We Impact Report Sustainability in Fashion

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We Impact Sustainable Lifestyles in China.

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We Impact - Sustainability in Fashion – Futures beyond the Hurdles Date: 14.10.11 Author: Christina Rebel – We Impact UK

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Introduction The fashion industry is fully integrated across the global economy. Facilitated by the globalization of production, brands gained access to cheaper production facilities in developing countries and a growing consumer base to purchase their products. Over 26 million people are now employed in the global garment industry, involving farmers, textile producers, weavers, designers, brand developers, advertisers, exporters and more1. Clearly, the future of fashion will have an impact on the livelihoods of all those involved in its production through to retail. The focus of this report is to expound on the environmental and social impacts of the garment industry, detailing the current impediments to sustainability. Taking a holistic approach, the analysis will start with fiber production, textile production and finishing, garment manufacturing, and end with the role of the consumer. In doing so, the environmental effect across the supply chain will be thoroughly considered.

The garment industry is woven into the fabric of our global economy The report will situate China at the centre, as it currently holds the position of largest exporter of textiles since 19952. China takes the lead in terms of market share of the global garment industry3, and is followed by the European Union, Turkey and Bangladesh4. According to Cotton Incorporated, China had produced an estimated three items for every person in the world – a total of 17.8 billion garment products in 20065. As garment trade continues to move towards China, a focus on the hurdles and promises of the industry within the country will proceed to the global industry as a whole. There is a definitive interest for China as well, seeing that the fashion sector accounts for 7.6% of its total trade volume6. In effect, a strategic move towards sustainability in the fashion sector will heed benefits to both China and the world. As the state of the garment industry in relation to sustainability is explored at its different stages, the report will consider the possibilities that can be harnessed for brands, designers and consumers alike. Presenting examples of sustainable and ethical apparel brands that are rebranding an alternative path to fashion will provide the examples. Throughout the discussion of a garment’s supply chain, the report weaves in designers from across the globe as evidence of a growing global community seeking an alternative future for fashion. In doing so, their work will be championed and this will illustrate a more positive outlook to the current state of environmental disregard in the industry.

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Fiber Production Starting with the processes that create the textiles for the garments that designers create and consumers purchase, the environmental impact of this initial process largely depends on the fibre in question. To a great extent, fibre production is limited to a narrow range of materials, largely dominated by cotton with an exponential demand for man-made fibers like polyester7. China is currently experiencing a shortage of cotton supply to satisfy the requirements of their textile factories8, despite their total of 50,000 mills in the country9. This dependency on cotton drains water at an appalling rate, requiring 8,000 liters of water for the cultivation of 1 kilogram of cotton10. With estimates revealing that the water table in China – an important insight to the state of aquifer depletion, a non-renewable resource – is dropping more than a meter each year11, this sends alarm signals for a change in strategy. According to the Institute of Materials, Minerals and Mining, in the production of a kilogram of cotton nearly 500 grams of pesticides and fertilizers are required12. For those workers in the cotton industry, already enduring severe hardship in the fields, a mere drop of aldicarb absorbed on their skin can prove fatal – a pesticide employed in 26 countries13. Organic cotton provides a pesticide and fertilizer-free alternative to standard cotton, and China is proving to be a vital support base for its production and is currently the third largest producer after Turkey or India14. A switch to organically produced textile would ensure a significant reduction in the toxic impact of the garment – according to Well Dressed Report, over 90% fall in toxicity15.

More than 25% of the world’s pesticides are used in cotton crops, even though cotton accounts for only three percent of total world crops16.

Regarding polyester, a different game is in play that prescribes its unsuitability as a sustainable fibre. Whilst in relative terms to cotton it is water efficient, polyester is manufactured as a by-product of petrochemicals, not to mention the oil that is required to convert it into fibre17. Moreover, the creation of polyester emits effluents into the water system that include volatile

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monomers and solvents that drastically pollute waterways18. Polyester also discharges antimony oxide, and whilst its use remains lawful it has been recognized as a carcinogen19.

