Fashion systems

Fashion is an exciting and compelling industry as its ever-changing cycles of

design, product development, marketing, and sales are moving faster than ever.
Exploring Strategic Interventions for Systemic Change in Fashion

Fashion is a great industry to be involved in, and at the same time, it's a very complex
industry. Is constantly evolving and is often a direct reflection of our society and its
characteristics. In this module, we will explore what the so-called fashion cycle is, its
origins and what it means to work within those boundaries and also at the same time to
disrupt them. Fashion used to be paced by seasonal fashion shows, usually held four
times a year. This practice originated in Europe and was mostly driven by the calendar
of prominent luxury fashion houses. In recent years, the pace, the rhythm, the
seasonality associated with fashion collections has changed quite radically. Fast
fashion retailers like Zara and H&M, for instance, I've accelerated dramatically the
timing in which new collections are brought to the consumers. This means that
customers can access new collections way more quickly than they used to and at a
much lower price. In addition to this, mass retailers have also chosen to break down
deliveries of new merchandise into smaller deliveries, which we call drops, following
the business model adopted by streetwear brands like Supreme, for instance. The fact
that luxury brands co-opted the business model, the styling, the sensibility, and the
overall aesthetic and resonance of streetwear brands poses a multitude of questions
regarding procreation, adaptability, and the future of this model. Streetwear brands
were often much more connected with completely different segments of the population
compared to luxury brands. Streetwear brands, in fact, on the other hand, often derive
their allure from the fact that they celebrated social mobility and also a certain
subversive culture that was running against the establishment. Of course, luxury
brands overall, ethos, on the other hand, is often at odds with such anti-establishment
messages. How can the luxury industry reconcile adopting the aesthetic values but not
the actual values of streetwear? The fashion calendar is currently in a state of flux.
Fashion shows are evolving from regularly held events, schedule a set date to much
more independent and creatively showcase events and platforms. In an industry
undergoing such monumental changes, it seems strategically sound to try perhaps and
reimagine the fashion schedule altogether. In particular, what would happen, for
instance, if fashion houses abandon the fashion calendar as we used to know it? What
will fashion presentations look like if that happen? How will brands introduce their
creations to the general public? The geographical locations of fashion week
traditionally London, Paris, Milan, and New York and their schedule, had in the past
been part of a pattern that systematically excluded or ended up excluding non-Western
fashion talent from participating at all. What are the strategic interventions that can be
leveraged in fashion in order to achieve a more inclusive, democratic, and accessible
version of fashion systems? How can we change the fashion calendar, for instance, to
make it more inclusive and more accessible? We will now explore a few examples of
solutions to this problems. In this setting, we won't offer an overarching framework for a
solution, but we will try and identify some patterns in the examples that we're going to
relay and perhaps some problem-solving solutions. Recently, some designers tried
challenging the fashion cycle by presenting their collection through special videos that
completely replaced fashion shows. It's hard to gauge whether this formula will stand
the test of time, but it's worth analyzing these changes because they provide an insight
into the potential for change in the industry and what can happen in the future. This
video presentation challenge the norm, reimagine completely the idea of fashion shows
introducing a much needed element of humor and levity into their showcase. A
particular node, Collina Strada, presented their spring summer of 2021 collection
through a beautiful kaleidoscope of colors, music, animation, and special effects.
Celebrating the idea of change, the very idea of change and inclusivity, thanks to a
truly exuberant lineup of models. Thom Browne, on the other hand, presented its
collection in a futuristic Olympic celebration, no less, changing not only the venue, the
style, the tone, but also the fictional time of the presentation. So it was very
imaginative. These changes are so not worth it because they denotes such a strong
willingness to break with the past. The visual imagery, the tone, the setting, and the
overall conceptualization of this videos is in stark contrast with past fashion shows. It's
a complete change. Gone are the exclusivity of sitting in the first row, the wait for a
celebrity creative director, and a celebrity models on the runway. This new models
clearly are pushing for change and they're pushing for something new. More
specifically, they're pushing for change in the way fashion shows relate to their
audience, seeking a far more open and friendlier relationship with the viewer. As with
many other industries, a global pandemic has forced fashion to rethink its approach
completely in how collections can be presented on the catwalk. As well as how
collection can be delivered, as well, perhaps, the concept of collections. This begs the
question of whether we even need to deliver a grandiose and extensive seasonal
collections. As many brands now move closer to their audience with a direct to
consumer model, fashion must, perhaps, completely rethink its business model as well
as the platforms used to market its creations. Perhaps in the future, fashion brands will
adopt a much more customized solution to this problem. Perhaps each brand will adopt
a different solution and hopefully a solution that can take into account sustainability,
diversity, inclusivity, and ethical labeled practices.
Impacts on Existing Fashion Systems and Possible Future Scenarios
Today, fashion design is primarily associated with the imagery and messaging of luxury
fashion houses, which focus primarily on the search for newness and which remain
heavily driven by a given set of aesthetic conventions that make up the architecture of
each fashion brand. But fashion can be a lot more. Fashion can communicate a lot
more. At times, it can also serve a greater purpose than just as an aspirational
standard of dressing. A Parsons graduate who won the Women's Wear Designer of the
Year award in 2015. Jones aims at designing collections for people with disabilities by
marrying form and function in a seamless, clever, and innovative ways with the striking
visual aesthetic. Her work is so extraordinary because it's cleverly designed and also
because it is part of a very small set of designed even including people with disabilities
in the world of fashion design. You will hear more from Lucy about her work in the next
module. The second example is in other Parsons alumni named Angela Luna. Luna
also won the Women's Wear Designer of the Year award in 2016 for a collection that
could help refugees around the world, by creating garments that double as tents, as life
jackets, or that are reflective clothing for safety. Both collections are absolutely
groundbreaking examples of how fashion can indeed expand its role and truly become
a catalyst for change. Let's now explore marketing. Fashion has always been
associated with the word the fantasy, escape, and dreamy possibilities. It is a job of
creative directors to build such a fantastic dimension, one that has such a lasting
impact on the way we perceive our own self-worth. Traditionally, fashioners used
fashion advertising and fashion commercials, brand ambassadors, fashion shows,
store displays, or even influencers to create a world of 'aspiration'; to build desire and
magic. The problem with most of the fantastical and magical world put forward in the
past few decades is that the so-called aspiration was always based on a very narrow
and very arbitrarily chosen notion of what is indeed desirable. Most of the time indeed,
the notion of desirability came to coincide with the notion of Eurocentric, Caucasian
features of models measuring six feet tall and fitting a size zero or even doubled zero.
Well, there's obviously nothing inherently problematic with this specific notion of
beauty, it's the fact that it has been presented over and over again as that only notion
of beauty that is highly problematic. When an industry puts forward and impossibly
narrow standard as, aspiration, it creates a highly problematic dynamic. When the
aspiration and the image reflected in the mirror of the customers don't match, the gap
between the two images is seen as a deficiency in the way the customer looks.
Following this problematic assumption, the fashion industry built its entire marketing
approach on making its customer feel 'less than' or feeling inadequate in order to sell
more. At some point, people will tire a being told to change the way to look in order to
resemble an impossible standard. Fashion, at that point, will finally lose its luster. Until
the fashion fantasy finds ways to incorporate all notions of beauty, all notions of
desirable, all genders, all racial backgrounds, all types of love, all bodies, and all
notions of physical ability in its stories, then the future of the fashion fantasy seems in
parallel. Third, one of the key components of the fashion industry is retail sale,
obviously that's where we experience. Fashion is a huge industry. Statista projects the
globe apparent market to grow to over two trillion by 2025. However, the fashion
industry also grounds its growth on newness and on the cyclical search for what's next.
It seems very natural that some of the inner dynamics that are leading it's exponential
financial growth could also be partly responsible for its decline. Let's explore what this
really means. The fashion industry is an industry combining two very different spheres:
fashion design, which is driven by creativity and originality. On the other hand, very
quick business cycles, which are demanding newness every few weeks or months in
order to outpace fast fashion retailers and the competition. Therefore, the enormous
pressure to keep surpassing last year results, to keep outpacing the competition, and
to ensure increased profits so steadily is a natural incentive in a business environment.
This is what always happens. At the same time, the pressure to produce more, to buy
more, to discard more, to ask for lower production costs, to create a market close with
shorter and shorter lifespans carries enormous consequences. If fashions' [inaudible]
of growth is purely based on surpassing last year's sales and the accumulation and
consumption of more and more garments and accessories, at some point, we will really
have to ask ourselves, when will enough be enough? When will we have reached a
point where we no longer can accumulate newness. A more balanced approach to
consumption and the fashion business cycle couldn't tell a complete overhaul of its
business model. Perhaps sales could no longer be the only driving force of profits.
Perhaps content consumption and editorial storytelling could become a more relevant
commercial vehicle for revenue. These are just some abstract ideas for now, but the
overall point is that the retail fashion model, as it stands right now, is probably not
sustainable for much longer. Fashions growth cannot be based solely on
overconsumption. It has to be based on a more conscious effort to provide less clothes
with a better function, and also to provide better livelihood for garment workers, and a
better environmental impact for its supply chain. Last, let's look at manufacturing as
one of the key components of the overall fashion system. Tragedies like the Rana
Plaza disaster in 2013, where over 1,100 people died, put a painful spotlight on all of
the inequalities present in the supply chain. In particular, several organizations and
news media have exposed how the very cheap retail costs of many mass passion
products are attainable because of the unfair, unethical, and often inhumane labor
conditions that garment workers are facing. Oxfam in particular, estimated that in just
four days, top CEOs of fashion retailers around the world earn the entire lifetime value
of what a garment worker makes. The issue with this is not just the enormous
difference, is mostly the fact that garment workers are not earning a living wage at
these levels. Until fashion pays its workers a fair wage, there will be no equality of
justice in the industry. Manufacturing is also unfortunately synonymous with waste.
Fashion is an enormous polluter, not just in terms of actual waste, but also in terms of
toxic chemicals that are the byproducts of supply chain processes. Multiple studies
have recently shown that many of the chemicals used during the manufacturing
process remain in garments even after they're shipped to the consumer. Toxic
chemicals impact the process at various stages. First, by affecting the lives of garment
workers who are exposed to potentially harmful toxic pollutants. Second, by polluting
waters and soil next to the manufacturing facility. Third, by potentially introducing
hazardous chemicals onto our bodies. While the exact human environmental and
toxicity impacts of all of these processes is very difficult to measure and to determine,
there are some steps that the industry can and must take in order to immediately
reduce these risks. For instance, organic textiles and especially organic cotton, carry a
lot less chemicals than conventionally grown fibers. By the same token, materials that
are carrying certifications, like for example, the OEKO-TEX, it's a certification that
proves that the material does not carry harmful chemicals, are a good starting point to
build more sustainable and more equitable and more fair manufacturing process. In
conclusion, the solution for improving the existing fashions distance are not always as
straightforward as they may seem. Inclusivity in size, age, physical ability, gender, and
racial diversity are all issues that must be resolved and should not be looked as add-
ons or trends. At the same time, fair labor standards and sustainability should be core
principles driving innovation throughout the entire industry. These are core issues
affecting the foundations of what fashion is. By rethinking some of the components of
the overall fashion system, it is possible to improve, not just its outcomes, but the
overall processes that are fundamental for its functioning.
Systems Thinking in Fashion
System thinking is a decision making tool that became popular in the 1950s thanks to
advances in computer simulations and also capabilities. System thinking refers to the
ability to relate a particular situation or a problem as part of a whole and therefore
identify a solution they can be implemented in the system overall, System thinking can
be useful and a very, very useful tool to analyze the fashion industry. Systems thinking
in fashion is frequently leverage to analyze problems and issues related especially to
sustainability, as it's a very effective tool to break down the synergies within and
outside of the supply chain. The supply chain in fashion is directly connected with
design, marketing, retail finance and operations. And it therefore represents a core
element of the overall fashion system. So how does the fashion industry relate to its
supply chain? The answer is different whether we consider mass market brand, middle
market brand and luxury. For instance, for mass market brands that design, sales and
manufacturing of products are deeply interrelated processes. For the clothing giant
Zara, for instance, the process of designing new products is very closely integrated
with retail and production in order to allow a maximum, maximum level of flexibility. For
instance, if a certain design becomes very popular in the middle of the season, sales
associate can then communicate this feedback back to the design department and to
the designers. And they can in turn work with manufacturing and costs and speed of
delivery. For mid-market brands, on the other hand, designs are finalized way ahead of
the season, and manufacturers have much, much longer production lead times.
Production lead times, for instance, for this type of collections are traditional around 5
to 6 months, even though the sector is changing very quickly, even in this respect.
Lastly for luxury, the manufacturing process is often very long. So much so that finding
new ways to produce in season newness has been really one of luxuries top priority as
of lately. One of the ways in which we can adopt a systems thinking approach in order
to rethink manufacturing is focusing on design and how design is integrated with
manufacturing this according to Kozlovsky instead of focusing exclusively in the
manufacturing process by itself, Through this approach, we can analyze how the
design process can influence, drive and even disrupt the manufacturing process. We
can highlight the most problematic touch points of this interaction and try to minimize
waste and unnecessary steps while preserving the overall design goals of the brand.
As mentioned before, the fashion system is currently facing a number of challenges,
both systemic and institutional. Adopting a system thinking approach messages ways
to potentially look at these issues in new ways and finding new solutions. When
adopting a system thinking approach for the fashion industry, there are three main
areas that it can help. These areas are values, stakeholders and gatekeepers,
innovation. Let's look at each of these in more detail. First, let's look at values.
Throughout the fashion system, it's important to highlight how any given brand or
company within the industry reflects its own values within the system. From equality to
diversity, from inclusivity to fairness, from sustainability to fair labor practices, from
cultural resonance to true activism. Brands today are often encouraged by the
audience to showcase their values. Important questions to consider when looking at
brands values include, are these values apparent throughout the entire experience of
the brands fashion system? Do they guide the brand in every interaction with the
system? And are they the true mirror of the inner dynamics of the brand? More
specifically, it's important to deconstruct the various phases of the brands
manufacturing process to gather whether values like fairness and equality, I reflected
both in it's headquarters and in its factories, or for instance, if it's pledged to be more
sustainable, include less polluting ways to transport garments from their factories to
their stores. Values are a fundamental part of a brand's lexicon today, and they cannot
become an empty promise. Secondly, let's look at stake holders and gatekeepers. But
looking at the various parts of the fashion system, you must analyze who the
stakeholders are. For instance, if we look at manufacturing, the stakeholders are
obvious, the workers, the factory owners, the brand executives responsible for
manufacturing and also the consumers. The questions then become, do all the
stakeholders have a say in the functioning of the manufacturing unit within the fashion
system? If not, why not? What are the factors preventing every single stakeholder to
express their opinion for the best functioning of manufacturing within itself and within
the overall system. For instance, if a brand doesn't own a factory and the faster is
regulated by the government of a third world country, what are the ways in which a
brand can demand accountability for fair labor and sustainable practices? The foreign
government and its labor laws can become a gatekeeper. It is important that the brand
find a way to work with gatekeepers to ensure the appropriate transparency to meet
consumer demands. Third, let's look at innovation. Think of innovation within the
various parts of the fashion system. Why are some parts like retail, for instance,
definitely lagging behind when it comes to testing innovating solutions? What are some
of the systemic obstacles that we face in fostering innovation? Not just within the
individual components of the fashion system, but overall within the entire system. In
answering these questions, the fashion industry may choose to look outside of its
boundaries for inspiration. Examples like the Amazon Go Store, which operates special
recognition softwares and avoids the need for a check out. Maybe an interesting
starting point to imagine a completely different evolution of the retail experience in
fashion. And perhaps, maybe the kind of innovation and automation be different, more
sustainable supply chain. In conclusion, employing a system thinking approach can
interconnect all aspects of the fashion industry as well as the components of a brand.
Solving Problems, Accelerating Change, Engaging Communities, and
Creating Impact
The fashion industry is one of the most complex and fascinating industries in the world.
It combines creativity, design and a savvy capacity to read the current zeitgeist, to
define how humans relate to each other in many ways. However, perhaps because of
its vast influence, the fashion industry is also rife with problems from sustainability to
inclusivity, from racism to child labor, from fair labor practices to representation, from
counter feed to cultural appropriation. The business model at the core of the industry
are deeply flawed. In this segment, we will explore how a few organizations are
attempting to tackle some of these issues and these problems. This is not a
comprehensive review of all the issues faced by the industry, and certainly not all of the
possible solutions. But we will outline three different innovators that are currently really
working and changing the landscape of the industry and guiding the conversation about
change. The first example of a changemaker is the 15 Percent Pledge. Started in 2020
by Aurora James of Brother Vellies the organization is a non-profit aimed at
encouraging major retailers to devote 15 percent of their shelf space to black-owned
businesses. The organization, although very new, had a major impact on the way huge
retailers like for instance, Sephora, Macy's, Bloomingdale's, the GAP, Old Navy, and
Madewell create assortment for their stores. By pushing to the center of the
conversation, the need to actively include black businesses the 15 percent pledge,
immediately became a very pragmatic way to implement change. This approach has
been incredibly effective at subverting the hierarchy of the industry and the fashion
system. The governing principle here is equality and not tradition. The non-profit aims
at disrupting the very systems that have kept the fashion industry so insulated from
change. It does so from starting from its very engine, retail sales. The second change
maker that I would like to highlight is the 67 Percent Project by Refinery29. About 67
percent of American women are size 14 or above and yet, only makeup for only 1-2
percent of the women represented in mainstream media. Refinery29 started 67 Percent
Project in 2016 in order to bridge this gap. When the project launched Refinery pledged
to include in its website, imagery of a least 67 percent of women, size 14 and above.
This change carries huge consequences. The fashion industry is by design, built on the
premise that its very own livelihood depends on creating desire, on building aspiration
for a certain aesthetic, style, or look. When the images associated with this aspiration is
almost exclusively featuring a size 0 Caucasian model then message becomes that this
is what should be desirable. The reason for buying is a feeling of inadequacy, not the
desire to look our own best. This is obviously very dangerous on so many levels and
the practice cannot continue. By showcasing and celebrating a variety of body types,
including bodies from all backgrounds, races, and cultures and with all types of
physical abilities, we celebrate our own uniqueness and not the need to conform to
impossible standards. Third, I would like to analyze the incredible framework and work
put forward by the OR Foundation, a not-for-profit organization registered in the US
and operating in Ghana as well. The OR's mission is to provide the foundation for a
justice-led circular economy, just as it says on their website. Let's unpack what this
means. The OR Foundation, according to their mission statement, operates on various
levels, social justice, environmental justice, and education. The work of the
organization centers around finding innovative ways to disrupt the current business
models in order to eliminate the devastating consequences and effects of waste and
overproduction on our ecosystems with a special focus on Africa. Secondly the
organization seeks to recognize the social economic disparities that are part of the
patterns of ecological destruction followed by so many brands in the fashion industry.
Lastly, the foundations seeks to educate individuals as well as corporations in order to
change the paradigms of production and waste that are so common in the current
fashion systems and supply chains. In conclusion, we have seen how the fashion
industry is currently plagued by massive problems that would really hinder its
functioning and its influence in the future. By rethinking the way in which fashion builds
it's business from the ground up, we have explored some of the potential solutions that
could completely transform the industry.

