibres.

0here is need to develop environmentally:responsible or JgreenB marketing in India and

intensively campaign for it. +reen marketing is a business practice that takes into

account consumer concerns about promoting preservation and conservation of the

natural environment.

+reen marketing campaigns highlight the superior environmental protection

characteristics of a companys products and services, whether those benefits take the

form of reduced waste in packaging, increased energy efficiency in product use, or

decreased release of toic emissions and other pollutants in production. 0his campaign

along with the ready availability of eco:friendly clothes and their affordable cost may

help sustaining green fashion in India. -armers should be encouraged to grow organic cotton and other eco:friendly fibres. As

the growth process of the harvested fibers does not involve chemicals, harvesting such

fibres will reduce the cost. +overnment should purchase these fibres for onward supply to tetile industry and give

incentive to tetile industry for giving due cast of these fibres to the farmers. Checks

should also be made on synthetic fabrics, such as polyesters, nylons, and acrylics

which have adversely affect human body and help in degrading the environment.

B#BL#OG!AP*'

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• httpF==www.infosys.com=industries=retail=white:papers=(ocuments=green:plm:fashion:

apparel.pdf UIN-)'V +reen P54 for fashion ! apparel, (esigning Profitable *co

labels, 0anu(eo harma, Christopher &all

• httpF==www.cardato.com=media=press=tetilesXenvironment.pdf U*co:-riendly -ashion

and the, +reen Consumer, 8y Kames 4endolia, of Parsons 0he New chool for

(esign, New 'ork

• httpF==www.imageinstitute.com=files=*co:-riendly-ashion.pdfU*C):-I*N(5'

-A&I)N Taren 8runger, 8&*c, AICI CIP

• httpF==www.ecofashionworld.com=Industry:News=*co:Criteria:eries:Part:I:8rief:

&istory:of:*co:-ashion.html

• 4ahaDan, urabhi F )rigin and -unctions of ClothingF A Note, Kournal of

National (evelopment, Eol. %#, No. " ummerQ, %<"", pp. %37:%##, IN <72%:63<7.

• . Kain, anDay T. and Taur, +urmeet F +reen 4arketingF An Indian Perspective,

+lobal 8usiness eview, Eol. $, No.%, %<<#, pp. "62:%<$, IN <72%:"$<7.

• 4annarswamy, 8anumathi F A tudy on the *nvironmental Awareness and the

Changing Attitude of the tudents and Public in Coimbatore towards +reenProductsF esearch Kournal of ocial cience and 4anagement, Eol. ", No. 2NovemberQ, %<"", pp. 2$:6#, IN %%$":"$2.

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Green Fashion

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