This graph illustrates the unsustainable qualities of popular textiles20

There is a need for a diverse array of fibre options to secure a sustainable future in the production of fibers for garments, as no-one fibre will be the solution. Innovation in organic fibers is an exciting development that has been bolstered by resource scarcity and companies with a long-term vision into materials. They range from recycled fibres to wild silk, and wood pulp based LycoCell to soya cashmere. Take a look at the following designers that have all appropriated this innovative tack in materials to their brands:

Linda Loudermilk has been applauded for her capacity to marriage gorgeous design with ecologically innovative materials. Named as the ‘Vivienne Westwood of Eco’ by Elle Magazine, her collections demonstrate that sophistication is part and parcel of high-end sustainable fashion. She even uses SeaCell© technology – a variant of Lyocell, a cellulose derived from 100% sustainable wood pulp and seaweed.

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Camille Wellton – the philosophy of her brand taps into the growing interest in slow fashion and investment dressing, by ensuring that all her garments are made to measure for tailor-fit comfort and style. All her garments use sustainable materials to enhance the design and fit of the design as seen in her tan colored coat made from luxurious moleskin, a plant fibre based textile. She also uses certified hemp-silk materials, bamboo cotton and modal, an experimental textile made from Birch trees. For the daring lovers of Camille Wellton’s coat designs, there is also the opportunity to mix and match elements of different designs to create your unique sustainably beautiful coat.

La vie by Jenni Lie - drawing cultural cues from both western and eastern design, her design oozes class and timeless elegance. She trained in Italy as a Fashion Designer and returned to Shanghai to develop her Chinese lifestyle brand. The curated popularity of La Vie has driven her to expand her business into bridal designs and mothercare. She insists her designs use eco-friendly materials, not only because it is beneficial to the environment but most importantly because it's pleasant to touch and visually stunning.

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Prophetik by Jeff Garner – with avant-garde designs for both men and women, his ready to wear garments are stocked in high-end boutiques across the world. In 2010, he was named Eco Men’s Designer of the Year at London Fashion Week. Raised in a horse farm in rural Tennessee, his attachment to nature is evoked in his designs. Novel materials like greenspun fleece made out of recycled bottles and hemp softened with baking soda also places his designs at the forefront in the industry in terms of fibre innovation. The Battalion by Linda and Chrys Wong – trademarked as ‘modern purveyors of green luxury’, these two sisters signal the most sought after trends and current eco friendly materials in the creation of their edgy and eloquent garments. Established in 2006, The Battalion is an expression for those iconoclastic individuals seeking unique flair to their lifestyle. It began with fabricating coats and jackets manufactured with cashmere sweaters recycled from rag mills to what is now one of the most regarded eco-designers in this flourishing sustainability industry. They adore “peace” silk – known for its name as it processed using silkworm cocoons without killing the pupae inside. Alongside the faux fur made from synthetics mixed with recycled plastics, and wood pulp fibers, all their textiles are sourced from Shienzen, China.