Understanding the "Closed Loop System"

A closed loop system exists where products and their components are conceived,
created, manufactured, used, and handled in order to circulate within society for as
long as possible. This also includes a products maximum usability, minimum adverse
environmental impact, and minimum waste generation.
All of this is accomplished while the product efficiently uses water, energy, and other
resources throughout their life cycles. First product should be designed to enable the
disassembly of individual component in case they need to be repaired. You should also
be able to redesign products if desired.
And finally, all the components of the products should enable recycling once they've
expired. Products should also be produced without hazardous chemical and
substances. This enables safe industrial recycling, bio degradation, and composting
with consideration to human, animal, and ecosystem health.
Make sure risk level components are fully traceable in the loops. It is also important
that a product's individual components are designed so that they can either be recycled
as technical parts, for instance, such as metal zippers and plastic buttons. Or bio
degraded into organic matter and composted as biological nutrients, for instance, is
cotton or wool. There's also need to establish well functioning business-to-business
and cross-sector collaborations which enable products to be repaired, refurbished, and
redesigned in order to extend their lifetime. An example of this making products
available as rental for instance, or secondhand items.
This connection should also factor into the logistics, the facilities, and services, the lead
to the effective collection, sorting, and recycling of components. And finally make sure
that all the products are dropped off at collection points so that they can be transported
to sorting and recycling facilities. This means that consumers must be willing to drop off
their unwanted clothes even without the promise of economic aid despairing fort it.
Achieving a closed loop system is not only about creating circles of flowing material, it
also raises important questions about the properties and functions of the loops. Such
as, for instance, what products flow in the loops, how many products and materials flow
in the loops, can we reduce the number of items in the flows? How do we create loops
within demand consumer products that are of high quality durability and longevity? And
finally, how do we create loops that are efficiently managed using renewable water and
energy sources? After you answer these questions there are three other challenges
that should be solved before you can achieve truly sustainable closed loops within the
apparel industry. First, how can you progress from global loops to regional and local
ones? Regional and local loops are a preference as they reduce carbon footprint.
The second concerns biodegradable matter. Since products are often manufacturer
using material source from various parts of the world, this begs the question, where
can we put the degraded matter? And the third question is how do we manage the
individual components after story? When plastic buttons and metal zippers are
separated from textiles, how can we give them new life? After you answer these three
questions, one more obstacle to keep in mind is how can you create effective, local and
regional collaborations across businesses? Creating closed loops is not enough to
develop a more sustainable fashion and apparel industry on a global scale.
In addition to all these challenges, there are other issues that need to be addressed.
These include factory working conditions, supply and chain transparency, and
consumer behaviors. The very the last closed loop systems are an essential and the
fundamental part of a more sustainable and more equitable fashion system.

Rethinking the Role and Process of the Designer

The modern fashion designer role is relatively new. The first person to hold such title
was an Englishman living in Paris by the name of Charles Frederick Worth in the early
19th century. Unsurprisingly, trust friendly Frederick Worth built his business and
reputation on his capability of dressing the powerful and the wealthy. But even before
then, many societies and cultures around the world associated wealth and power with
rich, recognisable adornment. For instance, in ancient Egypt servants were
accustomed to wearing very simple clothes. While aristocrats, on the other hand, were
able to wear much more lavish accessories and down, and even makeup and perfumes
to denote the completely different social status. Fashion and wealth have been very
closely associated throughout history, and their relationship has been plagued by
inequality, appropriation and distortion. From its inception, the history of european
design is tainted with the same of appropriation. Countless fashion shows and lineups
from the most prestigious fashion houses in the world have featured designs and
textiles and styling suggestions and motifs. They were lifted without credit. Most of the
time from less wealthy countries around the world. The role of the fashion designer
today is markedly different. In a society that is thankfully hyper aware of appropriation
and res used, designers must pay attention to the culture background and traditions
that they're using to get inspiration lifting without credit or recognition or financial
participation is not an option anymore. In addition to this, fashion designers finally have
to record with the reality that fashion is no longer the exclusive playground for the rich
that it once was. It cannot be today. A fashion wants to stay relevant. The industry must
move on with the times or hopefully ahead of the times in recognizing the cultural
zeitgeist as well as the enormous societal changes that are shaping our society, this
will deeply affect fashion, both at a business level and in its overall role in our society.
At a business level, prices have long been used to build invisible walls around the
upper end of the industry. In order to maintain exclusivity. In fact, fashion had to
exclude most of the people from it. The allure of fashion relied on its and attainability
and the world becomes painfully aware of the socioeconomic disparities between the
very rich and the very poor. But also between the wealthy nations in the world and
developing countries. Fashion will not be able to remain so close of. The same forces
that are reshaping societies all around the world, advocating for a more equitable
distribution of wealth, will undoubtedly shake the core business assumption of the
fashion industry. And prices will likely no longer be used as gatekeepers. But there are
many ways in which fashion designers can directly affect oppressive change. Let's
explore them together. First of all, fashion can no longer be as Eurocentric as it used to
be. You're afghanis cultural relevance by colonizing around the world and imposing its
worldview. The prominence of European fashion was and still is dictated by the
economic and political power held by European nations. But not obviously by any set
standards suggesting an advantage. Today, Europe's influence around the world is in
decline, and fashion will hopefully reflect this change by being more equitable and by
incorporating a number of worldviews, cultures, and aesthetic sensibility from around
the globe. This means that fashion will also evolve in order to include and represent a
much wider variety of people. Even though most European fashion houses now still
feel to reflect the global contemporary society, this will need to change. The design
process itself must now include a much more aware interpretation of race, a radically
more diversity of representation, a much more fluid and non-binary view of gender and
a much more inclusive view of body types. In other words, the role of the fashion
designer will be absolutely central in dismantling a system that adopted a white-centric
and Eurocentric approach to creating and sustaining desire. Secondly, fashion must
also reckon with the fact that is one of the most polluting industries in the world. The
role of the fashion designers here will have to really reflect that from fabric choices to
color choices, to manufacturing choices, to logistics, to creative use of store displays
and even packaging. Fashion designers have choices. They can choose to advocate
for the most sustainable, ethically sound, and least polluting options, or they can
choose to maintain the status quo. Finally, the role of the fashion designer and creative
director can make a huge impact on ethical manufacturing. Labor practices and
working conditions for garment workers are some of the most shameful degrading truth
about the fashion industry. Fast fashion has acquired a bad reputation for documented
instances of garment workers forced to be exposed to toxic fumes or dies, or working in
unsafe conditions, risking their lives. And this problem is proportionally affect women,
who often don't have a choice, and are forced by their economic status to take jobs
with their lives, and sometimes they're young Children's lives at risk. It's a very complex
problem involving the governmental regulation and institutional apparatus or
developing countries, as well as the interest of some of the most profitable and
powerful corporations in the world. As complex as this problem is, it must be
confronted. In addition, labor conditions of government workers for mid market brands
and luxury brands also need to be audited and safeguarded. Making clothes should not
cost people their lives. In conclusion, the role of the fashion designer in the past will not
be the same role as today, designers will play a central role in guiding the fashion
industry as a whole based on the decision they make

 Is generated annually in the United States and each year Americans on average
throw away about 80 pounds of used clothing per person. Even if they are diligent
about donating their clothes, most of it ends up in the landfill anyway. In 2015, the
EPA reported that of the 16 million tons of textile waste generated that year, only
2.45 million tons were recycled, while 10.53 million tons were thrown away. One
reason recycling is not more widespread may be because the process of turning
old material into new, usable textiles is still complicated, especially for blended
fabrics like cotton/polyester.
  The solution for improving the existing fashion system involve completely
rethinking not just the function of the industry but the ultimate purpose and goal of
all of its components. The fashion industry is currently facing tremendous
challenges. The questions that will determine its future revolve around fairness,
equality, and inclusion. Fashion is and always has been a mirror of society, an
industry that lives and breath the cultural zeitgeist. Until the fashion industry
restructures its very own business models to reflect a more inclusive and more
equitable view of values, its message will always sound somewhat inauthentic. In
order to have a better fashion industry, we can start by looking at what we can all
do today.

Social Engagment: Designing for People or Communities You Care About

Nearly one in five people in the US identify as having a disability but it can be difficult
for disabled people to find clothing that is both stylish and meets their needs and
desires. When you consider that the fashion industry cranks out about 100 billion
pieces of clothing a year, it is mind-boggling that the roughly 59 million Americans of
the disability community have so few options tailored to their needs. Most of us don't
think a whole lot about getting dressed each day. We might care about our style but the
actual process of putting on clothes is mostly an unconscious act. But have you ever
stopped to think that clothing can actually pose many barriers in terms of accessibility?
Take buttons, for example, an act that mostly requires the use of two hands or even the
waistband of your jeans perhaps they feel tight or ill-fitting when seated especially for
prolonged hours. Or maybe you have hypersensitivity and that can mean that
occasionally fabric can even feel like barbed wire to you. In order to hack conventional
clothing people with limited hand coordination, for example, might replace sleeve
buttons with velcro or magnets. Parents of autistic children might remove the scratchy
tags from their children's clothes. For years the disability community has had to
improvise and problem-solve as a result of lack of product available. Three decades
after the passage of the landmark Americans with Disabilities Act, disabled people
want the same freedom as everyone else to express themselves through fashion rather
than continue to hack an industry that has been very slow to embrace them. I spend
my first year after graduation from Parsons participating in a residency Eileen Fisher,
the ultimate leader in sustainability. Working in her company was a dream come true
and once you've been immersed into that mindset it's hard not to think about her ethos
and methodology. For us designing a product that has quality material craftsmanship
and longevity to be truly cherished by our customers is super important. We didn't put
this much effort into our creations that people throw them away mindlessly. Then I
joined the business accelerator at XRC Labs, sponsored by Accenture and Parsons. I
was excited to launch my own brand FFORA a disability first-line of accessories built
with wheelchair users in mind. It was after speaking with a family member of mine who
has cerebral palsy and though he does not use a wheelchair, it was that conversation
where it dawned on me how accessibility is so often an afterthought to design. I
founded FFORA, after several years of research and development. It was born from a
collaboration and conversation with the disability community and a number of
wonderful contributors. In designing these products it was essential to give accurate
portrayals of the lifestyles of disabled people. FFORA designs fashionable and
accessible bags and purses, cupholders, and tumblers attachments, and accessories.
The products are designed to work in tandem with an attachment that FFORA
designed for wheelchair users. However, the bags also come with a crossbody strap
recognizing that many wheelchair users can ambulate, and also all body types are able
to use them. Why create accessories for wheelchair users? There are a significant
number of wheelchairs on the market offering different seat widths, backrest heights,
tubes of varying angles, and so on. With FFORA, by positioning personal belongings
on the tubes of wheelchairs, essential such as beverages, phones, money, lipstick,
keys, they are all readily available and within arm's reach. The bags have these two-
way zippers with thumb holes perfect for those without fine motor skills. The bags also
open flat like books for easy organization. FFORA accessories have magnetic pebble-
shaped counterparts embedded into the design, which allows it to slide into the
attachment doc and hold in place. One of FFORA's star products is our Essentials Bag
that's offered in two sizes and several eye-catching colors. The customer has the
choice of whether to blend in or standout. The strap on the bag is intentionally short
and that's because it's intended for seated bodies. It has a complete wallet with a
cardholder, and all the zippers have these loopy thumb holes perfect for those who
have limited grip. None of this design process is possible without asking questions and
really listening to what people want.

Representation Matters: Accessible Clothing For People with Physical

Disabilities

For disabled people, it can be difficult to find garments that fit comfortably. It can also
be a challenge to find fashionable outfits that allow for self-expression. Though, in this
video, we will talk about accessible clothing for people who have physical disabilities
and how innovation can make dressing easier while still being fashionable and
aspirational. Adaptive clothing is a term often used when designers work with the
needs of the disability community and older adults in mind. Likely because of the
wheelchair logo being a well-known symbol of disability, adaptive clothing is commonly
associated with people who use wheelchairs, but in actuality, a misconception is that it
refers to both visible and invisible disability alike. From those with low vision to those
who have challenges with the more intricate aspects of clothing, such as fastenings or
zippers. Clothing in general is not made with the needs of disabled people in mind. If
you have limited dexterity, some clothing can be a real obstacle. However, several
companies have embraced the disability community for redesigning certain garments to
support both the act of getting dressed as well as the choice to self express. Over the
years, there have been many examples of clothing with modified features that benefit
disabled communities. Some of these include Velcro type or magnet closures instead
of buttons, open back blouses, shirts, and dresses with Velcro type or magnet closures
that still retain the illusion of a traditional button styling on the front. Lap over box styled
garments with snaps for the individual who cannot raise their arms or perhaps not
dress independently. Zippers with easy to grasp pull tabs as well as zippers that
magnet the bottom together. Pants with side zippers, shoes with Velcro type closures,
magnetic shoe fastenings or elastic instead of shoe laces. Shoes with innovative
swing-away heels for those who have challenges putting on shoes. Slippers that adjust
in width to accommodate swollen feet and ankles. PICC line covers for those who wear
intravenous lines and stylish ostomy bag covers and pouches. According to the
company's archives, Levi-Strauss & Co was one of the first major clothing brands
to design for disabled people in the mid 1950s when one of its designers, Helen
Koopman, created a pair of jeans with stretch dynamin full length zippers in the side
seams that open from the top or bottom. Flash forward to 1998 when Alexander
McQueen and Nick Knight also embraced disability with an iconic dazed and confused
guest editorial feature entitled Fashion-Able, starring actress model and athlete Aimee
Mullins. Mullins was born with a medical condition that resulted in double amputation
below the knee. After the editorial, McQueen went on to create carved wood prosthesis
just for her. When we combine approaching fashion as a new blank canvas with the
consideration of disabled customers, it can lead to great innovation opportunities for
fashion companies. Disability communities are historically master problem solvers, and
so are accustomed to hacking a world that is largely inaccessible. Nowadays, brands
both new and established are creating adaptive clothing to meet the demand and
desires of the global disability community. One example is when Target launched their
adaptive children's line, Cat & Jack in 2017. The retailer not only did its usual
research of talking to customers, but also attended religious conferences as well. The
adoptive line comes without tags or seams, a positive experience for children who find
new textures irritating. Other innovations of body suits with easy access for diaper
changes and wheelchair friendly jackets complete with side openings and zip on
sleeves for easy addressing. The company later added lines for adults with physical
and neurological disabilities as well. Another sign that steps are being taken forward is
JUNIPERunltd, a platform created for both the disability community and caregivers.
Launched in October 2020, it's a new adaptive marketplace, content hub, an inclusive
online community that sets out to design the future with style, inspiration, and discovery
by offering a hand-picked selection of adaptive clothing and accessories.
JUNIPERunltd is a subsidiary of Global Brands Group Holding Limited, a company that
aims to impact the world with brands that people love. With original and curated
content, JUNIPERunltd informs and empowers with relevant articles, profiles, and life
hacks, written by industry experts and community leaders. JUNIPER believes in
changing the conversation when it comes to inclusive design and living. Their website
also features a curated assortment of shirts powered by MagnaReady, which was
founded by Maura Horton, which is JUNIPER's predecessor. MagnaReady was
motivated by Horton's husband, who was diagnosed with Parkinson's at an early age.
She then developed a patented magnet solution to support getting dressed. That
cutting edge technology is now featured in men's, women's, and kid's apparel, all
designed to make dressing easier. Some larger brands are coming around as well.
Online retailer Zappos now features an adaptive shoe and clothing section. They even
offer different shoe sizes and the ability to purchase one shoe instead of two. Nike is
another company that's listening. Mathew Walter, a teenager who has cerebral palsy,
wrote the company a letter about how cumbersome regular sports shoes were to
someone who has cerebral palsy. The sneaker titan responded by creating FlyEase, an
easy on-off sneaker that now comes in men's, women's, and children's sizes. Most
noticeably, smaller startups have been targeting the adaptive clothing market for years.
However, larger fashion companies are beginning to see the potential of this global
market, as well as the customer wishes of aligning with brands that are making a
positive social impact. In conclusion, beyond the authentic inclusion, one of the major
asks from the disability community has been to make products that are not only
functional and easy to use, but desirable and stylish as well. Just because clothing is
adaptive doesn't mean it can't be chic. The fashion industry talks a lot about inclusion
and diversity, but for too long, the disability demographic has had to make or invent
their own solutions, because not all products are designed with them in mind.
Hopefully, more positive examples come out of the industry to make fashion welcoming
for all.
How Community Can Lead the Research and Development Process