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Textile Production and Finishing What is also known as the ‘wet processing’ – the pretreatment, dyeing, printing, finishing and coating, and washing of a textile – is a concern for the environment for the volume of water it discharges and the chemical compounds that the effluent water generates. Especially in the dyeing process, harmful substances are generated from the coloring and metals of the dye itself, the dispersing and anti-foaming agents that assist the dye formulation, the supplementary alkali, salts and oxidizing agents required, and the left over residues of pesticides of the fiber21. This matter is evident in denim capital, Xintang, suffering of converted blue lakes because of the dyes required for the production of jeans22. To tackle this matter, Levi Strauss & Co developed the Water<Less initiative that reduces average water consumption by 28 percent and up to 98 percent in their new models23. Unique to denim production, the process of sand blasting that gives the jean its’ worn look has been attacked by fair trade campaigns for its link to silicosis, a potentially lethal pulmonary disease24. Thanks to the efforts of the Clean Clothes Campaign, brands like H&M and Gucci have publicly banned the use of sandblasting, whilst Dolce & Gabanna still remains to ignore the call25. In the case of wool, the greasiness and impurities inherent in the natural fibre requires a process of scouring – that of wet cleaning before yarn manufacture – that results in more than 1.5kg of sludge for every kilogram of scoured wool26. Both for cotton and wool, a switch to organically produced textile ensures a significant reduction in the toxic impact of the garment – according to Well Dressed Report, over 90% fall in toxicity27. A study by the LCA suggests that in the entire lifetime of a viscose dress, more than 19% of green house gas emissions will be attributed to the dyeing process28. In the case of nylon, it is not only energy intensive but produces emissions of nitrous oxide, the deadliest of greenhouse gases29. For polyester, dye applications only work at a temperature at 100 degrees Celsius or higher, resulting in further intensive energy consumption30. That said, the required energy for the preparation of materials during the ‘wet process’ for further manufacturing also depends on the shades of dye, where darker shades require more rinsing than lighter dyes. The preparation of the textile need not be as water inefficient, energy consuming and toxic as it typically has been. Many textiles have a natural color that can be harnessed for unique designs, natural pigments can be a suitable color wash and if a designer has to stick to dyes, there are cleaner options available. The following designers prove the case: Icicle – There is a reason why this brand is China’s largest eco-friendly clothing manufacturer. They make quality workwear for both men and women, with classic designs that defines its simplicity. Founded in 1997, the brand now boasts more than 60 stores across China. Much more than a temporary trend, Icicle proves that sustainable fashion is here to stay and flourish. It constantly pioneers new textiles with a proven track record in sustainability, and also provides a distinct collection of undyed fabrics as an extra.

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Snoozer Loser by Sonia Tay – a green light in Shanghai’s fashion scene, its alternative feel is evident in the wide range of dresses, blouses, pants, accessories and scarves. Their designs have the definitive vintage look, seen in this boho inspired birdcage sketch on an organic cotton scarf. What’s best is that all their textiles are hand-dyed with natural pigments, proving its exterior quality is matched with the life philosophy of Sonia Tay.

Finch Designs by Heather Kaye and Itee Son – Based in Shanghai, their clothing exemplifies durability and quality with its exclusive patterns that puts a name to the brand. Tuned into the sustainable possibilities of natural fibers, they also recognize the aggravating effects of the dye process to water pollution and have sought low-impact dyes that not only don’t require toxic mordant but also provide for a long lasting finish to their unique garments, like this kimono loungewear piece. What’s more, their aim is to have a Carbon Neutral Design Collective facility by 2012 in the outskirts of the metropolitan city.

Elena Garcia – her designs for women of all ages are not just aesthetically pleasing, they too are dye safe. Using dye free from metal, amine and other toxic compounds, since she made her swap she has been convinced. Fusing exquisite style with a real sense of environmental responsibility, there is a reason why she received so much attention in past Eco Chic Shanghai Catwalks.

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Manufacturing It is at manufacturing process of a garment that the possibilities for greater sustainability within the fashion industry focuses more on the social concerns. The fierce competition for cheaper production that has been fostered by globalization has driven down wages and led brands to turn a blind eye to the working conditions of garment workers31. Most garment workers are women and migrants, with a desperate need for work in order to sustain their families in their rural communities32. In effect, their collective bargaining position is weakened and they are driven to work longer hours and take disparate breaks33. At this final stage of production there are important environmental concerns to consider as well. According to one study, scrap fabric is the major part of the total solid waste generation of a garment factory34. In light of this, for sustainability to be integral at this stage of garment manufacturing, efforts should be made to reduce the overall scrap textile waste, to seek ways to protect artisan workers and their craft techniques, as well as foster favorable working conditions with adequate remuneration. A socially sustainable factory would begin with the health of their workers, pay a living wage that will provide for their necessities and treat them with respect and dignity. A return to artisan craft and a shift away large garment houses is also an efficient way of supporting a local economy and to honor traditional and cultural styles. This can also prove effective in strengthening the rural communities whom find their inhabitants are forced to urban centers for employment. Drawing out designs that use less material will also prove cost efficient for factory owners, as they have to pay less for the disposal of their factories’ waste.