There was a vast need for wheelchair users to have reassurance of their personal
valuables while on the go, to carry their belongings more efficiently. People were
hacking existing bags to make them fit on their chairs or tying extra straps so that the
bags wouldn't fall off. People were stashing cash in their shoes or sitting on phones,
wallets and keys. If they wanted to enjoy a hot drink, they have to balance it and hope
that it wouldn't spill on their lap, 100 wheel or just forget it altogether. They simply
needed to be better options. I believe that the greatest brands are built on a concise
product offering something hyper-focused or one iconic design or collection. [inaudible]
has a hugely diverse audience. We knew we needed to design something that was
modular in design, and easily customizable to reflect our customers and their needs
and this felt possible with accessories. In my earlier apparel research, it was necessary
to understand the needs and desires of wheelchair users. In order to develop and
perfect the measurements for [inaudible] bodies, I improved the patterns and garment
block development. Put simply, I was creating an advancement to pattern
development. The blocks I developed acted as tools and inserts that could improve the
fit of standard or traditional standing patterns for individuals who would wear them.
Hence, the very simple name, Advantage Blocks, seeing disability as opportunity, joy,
and innovation and not disadvantage. Universal design is a subject that's discussed in
product design under architecture, but very rarely in fashion. It is also incredibly difficult
to truly be universal since one size does not fit all. However, longevity of design and
standing the test of time are also very important factors in architecture and product
design because buildings and products are meant to last. If things are meant to last,
you have to consider more factors that could come into play when the initial design
development starts. Meaning you must collaborate with more people. Here we have
experiences that are different to your own. In a way, you have to predict the future and
predict a number of different outcomes. What may be trendy now? Will it be in a few
months time, let alone a few years time? Who will use this? Who will navigate through
this space? Since the ADA, it has been a legal requirement for disability to be
accounted for in this decision process. Though there is still a vast amount of
improvement required. However, with fashion design, specifically fast fashion, the
turnover and season change, endless production of products and accessories is so
rapid that every season has a different offering. It will be replaced by something new
anyway, in just a few months. Inclusivity and timelessness of design are therefore
grossly overlooked. There are exceptions that require high-quality production for
garments and accessories that become classics. But that is usually high-end or luxury,
therefore, unattainable or financially inaccessible to many and not mass market. In
conclusion, I wanted to make disability and accessibility the focal point of our designs,
hoping to represent those underserved by fashion. What makes [inaudible] most
unique is our proprietary attachment, a clamp and open dock that is compatible with
more than 21 brands of wheelchairs, which is 200 plus models of manual wheelchairs
of seven different tubes sizes. This dock is the building block that houses an array of
additional four accessories, including our cup holder and three crossbody bags. The
bags can dock vertically or be worn on the body horizontally with our crossbody straps.
This means our customer can curate their product suite that truly reflects them and
their lifestyle. A set of best practices has emerged when designing garments or
products for wheelchair users. For instance, be careful where seams, rivets and
zippers are situated since customers can get harmful source if the skin is dug into.
Jean should come with back pockets and bulky seams to avoid pressure. Meanwhile,
shoes without laces or conveniently placed openings and shirts with magnetic closures
have been enthusiastically received by disabled people. Autistic people may also look
for items about tags. Of course, it's different and unique for every individual.
Remembering that no one individual is the same, but though should be given to those
with sensory processing difficulties too. In general, as is with most things, the ability to
have choice is fundamental in recognizing that people simply want to express who they
are beyond the practicalities of functional items.

Defining and Refining a Product or Concept

Most companies may already have some of the skills needed to launch a clothing
collections specifically for the disabled customers. However, the one area of
differentiation is the need to account for input and consultation with and collaboration of
the disability community. Fear can often help people in embracing communities.
However, missteps are as important as strides in the research and development
process because they create dialogue and criticism so that we can move forward with
better outcomes. But harmful missteps happen when people with disabilities are not
consulted or involved in the decisions that directly affect them. So many opportunities
can be lost by only skimming the surface and by not actively engaging with disability
culture. I have been thinking about accessories for mobility devices since around 2012,
but I was convinced that apparel with my calling when it came to my senior thesis
collection at Parsons, which was a collaboration with a woman who uses a wheelchair.
I realize some of the functionalities and the functional hardware I wanted to create
required the involvement and unique talent of an industrial designer and I just did not
have that skill set. A lot of my ideas involve both the wheelchair and the body, which
are both equally intimate, an integral to self-expression and independence. After I
began my initial research in the summer of 2014, I decided it would be the focus of my
senior collection. With the help of United Cerebral Palsy in Manhattan and Brooklyn, I
conducted interview sessions, eventually interviewing a number of disabled people, as
well as over email and in-person about how their clothing fits, as well as taking detailed
measurements. The results were really overwhelming, everyone was telling me they
just did not feel considered by the fashion industry and they just had to make do with
what was available. Around the same time, I posted ads on sites like Craigslist and
Yahoo for a person who would be willing to serve as a sounding board, that model, a
collaborator of any capacity that felt reasonable as I attempted to develop garment
patterns. I assume that Ronnie, who has multi-sclerosis. I met with Ronnie every few
weeks for conversations, fittings and feedback and I will never forget the moment I first
met Ronnie, something just clicked for us. Ronnie was present in a video presentation
of the collection that opened the student runway show at the Parsons benefit. To have
this opportunity with someone who has become a true friend and mentor to me was
very special. After conversations, I'm working with Ronnie, I started to notice fitting
issues in clothing. Since clothing is predominantly intended and designed for a
standing body, I started sampling ideas and that's how the project came to life. Some
of the most complicated problems for seated individuals arise in the pants design.
Standard pants are too short to the ankles and too low with the back pelvis. I also have
to consider how kneecaps change shape, unlike the band leading me to remove extra
fabric at the band behind the knee. So pant legs can fall flat at the ankle, I learned how
to take into account how fat and muscle spreads in the buttocks and bites when
seated, as well as eliminating and comfortable fabric bunching at the crotch due to the
angle of our pelvis once seated too. For tops, I reinforce elbows that may rest on
armrest, removed excess belt at the elbow crease and made room for more developed
muscles that self propelling people may have in the shoulders, neck, and arms.
However, despite these functional aspects and anatomical variations, there were just
as important as the aesthetic ones as so what's comfort? At the very basic, clothing
was invented by humans to protect and support us. We must ask ourselves, in what
ways are all creation supporting someone design-wise and emotionally and
functionally. If a person attends a restaurant on a service of consciously wishes to
remove a customer's jacket, what does the process look like? You don't want it to be
clumsy, embarrassing, you want it independence and ease. When you see a familiar
object like a zipper, you know you just have to undo it, it's familiar. These efforts were
actually Ronnie's idea during one of our conversations. It's interesting that a lot of
fashion is designed for the standing body, but when you think about the way a lot of
people were seated in an office, the need for designs that are well-suited for a variety
of positions seems quite logical for fashion? This is why I call it the projects seated
design. I want to point out that not one disability is the same and I've primarily focused
on self-propelled individuals since disabilities truly are wide and varied, I hope to
expand and include other disability in the future. It is true that nowadays we do a lot of
things sitting down at the office, playing computer games, driving a car, it would seem
totally logical to include some of these seated requirements into batch and design.
Throughout the process, I have maintained a democratic approach. My designs could
be worn by anyone who wants clothing that makes sitting easier, I didn't want to
become an adaptive designer, I said that from the beginning. I just wanted disability to
be included in a design approach from the beginning and then the rest is magic. But
regardless of fashion design, I would like to see disability and accessibility taught in
education from an early age. I think this would be beneficial to many people to have the
awareness to not only know how to embrace disability, but also to help erase the
marginalization and social stigma that is so often associated. If we have more
knowledge, we should have a better understanding of how to utilize accessibility into
our design practices. But we do need professors who are encouraging and open-
minded

Adaptive Clothing Market: Manufacturers, Regions, Type and Application

Analyzed the Adaptive clothing market, beginning with a look at market dynamics.
Though fashion is often dismissed as frivolous and self indulgent, the growing adaptive
clothing market. Suggests that rather than being part of the problem and a symbol of
the multiple divisions in society, political, personal and economic, fashion can actually
embrace new ground. The global adaptive clothing market is expected to witness
substantial growth owing to increase demand for these clothes from a diverse range of
individuals. From medical settings such as helping nurses or hospice staff to dress
patients conveniently to individuals seeking fashion that promotes self expression or
individuality. The demand for wheelchairs alone is growing in part two people
recognizing chairs as a mode of freedom and independence, as well as more spinal
related injuries due to lifestyle, under growing aging population. Though advances in
medical technology and legislation have created more opportunity for situations in
which people with long term conditions are increasingly able to be part of the
workforce. The implications that they will also require clothing that allow them to do so,
while also accommodating their physical realities has taken a while to sink in. And
design and manufacturing has similarly not caught up with that reality yet, so the
demand is there. But the supply is currently not as well as a number of complicated
misconceptions about disabled people and their lifestyles. Added to that is the
increasing demand for stylish and fashionable apparel among the young disabled
population. Which is another factor expected to fuel demand for more adaptive
clothing. Awareness and increasing initiatives by various manufacturers to reduce the
difficulties faced by the disability demographic regarding dressing by manufacturing
innovative apparel such as shirts with easier openings. Or shoes with zippers, which
can help both the individual and helper or caregiver to dress easily, is another major
factor estimated to drive growth of the target market. In addition, increasing research
and development activities to develop new accessible apparel are key factors expected
to drive growth. However, lack of awareness regarding availability of excessive bill
clothing and products is a major factor that is expected to hamper growth of the global
adaptive clothing market. In conclusion, designs are continuously changing as per
requirement and demand by the disability community, which is a major factor expected
to offer further lucrative opportunities in this market. The North American market is
expected to witness moderate growth owing to this increased demand from various
populations and healthcare sectors. The European market is expected to register
significant growth owing to an increase in older population who have disabilities in
those countries in that region. The Asia Pacific market is expected to witness
considerable growth going to the increase in the number of people who have
disabilities in countries in this region. Markets in Latin America and the Middle East and
Africa are also expected to witness moderate growth over the forecast period. This is a
burgeoning market for the fashion industry with the customer base that is hungry for
products that meet their needs and ideals of self expression.

Adaptive Clothing Market: Five-Year Forecast

There is no doubt that clothing for the disability community is a financially lucrative
market for many forward-thinking brands. Therefore, offering inclusive fashion is not
just a moral decision, it's also based on the knowledge that disabled shoppers have
significant spending power and remain the largest and most undeserved or under-
represented customer base. According to a report from the Centers for Disease Control
and Prevention, one out of every five adults in the United States has a disability. Over
the 2018 to 2024 forecast period, the global adaptive clothing market is expected to
grow with a compound annual growth rate or CAGR of four percent. The adaptive
clothing market for those who have physical disabilities and medical needs alone is
expected to grow from 278.9 billion in 2017 to 400 billion by 2026. The disability
population in the United States has a collective disposable income of around $490
billion. Clothing in the adaptive or accessible apparel sector utilizes technologies to
address the needs of those who have health conditions. Nike's recent self-lacing
sneaker is a perfect example, as it's laced via a smartphone, which benefits those who
have mobility issues. As fashion brands become more aware of diversity concerns and
size inclusivity, more attention has been given to other ways to expand inclusivity.
While the mass end of the inclusive and adaptive clothing market is now better
covered, there is still room to build, especially when it comes to premium and luxury
brands. It's unfortunate that fashion has fallen behind in certain areas as diversity
should define our industry and those who have disabilities are no exception. None of
the major luxury e-commerce platforms such as Net-a-Porter to Farfetch, currently
carry adaptive or accessible lines. Workwear that caters to the needs of disabled
customers is another area that can exhibit major growth. According to government
statistics in the UK, the amount of people who self-report as being disabled grew to 3.9
million in 2019, an increase of 150,000 from the previous year. So the global market is
significant now more than ever.

Module Review: The Human-Centric Approach

How can brands better cater to all minority groups? But when it comes to designing for
a wide range of disabilities, this simple question is still considered the significant task.
The design process is multifaceted and will demand input from the disability
community. Recent years have seen a radical rethinking of how the fashion industry
can design with disability in mind by employing a more human-centric approach and
social engagement with members of the disability community. This should include
people who are blind or who have low vision, deaf or hard of hearing neurological to
physical disabilities. There is no one size fits all, so engagement really is critical. The
rise in adaptive or accessible fashion clothing, specifically designed for the disability
demographic and those who have chronic conditions reflects newfound awareness of
inclusive design. This encompasses everything from discrete elasticated waistbands,
which a pinch free when seated to magnetic fastenings for independent dressing or
outrageous over the top fashion with capital F recognizing that choice and style is as
important as functional elements. All aspects of the garment are fabricated with the
wearer's everyday desires and needs in mind. For many of the global disabled
community, this is a welcome and long overdue process. The costs of creating lines for
disabled customers are no different or are comparable to launching an extended size in
collection. But brands need to invest the time and create the opportunity to collaborate
with their disabled audiences. There is demand for styles that are fashion forward as
well as functional, but higher end labels were lack appropriate points of sale. From the
standpoint of economics and market size, searches for adaptive clothing saw an
increase of 80% over 2019, according to Global Fashion Search Platform list.
According to a report from the Centers for Disease Control and Prevention, one of
every five adults in the United States has a disability. The global market for adaptive
clothing is expected to be valued at nearly 400 billion by 2026. And global consumers
are migrating to brands that are making a positive in social impact. And just like there is
a petite section or maternity section, disability should be included in a designer's
approach from the very beginning and not as an afterthought. Disability and
accessibility should be taught in education from an early age, regardless of fashion
design. This will be beneficial to many people if we embrace disability but also erase
the marginalization and demystify the misconceptions that are often associated with
disability.

The Fashion System in Historical Context

To understand how fashion has evolved since the mid 20th century, it's important to
review what happened in the earlier part of the century. The study of fashion must be
placed within its cultural and historical context, and cannot be separated from women's
history, societal evolution, the quest for social justice or the civil rights movement.
During the Second World War, femininity was essentially put on hold, and the post war
years would come to be defined by a romantic and ultrafeminine fashion that
completely contrasted with wartime attire. As Christian Dior said, we were emerging
from a period of war, of uniforms, of women soldiers. I drew women flowers, soft
shoulders, flowing busts, fine wastes. On February 12th, 1947, Dior launched his debut
collection for the Spring Summer season. The show featuring 19 models on 6
mannequins, was presented in the salons of the company's headquarters at 30 Avenue
Montagna in Paris. Dior himself has used the botanical term Corolla to describe his first
line. However, the collection went down in history as the New Look, a term that was the
brainchild of Harper's Bazaar Editor in Chief, Carmel Snow. From the moment you're
unveiled his collection to the moment he died a decade later, Christian Dior was the
most important designer of the post war period. The New Look became extremely
popular, with its full skirted, longer silhouette, influencing other fashion designers well
into the 1950s. Dior gained a number of prominent clients, including Hollywood
celebrities, New York socialites, and members of the European aristocracy. However,
contemporary reactions to the New Look were mixed. The French were delighted since
so much of their economy was based on fashion. Yet not everyone was pleased. There
were controversies raised from those considering the amount of material used to be
wasteful, especially after years of cloth rations during the war. But the obedience to
government rationing regarding clothing had broken down after the war. And even if
Dior hadn't existed, a New Look was inevitable in fashion. As designers such as Pierre
Balmain and Jack Phat were all moving in the same direction. As Dior himself said, no
one person can change fashion. A big fashion change imposes itself. It was because
women longed to look like women again, that they adopted the New Look. Before
World War II, there existed persistent systematic discrimination against women in the
workplace. With the onset of the war, the American government created posters and
promotional films of working women in order to encourage them to serve their country
by joining the workforce. At the height of the war, there were approximately 19 million
women in the labor force. Between 1940 and 1945, the female labor force grew by
50%. Although after the Second World War ended, returning male soldiers reclaimed
their jobs. And the government instituted another propaganda campaign urging women
to return to normalcy. By 1950, the portion of all women in the labor force was down to
32%, mainly because married women had joined an extraordinary numbers over the
previous decade, and had stopped working when their husbands returned home from
the war. Most age groups, however, increased their labor participation by an
unprecedented 10%. In December 1948, French Vogue said, the quality of American
ready-to-wear them it's one to be well dressed on an average salary. The fashion
industry had developed very differently in the US than it did in Europe. Claire McCardell
was an award winning American fashion designer, and is credited with the creation of
American sportswear, a revolutionary concept that aligned fashion with function and
utility. In 1941, McArdle produced a line of separates that made 9 outfits from 5 pieces.
And in 1942, she created her famed popover dress. As a response to a Harper's
bazaar challenge to create something fashionable, one could wear to, quote, clean the
house and then where to a cocktail party, end quote. Thus, McArdle created the
concept of sportswear, inaugurating the American look, which became the defining
aesthetic of American fashion for decades. With fashion designers such as Isaac
Mizrahi, Donna Karan, Calvin Klein, Norma Kamali, and Cynthia Rowley all being
influenced by McArdle. After the war, a series of global events snowball that would
greatly influenced the fashion industry. On the heels of World War II, the Cold War
between the USA and Russia began. The Soviet Union announced it had the atomic
bomb, and NATO was founded. Moving on, the 1950s were a tumultuous time for the
United States. The Korean War began in 1950. The McCarthy hearings sent a wave of
paranoia throughout the country. And after a long uphill battle, the US Supreme Court
finally ruled that racial segregation was illegal in 1954. These events also coexisted
with the expansion of the world economy. When the Marshall Plan was inaugurated in
1947, the European economy was in ruins, but a decade later it was booming. This
was the moment when fashion for all became a reality. It is therefore necessary to
analyze the wider historical context. When fashion evolved, it acquired meaning and
the structure of the fashion system itself radically changed. America's war in Vietnam
and the Civil Rights movement led by Dr. Luther King, had a lasting impact on not only
US politics and culture, but the counterculture movement of the 1960s and 70s that
continues up to the present day with the Black Lives Matter Movement. During the 60s,
the fashion and pop culture industries led by social and political activists, were fueled
by a young population with disposable incomes, and a dissatisfaction with the status
quo. This combination created styles that were revolutionary. The Black Panthers, the
Hippies, Yippies, and other political and social movements had an equally stylistic
image. And the 1960s became the era when youth culture began to truly influence
mainstream fashion, and the fashion world responded. Their 7th Avenue was taking
notice of the hippie styles worn on Haight-Ashbury in San Francisco, and the Mod
statements on Carnaby Street in London. Thus, niche marketing began its initial ascent
from the modernists of the early to mid 60s to the preppies and hippies. Fashion was
now being absorbed, interpreted, and sold back to the youth of the world, which led to
the term youthquake. In their relentless pursuit of the new, the fashion media were put
to promote hippie styles. Although, the hippies themselves believed that fashion was,
quote, a system that society imposes on all of us to restrict our freedom, end quote. In
turn, hippies rejected fashion and tended to look for inspiration from other eras and
cultures. For example, the Beatles had many of their garments created by a design
collective known as The Fool. Who has idealist approach of creating brightly colored
garments drawn from traditional cultures around the world might, in fact today, be
considered cultural appropriation. Many perceive the hippie look to be one of a rampant
individualism and a do it yourself approach that rejected fashion's tyranny. Much like
the grunge movement did in the early 90s before it was also co-opted by the
mainstream fashion industry. By 1969, Vogue announced that in fashion, their
revolution is over. In the 1960s, the fashion industry also began to fracture into different
sections. Haute coyture, Pret-a-poter Rita and branded stores all made their mark. One
figure, in particular, was at the center of this. In 1961, Yves Saint Laurent founded his
eponymous label and popularized numerous fashion trends, such as the Beatnik look,
Safari jackets for men and women, tight pants and tall thigh high boots. This all led to
the 1966 creation of arguably the most famous classic tuxedo suit for women, Le
Smoking suit. He was also the first to popularize ready to wear or pret-a-porter, in an
attempt to democratize fashion with his Rive Gauche and a boutique of the same
name. The Rive Gauche boutique was a daring move that created a template for
designers that still resonates today. Selling through a designer's own boutique allowed
for complete creative, and aesthetic control, and maximization of profit margins. In
conclusion, we can see that the study of fashion must be placed within its cultural and
historical context. Remember, context is everything.

A Holistic Fashion Brand: ASHYA Case Study

How to conceive a holistic fashion system that solves complex issues. For the next
wave of emerging designers and fashion professionals, being successful in the fashion
industry will mean being tasked with the challenge of rethinking the fashion system. A
journey that begins with an examination of one's core values and by identifying
impactful areas for change. It will also mean developing shared objectives that outlined
future goals. Let's look at an example, lawyer and Nissan Ashley Simone, our New
York based designers and frequent world travelers. Their brand is ASHYA, an award
winning black women owned label that features unisex travel accessories that
seamlessly honor both fashion and design. Inspired by their many trips together, the
duo has offered a selection of unisex, elegant and multi functional belt bags and travel
accessories since 2017. ASHYA has reinvented the belt bag and today the brand is
worn by a list celebrities like Beyoncé. Their designs convey a minimalist approach as
they add a hint of luxury to practical garments. The inspiration for their label came in
2015 after a trip to the southwest coast of India, when the duo found themselves
relying heavily upon the belt bag as they go to accessory of choice. After noticing a gap
in the market for stylish utilitarian travel ware, ASHYA was born. Actually Simone told
Conde Nast traveler quote, it sounds a bit cliche, but we really had an eye opening
moment about where our passions lay. Around exploring culture and creating with this
sense of freedom that we had when we were traveling. That led to this concept of
creating a brand that spoke to our explorations that spoke to our love cultures, of
learning about indigenous communities and creating beauty through the lens of fashion
end quote. The designers created the brand with travel and mind both in functionality
and aesthetic. Each collection is inspired by a different destination, by places from
which they travel and where they live. how to conceive a holistic fashion system that
solves complex issues. For the next wave of emerging designers and fashion
professionals, being successful in the fashion industry will mean being tasked with the
challenge of rethinking the fashion system. A journey that begins with an examination
of one's core values and by identifying impactful areas for change. It will also mean
developing shared objectives that outlined future goals. Let's look at an example,
lawyer and Nissan Ashley Simone, our New York based designers and frequent world
travelers. Their brand is ASHYA, an award winning black women owned label that
features unisex travel accessories that seamlessly honor both fashion and design.
Inspired by their many trips together, the duo has offered a selection of unisex, elegant
and multi functional belt bags and travel accessories since 2017. ASHYA has
reinvented the belt bag and today the brand is worn by a list celebrities like Beyoncé.
Their designs convey a minimalist approach as they add a hint of luxury to practical
garments. The inspiration for their label came in 2015 after a trip to the southwest coast
of India, when the duo found themselves relying heavily upon the belt bag as they go to
accessory of choice. After noticing a gap in the market for stylish utilitarian travel ware,
ASHYA was born. Actually Simone told Conde Nast traveler quote, it sounds a bit
cliche, but we really had an eye opening moment about where our passions lay.
Around exploring culture and creating with this sense of freedom that we had when we
were traveling. That led to this concept of creating a brand that spoke to our
explorations that spoke to our love cultures, of learning about indigenous communities
and creating beauty through the lens of fashion end quote. The designers created the
brand with travel and mind both in functionality and aesthetic. Each collection is
inspired by a different destination, by places from which they travel and where they live.