Cecilia Yau - Specializing in bridal and evening gowns, Cecilia uses intricate embroideries and three-dimensional tailoring to create her stunning and eye-catching couture designs. She has little tolerance for waste in the tailoring process of her ornate designs. Her team knows to use utilize materials as effectively as possible, and the left over fabrics that are collected are used for future collections and artistic sculptures.

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Urban Tribe – more than just another eco-brand, their store in Shanghai appears more like a sanctuary than your classical clothes store. Drawing inspiration from ethnic groups in South East Asia, the brand’s ethos centers on supporting artisan craft and invites shoppers to immerse themselves in that culture. Alongside its minimalist fashion collection and other eco-friendly products, one can indulge in their tea house to enjoy their added dose of zen. Shanghai Trio – this brand welcomes a return to traditional Chinese craftwork, as if every accessory could capture a hint of Chinese history. The forward-thinking vision for their designs is apparent, nonetheless, as seen in their use of bamboo and organic fibres. This jewelry pocket inspired by the Chinese tradition of wrapping is made out of fine silk, to mention one item of their diverse range bags, scarves and accessories available.

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Afia –awarded an innovation award by the Ethical Fashion Forum, their concepts define the ‘urban indigenous’ – a blend of striking West African prints and urban vogue. Their philosophy as a social business is to provide economic mobility for Ghanaian women, by ensuring their welfare in the production process and a dignified living wage for their labor.

Bhalo – in search of new socially minded concepts for their designs, Bhalo travels far to Bangladesh where they work with a collective of fair trade producers. Their focus on the local economy allows a story to be told about the people and the communities behind the clothes that we buy. To tackle the mechanization of the garment industry that has left many jobless, most of the sewing of their pieces is done by foot powered pedal sewing machines. Bhalo’s online shop is complete with trendy outfits to inspire the sustainable eye for fashion.

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Conclusions This report has highlighted that a sustainable approach to fashion is, in fact, already here. Consumers have a positive and vital role to ensure a sufficient demand for the clothing and accessories of these pioneering brands, who prove to tackle the severe environmental problems seen throughout the supply chain of a garment: be it in fibre production, textile preparation or garment manufacture. Listing numerous Chinese designers and brands based in Shanghai and Beijing, Chinese Youth have a multitude of homegrown options to choose from. This in effect, will also address the environmental impact of transporting garments to retail stores. Most importantly, this report is testament to a growing fashion collective whose designs and garments demonstrate that style, desirability and human spirit come hand-in-hand with sustainability.

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References

1. Silkey, John, Banniester, Mark and Anderson, Zach (2010) ‘Sustainable Supply Chains: Moving

Chinese Garment Manufacturers Towards Sustainability’, Available at: http://www.bth.se/fou/cuppsats.nsf/all/58dc421b4b86c140c125773e004975cf/$file/SustainableSupplyChains.pdf

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13. Lee, Matilda (2009) 'Whats the most sustainable fabric', The Ecologist. Available at:

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(2006) Well dressed? The present and future sustainability of clothing and textiles in the United Kingdom, available at: http://www.ifm.eng.cam.ac.uk/sustainability/projects/mass/uk_textiles.pdf

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better than synthetic?', available at: http://www.sustainability-ed.org.uk/support_materials/cotton-polyester%20LCA.pdf

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Health Perspectives, 115/9: 448-454. Available at: http://www.ncbi.nlm.nih.gov/pmc/articles/PMC1964887/

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Industry', Integrated Pollution Prevention and Control. Available at: ftp://ftp.jrc.es/pub/eippcb/doc/txt_bref_0703.pdf



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28. Business for Social Responsibility (2009) 'Apparel Industry Life Cycle Carbon Mapping', available at:

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We Impact Report Sustainability in Fashion

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