Creating a Holistic Product Lifecycle

In order to create truly holistic product life cycles and sustainable fashion, designers
must address the full life cycle of a garment from the raw material stage to the end of
its life. By its completion, a product has a large environmental impact, especially since
the majority of textiles ultimately end up incinerated or dumped into landfills. That's why
in this video, we will work to understand the critical issues that need to be sold in order
to create a holistic product life cycle. It's imperative to understand that the fashion
industry must close the loop and create a system that uses recycled inputs and
reduces waste. Only when we build programs that address the concerns and creates a
circular design system that reduces waste and increases recycling, upcycling, and
reuse, can we ultimately create a product life cycle that is holistic in its process. Here
are two examples of designers meeting this challenge, Emily Adams Bode is a
designer whose brand embraces the holistic product life cycle. Her work utilizes an
array of vintage items from colorful clothes and blankets to more unusual pieces like
merit badges and sports pendants, which she obtains from antique dealers throughout
the world. Her materials are upcycled, recycled, natural fabrics. These efforts have paid
off. As in 2019, she was named the CAFTA emerging designer of the year. Bode also
understands that in order to approach sustainability, she must recognize when to scale
back production. She says, ''People love using that word. But look, if you're
overproducing clothes you can't sell, even if they're made from eco-friendly fabric, then
guess what? It's not sustainable.'' Priya Ahluwalia is a London-based fashion designer
whose work not only explores her Indian and Nigerian heritage, but also combats
fashion's longstanding waste problem. Born in South West London to a Nigerian father
and a mother from India, Ahluwalia grew up in a multicultural household that became
even more lay it with a Jamaican step father. In a short time, she's made a name for
herself as one of the UK's most exciting new designers. Ahluwalia started her label in
June 2018 after graduating from Westminster University. She uses design techniques
like dying and beading and materials directly inspired by her multifaceted heritage as
well as her London roots. She's also keen to stay environmentally-friendly as she
frequently utilizes vintage and deadstock clothing for her collections. She has already
been met with great success, winning the LVMH prize in 2020, the H&M design
award in 2019, and a collaboration with Adidas, a Paris Fashion Week for
autumn/winter 2019. She also made a splash at the all virtual 2020 London Fashion
Week when she displayed filters from her latest book, Jalebi, which showcases the
cultural impact of immigrants in the UK by highlighting West London's Punjabi
community and Sappho. The core values of a brand are demonstrated through her
work and Process. As Ahluwalia told CNN, "I think the correlation between young
designers talking about these issues is that more young designers are of Black, Asian,
minority, and ethnic backgrounds than ever before." This means that for the first time
designers from ethnic backgrounds are able to share their stories and work through
their own voice. All big companies, not just fashion brands or magazines, but
businesses across all industries, needs to consider whether their companies are
feeding into a system that allows racism to continue and grow unchecked. In
conclusion, there are several key points to remember. In order to create truly holistic
product life cycles and sustainable fashion, designers must address the full life cycle of
a garment from the raw material stage to the end of its life. The fashion industry must
also close the loop, as well as create a system that uses recycled input and reduces
waste. In order to create a product life cycle that is listed in its process, we must build
programs that address product end-of-life and create a circular design system that
reduces waste and increases recycling, up cycling, and reuse. Finally, the next wave of
designers and fashion professionals are being tasked with the challenge of rethinking
the fashion system and examining core values by: Identifying impactful areas for
change and for developing shared objectives that outline future goals.
Integrating Social Media and Supply Chain in a Holistic Product
Lifecycle

Social media has had a tremendous impact on the fashion industry. That's why in this
video we'll look at how social media influencers are redefining the fashion and apparel
supply chain. With the current generation of digital and mobile consumers, platforms
such as Instagram, Pinterest and Twitter, now collectively boasts over two billion users.
These channels of connection between individuals and companies have undergone the
largest change since the invention of the television. These changes have brought on
seismic opportunities for fashion companies. With more data and channels than ever,
companies now have unlimited access to understand consumers and gain the
necessary insights to execute their goals. But in order to streamline this process, they
need to employ a flexible supply chain that can meet the demands of these new
opportunities. Social media and the fashion industry are now intertwined. If one thing is
true about how social media uses treat fashion, it's that nothing escapes their attention.
Not only do online consumers pay attention to detail when it comes to fashion, they
make their voices heard as well. Social media trends frequently revolve around the
clothing choices of celebrities, athletes and other public figures. Before social media, it
was often word of mouth or perhaps magazine and television coverage that played a
part in determining the fate of a brand or indicating the rise of a massive trend. But with
social media, the digital playground allowed companies to track every interaction they
have with consumers in real time and make decisions that can rapidly grow or even
save their brand. There are also unexpected benefits. When an amateur home video
featuring Vans shoes went viral on Twitter, it sparked a 20% increase in direct to
consumer sales and a 30% increase in online sales for the featured model of shoe in
the video. This wasn't an isolated incident. At 2018 global consumer insights survey by
pricewaterhousecoopers noted that about 39% of consumers say that social media is
one of their primary influences while buying clothes. Social media has expedited the
purchase cycle, consumers can begin shopping for clothes minutes after they make
high profile appearances on platforms, television and other media. Users now rely upon
instant online access to purchase anything that catches their interest. To take
advantage of this shift fashion businesses need to be aligned with their customers
desires. Since it's everywhere, social media is now part of the supply chain. As the pool
of ever evolving critical market data grows, brands can use this knowledge to track
emerging trends to integrate into advertising and marketing campaigns. Social media
can also impact and improve communications across the company's supply chain.
When a company generates data, it leads to greater transparency, which can improve
process control, as well as reduced labor and operational costs. This data can also
give up to date warnings on potential events related to bad weather or natural
disasters, which can allow managers to adjust the logistics chains. Internally
companies can even design platforms and then analyzed data from their social media
footprint to research new avenues and partners. By tapping into these pools of social
media data, businesses can leverage strategies to improve both their overall
operations and sales in one fell swoop. So what are the challenges of social media
growth and changing supply chains? Yes, its promising in the short term. But keep in
mind that social media can create such a demand that causes manufacturing
disruptions that ripple across the entire supply chain. This can lead to a company
focusing all of their efforts on alleviating the problem, which in turn can force them to
abandon previously thought out and detailed plans. Overall, the quick bump from social
media could potentially derail business stability. So while trend forecasting has been a
constant in the industry for some time, it's become increasingly difficult to track social
media trends, aligning design, manufacturing, branding and distribution to meet a
sudden demand can prove difficult for a company. If a company hopes to meet product
demand, then they need to have the right infrastructure in place. This requires real-time
inventory evaluation and transparent connecting data across all channels, right? That
means for a proper supply chain management solution, you need one that quickly
filters work in process inventory into production and distribution. The answer is a
digitized supply chain. Not only that, but one that is fully integrated and capable of shop
floor digitalization. When this is employed, companies can manage production
shortages in that capacity planning and minimize logjams on the factory floor. This
allows management to quickly evaluate inventory and gather resources which results in
a fast and efficient production that leads to high quality productivity and increase
profits. To speed up the demand created by social media, it also helps to integrate a
product lifecycle management or PLM solution, to an enterprise resource planning or
ERP system. This allows you to access and share collected data across the supply
chain in real time to create a more collaborative environment and increase both
planning and efficiency. When you integrate your supply chain, you can acquire data
and insights from numerous sources besides PLM and ERP, there are e-commerce
platform social media and POS, just to name a few. As data is pulled from all channels
companies can better forecast ahead, reduce risk and capitalize on all growth
opportunities. In conclusion, social media has fundamentally changed the retail and
apparel industry. For fashion companies, it's led to a downpour of business
opportunities and consumer data that is only growing. It is under these circumstances
that an agile and fully integrated supply chain becomes critical for an enterprise.

Core Values and the Wider Consumer World

To do this, let's look at core values, what they are and why they matter. Core values
are the beliefs that a company stands for. They serve as the true north that guides the
brand story, its actions, behaviors, and decision-making process. There will be times in
fashion business when tough choices have to be made, but core values are a constant
reminder of what's important to the business and to the people it's serving. Making the
right decision therefore becomes an effortless task when those choices are informed by
values aligned with the brands' overarching mission and its vision. Core values matter
because they influence how consumers view your brand. This is important, considering
that consumers are more likely to support a brand whose core values align with their
own. The same is true for employees as well. In fact, multiple studies show that shared
core values have a significant impact on employee engagement. When you build your
business around your core values, it allows it to fit into the wider consumer or user
world whilst maintaining brand authenticity. We've looked at designers and brands who
address a sustainable approach to the design and manufacturing process. They are
being tasked with the challenge of rethinking the fashion system and examining core
values by identifying impactful areas for change and developing shared objectives in
order to outline clear future goals.
Aligning an Interdisciplinary Approach to Core Values

The essential elements of contemporary public relations. Public relations isn't what it
used to be in the past, a brand would approach a publicist with something they needed
to promote. Perhaps a new design or collection or a fashion show or a store opening
and entrust the publicist to present that as news to journalists. However, with the
advent and explosion of social media, consumers are now exposed to something new
multiple times a day. So, there's a lot of digital noise for the designers product to stick
the brand and publicists must work together to come up with a legitimate reason for a
consumer to pay attention. Not only that, but the story must resonate with authenticity.
But how has the fashion public relations industry really changed? The late great Ed
Filipowski of Global Fahion Pr powerhouse KCD believes quote, the divas have gone
there used to be a lot of power crazed editors. Their absence is a nice change, end
quote. Well, that may be true today, one could argue that editors have been replaced
by influences. Ralph Shar, founder and CEO of London based exposure brand
marketing says that success in public relations is actually very simple and argues that it
hasn't changed at all. Shar states quote, if you make one person happy, they tell four
others, if you make one person unhappy, they tell ten others end quote. Exposure
began in 1993 and has grown into one of the most respected marketing and brand
imaging companies in both Europe and the US. With clients including Nike Converse,
Vivienne Westwood added as Google, Ebay, Netflix and many more. Their strategy
makes brands culturally relevant through unexpected and authentic storytelling. And
their methods obviously make consumers happy. And how has print advertising
changed in the digital age? For decades, the main vehicle for fashion advertising was
print. Throughout the 19th century and into the first half of the 20th, Fashion Print
Advertising used illustrations. However, with the rise of influential fashion editors like
Diana Vreeland, fashion editorials became photographic storytelling. And advertising
would follow suit as prolific fashion photographers including Richard Avedon, G Damn,
Deborah, Darvill and Peter, Lindbergh and Bruce Weber began to create compelling
marketing campaigns. Nevertheless, that opportunity meant that only brands who were
established enough to have a major marketing budget, fragrance collection or beauty
business had major advertising campaigns. It also meant that the page price for an ad
and Conde Nast publication was way beyond the budget of an emerging brand. This
led to up and coming brands relying heavily on smaller pr companies to get editorials
for their products as well as pressed for their fashion shows and retail store events. It
gave fashion editors tremendous power as well as Taste maker status that could make
or break a designer. These ads were a one shot deal in a monthly publication and
everyone saw them for a long time. The September issue of vogue held sway over the
entire industry. However, in the decades since the Vogue documentary film, the
September issue was released in 2009. The media landscape has drastically changed
as has the role of the once all important fall fashion issue. Once the biggest fashion
magazine moment of the year, the issue held a unique place in the industry with its
sought after advertising space and glamorous editorial shoots. Of course, things are
different today, as the New York post recently declared September issues are dead,
pointing to a lack of publishing funds. Traditionally the point of a September print issue
is to reveal that years full fashion, but people no longer need a magazine to tell them
what's about to be cool. They already know through their social media feed,
subsequently, the advent of digital advertising has changed the nature of consumer
communication as it's less expensive and much more targeted and personalized. So,
what effect her social media had as a disruptor and equalizer in luxury fashion? While
you can still drip feed content, it's become harder than ever before, remember, it's not
just a budget that builds media, it's good ideas too. Candice Marie Stuart is Prada
Social media director and a professor in the Mps Fashion Management program at
passes. She says that quote, each social media platform should be treated as a
different platform, you have different audiences and different aspects on each platform.
You do not want to treat Facebook like you would treat Instagram or TikTok end quote.
Social media has even forced the luxury sector to become more digitally savvy. For
years, luxury brands were slow to build a digital presence, believing that the consumer
wanted an in person experience. However, that has changed and today luxury utilizes
social media strategies in the same way they have adopted collection drops and other
ideas that were normal marketing strategies in streetwear as a platform. Instagram has
a number of features that allow for good marketing. Some Instagram marketing
strategies include optimizing your Instagram profile by prominently using your business
name and logo, taking time to write intriguing captions, using video content and
showing the culture of the workspace. Teaming with influences, taking advantage of
holidays and trends, setting up shop herbal posts and finally knowing the best times to
post in order to maximize Instagram marketing. Remember engaging the consumer
public relations is a two way street, in the last decade, we have entered the era of data
analytics. A data analyst working in fashion utilizes available digital information to help
companies become more profitable by predicting trends and consumer behavior. Play
video starting at :7:20 and follow transcript7:20 This strategy is employed by large
scale fashion consumer companies, the luxury sector and fast fashion alike, algorithmic
marketing is essentially artificial intelligence that includes machine learning and
predictive statistics. However, a recent verb business article stated that just like the
humans that design it AI can have bias. In fashion, this could mean online searches
that only show certain types of models or confusing someone's skin tone for dark
jeans. This goes beyond marketing, it reinforces harmful stereotypes as well, so as
brands undergo a reckoning to be more inclusive and diverse. Their data and
algorithms are due for a closer look as well. Now let's look at CRM versus CMR. CRM
stands for Customer Relations Management and describes the strategy that a
company uses to handle customer interactions. Reward cards are a common CRM
strategy customers swipe their cards and receive access to special deals and accounts
from a particular store or brand. However, that card also registers and tracks
everything the customer buys, which allows companies to create a detailed profile
based on their purchasing habits. This way, they can offer targeted coupons and
programs to motivate customers to buy more and then the CMR, which stands for
Consumer Managed Relationships. The dynamic between brands and consumers has
changed, brands can no longer decide how and when to engage with its customers.
They also can't tell them how to think and buy, power today lies firmly with the
consumer. There are also many of what are known as connected consumer, this
means customers that are not only mobile centric and highly active on social media, for
keen on advertising as well. They have high expectations, strong buying power and
brands are scrambling to keep up with their shifting demands. In conclusion, some
points to remember first, the public relations process has completely evolved, also, the
more authentic brand is, the more it resonates. The more personal a brand is, the more
it connects with the consumer, digital advertising builds a community. While social
media creates channels that never stopped streaming, algorithm marketing must adapt
to be more inclusive in its data collection. And finally, today's connected consumer is a
new breed of customer whose skills in detecting authenticity and buying power must be
taken into account when marketing to their needs.

Module Review: A Holistic Fashion System

In conclusion, we can see that the study of fashion must be placed within cultural and
historical context. Fashion has evolved and become much more complex in the past 50
years to the same degree that global society has, and cannot be separated from
women's history, societal evolution, social justice, or civil rights. Context is everything.
Fashion is also influenced by technology, as in the present day. Social media has
fundamentally changed the retail and apparel industry. For fashion companies, this
change represents unprecedented opportunity and access to more data. Today's
connected consumer is a new breed of customer who is always on a mobile-centric
filtering, sharing, and experiencing. They have higher buying power, even higher
expectations, and are both digitally savvy and advertising averse. As we can see,
fashion has been intertwined with both history and technology over the last century,
often in very unpredictable ways. So which direction will the industry be led over the
next century? Thanks for joining me and good luck on whatever path the future of
fashion may lead you. Don't forget the old adage, if you make one person happy, they
tell four others. If you make one person unhappy, they tell 10 others. So make people
happy.

Environmental Responsibility

Systems Thinking for Design, Sourcing, Manufacturing, and Product

End of Life

Fashion is a great industry. It's high-energy, creative, and contributes positively to

society and culture. However, fashion is extremely wasteful. The world is drowning in
clothes. So in order to improve, but as a business and a creative endeavor, we must all
strive to make fashion process less wasteful. Let's begin by looking at destructive
waste management methods. Why would a company purposefully destroy almost $40
million worth of perfectly good merchandise? In fact, it happens all the time. In 2018, it
was revealed that Burberry had incinerated $40 million worth of unsold stock as a way
to preserve products scarcity and brand exclusivity. Brands and retailers destroying
what they call dead stock is nothing new. In fact, many companies use it as a tax write-
off. Another company that's partly to blame for this waste is H&M group, who currently
churns out 3 billion garments a year. As of 2019, the company was sitting on $4.1
billion worth of unsold clothing, some of which was used as fuel for a power plant in
Sweden. After a Danish TV program conducted an investigation, H&M was accused of
annually dispatching 13 tons of new unsold clothing each year. They later denied the
claim stating that, the apparel had been sent to incineration because of mold or not
complying with their strict chemical restrictions. Eventually, the Persson family, who
founded and still own the company that decided to do some damage control and help
combat this enormous waste. Seven years ago, they launched the H&M Foundation,
investing a $180 million to fund projects that solve humanitarian and environmental
problems in the fashion industry. The foundation also poured a 100 million into
promising new technology called the Green Machine, which allows consumers to
recycle clothing the way we recycle Coke cans. This is H&M's latest step to recast
themselves from one of fashions biggest polluters into a problem-solver. However,
companies dumping their own stock still happens all the time. A recent New York
Times story put the spotlight on Nike for slashing and dispensing shoes so they
couldn't be worn or resold. A spokesperson will respond that the products didn't meet
company standards to restock, recycle, or donate. To put this issue in perspective, a
pulse of the fashion industry report stated that fashion generates 4% of the world's
waste each year and equals 92 million tons, which is more than toxic e-waste. Let's run
down some other facts. Fashion is second only to oil as the world's largest polluter.
Through the long supply chains and production, the industry contributes 10% of the
world's global greenhouse gas emissions. The US is the world's largest importer of
garments with nearly 40% of that apparel shipped from China. Between 2000 and
2014, clothing production doubled. In fact, the average consumer today buy 60% more
than they did 15 years ago. However, items are now only kept half as long. Here's
another one. Nearly 20% of global waste water is produced by the fashion industry.
Despite only 3% of the world's arable land, cotton farming is responsible for 24% of
insecticides and 11% of pesticides. It takes more than 5,000 gallons of water just to
manufacture a t-shirt and a pair of jeans. An NPR report stated that 15.1 million tons of
textile waste was generated in 2013, with 12.8 million tons discarded. That means
about 15% of fabric intended for clothing, winds up on the cutting floor room. This
waste rate has been tolerated industry-wide for decades. One solution to combat this
waste is recycling. However, there are many missed opportunities. For instance, the
average consumer throws away 70 pounds of clothing per year that could be recycled.
Some communities have textile recycling programs with 85% of this waste going to
landfills. That equals about 5% of the total landfill space and that amount is growing.
This is a problem as landfill space is expensive and hard to find. In fact, studies show
that 95% of landfill textile waste could be recycled. Hopefully, recycling becomes more
commonplace. Just by using recycled cotton, you can save 20,000 liters of water per
kilogram. Another solution is wearing secondhand clothing. Everyone loves a good
thrift store find, right? That seems to be the case in the US as is the largest exporter of
secondhand clothing at over a billion pounds each year. Over 70% of the world's
population uses secondhand clothes. But as consumers, we can do better. In the UK
alone, there's an estimated $46.7 billion worth of unworn clothing just sitting in people's
closets. That's a staggering number to contemplate. Apart from the ones caused by
land and water use, most textile industry impacts occur during this stages after fiber
production, yarn spinning, weaving and knitting, finishing and dying. Since textiles are
very complex materials, it's unlikely that a single technology will solve the global need
for efficient textile recycling. In order to maximize end-of-life textiles, a range of
recycling technologies must be applied.

Fashion Systems: Low-Impact Use, Adapting Volumes, and Optimized

Lifetimes

Design for circularity, which is when recycled materials are used in near fashion
products. The most commonly used fiber types are polyester, cotton, and nylon. The
fashion industry, in its current form, simply isn't sustainable. A circular fashion system
must be created. One that combines new business models with innovative design,
technologies, and materials, with the goals of eliminating waste and pollution, and
driving positive impact across the fashion value chain. This should all be done
alongside new service or in a business models. To put the current model in
perspective, one percent of clothing gets recycled into clothing. Compare that to the 70
percent that gets dumped into landfills. Now we'll discuss three circular business
models: rental, subscription rental, and recommerce. We'll do this across four industry
segments: value market, mid-market, premium market, and luxury market. First, let's
consider their financial viability. There's a strong case to explore circular business
models as all three that I just mentioned, can be financially viable for existing fashion
retailers. There's a legitimate opportunity to drive higher margin per garment compared
to our current linear model. They can also present opportunities that could drive a
higher margin per garment compared to this current linear model, the baseline. While
rental appears to be very attractive in higher value segments, subscription rental also
has consistently strong potential, but it's actually recommerce that appears to be the
most financially attractive model. The margin potential varies significantly by segment.
Luxury would appear to represent the biggest opportunity, while new variable costs
associated with each model consistently change the value market. Here are some key
findings for financial levers for each of the three business models. In addition, a circular
model can increase value by enhancing customer relations. One potential advantage
circular models have over traditional retail is the visibility of customers product usage
data available through their designs. Each of these models has the potential to
fundamentally change the commercial incentives of the fashion industry, shifting it from
being volume-focused to one motivated by quality. This creates an environment where
the garments durability and the number of uses facilitates its commercial viability.
Rental as a fashion business concept has been around for decades, generally focused
on specialists items for one-off events, most notably weddings. It has remained a small
part of the industry. Research shows that just four percent of respondents had used
rental in the past year. Rental allows customers to wear previously unaffordable and
unattainable garments. It's key drivers is its ability to offer customer value. In this case,
an affordable solution for a rare occasion that would otherwise be too expensive. By
2023, the fashion rental market is projected to be worth 1.9 billion globally. That would
double its value from 2017. Rental innovation has been dominated by tech companies,
with priorities on optimizing processes for returns, inventory management, and data
collection. With an emphasis on high price segments, some leaders include Rent the
Runway and Girl Meets Dress alongside peer-to-peer leaders such as Style Lend. Over
the last five years, subscription models in fashion have grown a 100 percent. It's
demand is driven by young, high earning, urbanite customers, with companies
capitalizing on low barriers to entry. Fashion currently represents six percent of the
global subscription market and it's still growing. As models are being adopted across
many geographies and segments at reasonable scale, consumers of subscription
fashion increasingly value access over ownership, and since subscription services
improve on the diversity of accessible models compared to traditional retail, it allows for
greater experimentation with new styles, and enables customers to try new items in a
flexible, low-risk way. Recommerce is the resale of previously sold items, and has been
established for years. Historically, recommerce has been somewhat informal, with
much of its sales coming from charity shops and secondhand stores. However, it's
becoming a more established and formal part of the industry. A recent report indicated
that resale has grown 21 times faster than traditional retail over the past three years. Its
growth has occurred in part due to the changing perception of what used means from a
negative to a positive. It also drives the value for two groups. The original owner and
the buyer. Recommerce also inherently reduces process friction, and has terrific
market insight. Recommerce is the most prominent example of a circular business
model in the fashion industry. With this annual growth rate at 16 percent, the market is
set to reach 51 billion in 2023. Improved access to market places for secondhand
garments has been a major factor, as peer-to-peer apps, such as Depop and
Poshmark, have struck big with millennial customers. There are also marketplaces for
specific segments and products, such as the RealReal in luxury. The dominance of
independent platforms and startups create risk for established retailers in terms of
garment authenticity and quality. Retailers also miss out on potential benefits of owning
these channels, including additional revenue streams, deeper customer relationships,
and new customer touch-points. But some companies are responding to this risk, with
some innovative leaders already incorporating recommerce into their existing business.
These examples of recommerce are often a collaboration between start-ups and
established retailers. An example of this is Worn Wear, a collaboration between
Patagonia and Yerdle, in which post-consumer garments are returned and resold.
Another is the North Face Renewed and a collaboration between The North Face and
The Renewal Workshop that focuses on selling pre-consumer, defective or unsold
stock that's then refurbished and resold. There are several conclusions regarding these
business models. First, is that rental seems very attractive in luxury, with the potential
margin of 60 percent per garment. Next, is that subscription rental has major potential
as it appears viable in three or four segments. Finally, recommerce appears to be the
most financially viable circular business model, with profits exceeding the baseline in
the mid-market premium and luxury segments. If the fashion industry is to be
successfully transformed, circular business models will have to play a major role.
Alongside rapid innovation in emerging startups, the industry has shown a clear
commitment to better understand its impact and to implement new models. Our
industry is past due for innovation and progress. A successful circular economy
innovator will focus on five imperatives. First, prioritize based on market segment.
Second, match the business model to the product. Third, get the incentives right, and
fourth, make it sustainable, and lastly, pilot and experiment. In conclusion, we know
that fashion industry, as it currently operates, is not sustainable. We also know that
circular business models can drive value by improving customer engagement and
retention. These models, such as rental, subscription rental, and recommerce, are
effective and will play an integral role in the sustainable transformation of the fashion
industry.
Environmental and Social Impacts of Sourcing and Production

Since the turn of the century, many producers have strived for a cradle-to-cradle model
of production or circular economy. But so far there's yet to be a successful example. A
fully sustainable production as all production practices have environmental impact. This
includes the processes of material production, dying, assembly, accessorizing,
shipping, retail, washing, and recycling. While there have been many small initiatives
towards change, they'd been drowned out by the explosive popularity of fast fashion
and its economy of extraction, consumption, and waste. Our current global political
economy and legal system supports a fashion industry that has devastating
environmental, social, cultural, and economic impacts, all in the name of offering
garments at a lower prices. Fashion, which involves efforts to minimize harm in the
growth, manufacturing, and shipping of products results in higher prices as fashion
made from reduced impact materials costs more to make than clothing produced in a
social and environmentally damaging way. This latter cheaper system is sometimes
referred to as conventional methods. Despite this, innovative fashion is being
developed and made available to consumers at different levels of the fashion spectrum,
from casual clothing to couture. The benefits of this fashion are reduced social and
environmental impacts at the material and manufacturing stages of production. It's also
recently drawn the attention of celebrities, models, and designers who champions
socially conscious in environmentally friendly fashion. One example of innovative
fashion is 3D seamless knitting. It's still developing but has impressed many in the
industry as it allows entire garments to be knit using 3D software without using any
scenes. It's similar to a regular, seamless knitting, except the traditional method
requires stitching to complete a garment, which 3D eliminates since it reduces waste
and labor, 3D seamless knitting is considered a sustainable practice. It only uses the
bare necessity when it comes to materials and as technology is produced with the use
of solar energy. Stoll and Shima Seiki are currently the two largest manufacturers of
this technology, so check them out. Zero waste design is a concept that's been
prevalent for many years and is increasingly being integrated into production. Zero
waste design is used through multiple industries and is very applicable in developing
patterns for garments. The concept of zero waste pattern-making is to design the
pattern for a garment so that when the textile is cut, no extra fabric goes to waste.
Traditional methods of dyeing textiles are incredibly harmful towards the Earth's water
supply, creating toxic chemicals that affect entire communities. An alternative to
traditional water dyeing is supercritical carbon dioxide or scCO2 dyeing. Not only does
this process use a 100 percent of dyes, but it also only leaves 25 percent the physical
footprint of traditional dyeing. It uses no auxiliary chemicals, which reduces energy by
60 percent. Dry dye and color dye also names for this process. Another company
called colorRamp has patented hair dye, a similar process, they claim uses 95 percent
less water and up to 86 percent less energy than traditional dyeing methods.
Unfortunately, no fashion brand, label can call itself fully sustainable. There are
controversies on exactly how to use this concept in relationship to [inaudible] , or if it
can be used at all. Some even say that labels such as slow and sustainable fashion are
inherently oxymorons. Brands that sell themselves as sustainable, often still lacks
systems to deal with issues like oversupply, taking back used clothes, fully recycling
fibers, offering repair services or even supporting the life of the garment during use,
such as instructions on washing care, and repair. Most brands don't even offer spare
parts for purchased garments. Quite simply, brands are not supporting consumers to
make garments last, thankfully, comparison websites such as Rank a Brand and Good
On You exist. These sites compare fashion brands on their sustainability record, which
can at least give consumers an indication of the performance of different brands. There
are also many eco-labels focused on textiles. Some notable eco-labels include EU
Ecolabel, Fair Trade Certified, Global organic textile standard, OEKO Tech Standard
1,000. If you'd like to begin purchasing from brands that sell themselves as
sustainable, there's a wide range to choose from. Pack is a brand that produces
clothing made from organic cotton and is Fair Trade factory certified. One of the more
outside the box brands is Heavy Eco. A company in Estonia, were prisoners design
sustainable prison fashion as part of a trend called prison couture. Sustainability also
sends a message. The hand trading company is a ethically driven, underground
clothing label that specializes environmentally friendly and politically conscious
streetwear made of bamboo, organic cotton, and other sustainable fabrics. Another
example is Patagonia. Since 1993, the casual wear retailer has been selling fleece
clothing made from post-consumer plastic soda bottles. Everlane makes their
sustainability fully transparent, as they offer the consumer a full breakdown of how
much it would cost to make each product, including raw materials, transportation, and
company markup. People Tree is a brand that actively supports farmers, producers,
and artisans through 14 producer groups across six countries. They're a part of the
WFTO community and a representative of fair trade. Even the historic denim brand
Wrangler has hopped on board, launching the sustainable denim collection called
Indigood. This concept uses foam instead of water to dye denim, which results in 100
percent less water and 60 percent less energy used. Sustainability has extended
beyond the clothing sector as well. For instance, betting brand Boll & Branch
makes all of their products from organic cotton and it's Fair Trade USA Certified. One
question that many asks, what can be sustained of the current fashion model. This has
led to controversy such as the debate over which stakeholder agenda should be
prioritized over others. There's also an associated concern of how to curb the practice
of greenwashing and ensure that firms promoting such practices are subject to
increased scrutiny and criticism. Greenwashing is the marketing technique that
deceptively uses the color green as a symbol for being eco-friendly. It's frequently used
as a cover up for systematic labor, exploitation, social exclusion, and environmental
degradation. Market driven sustainability can only go so far as brand still need to sell
more products to be profitable. That means most initiatives that address ecological and
social issues still contribute to the damage. A 2017 industry report projects that by
2030, overall apparel consumption will rise by 63 percent from 62 to 102 million tonnes.
This would effectively erase any environmental gains made by current initiatives within
the fashion industry. As long as business models are based on growth as well as the
production and sales of high quantities of garment, almost all industry initiatives remain
labeled as greenwashing. Organic cotton is considered a more sustainable choice for
fabric as it uses fewer pesticides and chemical fertilizers. However, it represents less
than one percent of global cotton production. Hurdles for growth include cost of hand
labor for weeding, reduced yields in comparison to conventional cotton in the absence
of fiber commitments from brands to farmers before the planting of seed. The upfront
financial risks and costs are therefore shouldered by the farmers themselves. Many
who struggle to compete with corporate farms. Some designers have touted bamboo
fiber as a viable alternative to cotton as it absorbs greenhouse gases and can grow in
large amounts without pesticide. However, the conversion of bamboo fiber to fabric is
much like that of rayon, highly toxic. The FTC even ruled that the label in a bamboo
fiber should read rayon from bamboo. It's production also causes environmental harm
as chemicals are used to create a soft viscous from hard bamboo. Because of impacts
regarding the production of new materials, recycled, reclaimed, surplus, and vintage
fabric are arguably the most sustainable choices as the raw materials require no
agriculture or manufacturing to produce. However, these materials are still indicative of
a system of production and consumption that creates excessive volumes of waste. In
conclusion, we've learned that no brand can label itself as fully sustainable, which is in
itself a controversial concept. We also learned about the dangers of greenwashing. We
also know that for major changes to occur, alterations at the materials and processing
point need to occur. Organic materials are one approach for sustainable future with
organic cotton being a favorable, although under produced option. Traditional methods
of dyeing textiles are incredibly harmful to the global water supply, which is why the
water and energy saving, dry dye and colored dry techniques are efficient methods.
Finally, we learned that brands can do their part by taking back used clothes, recycling
fibers, offering repair services or even supporting the life of the garment during use. All
of these issues are interconnected. So it's up to you to stay cognizant of what role you
play.
Solving for Waste Management in the Product Life Cycle

When charities received clothing donations, they only keep approximately 10% of what
they receive. These clothes tend to be good quality, fashionable and high valued
fabrics that can be easily sold and charities thrift shops. The other 90% of donations
are sold by charities to textile recycling firms. Textile recycling firms process about 70%
of the donated clothing into industrial items such as rags or cleaning cloths. However,
20 to 25% of secondhand clothing is sold into international market when possible use
jeans collected from America, for example, are sold to low income customers in Africa
for modest prices. However, unfortunately most end up in landfills is a typical US size
customer, a several sizes bigger than the global average. Upcycling and fashion
signifies the process of reusing unwanted and discarded materials such as fabric
scraps or cloth. And turning them into new materials or products without compromising
the value and quality of the used material. In order to implement this method, it's
important to have an overview of the textile waste available as this dictates the garment
that can be created. Using up cycling and fashion design, emphasis the importance of
a local approach. So ideally, the input material, the waste, and the production should all
be local. The first step to collecting material for up cycling is to conduct a local testicle
waste study as levels of waste production and volumes of waste can differ by region. In
this case, textile waste can be production waste, pre-consumer waste, and post-
consumer waste. Typically, up cycling takes old user discarded of items and transforms
them into something new with better quality. In order to create a unique sustainable
product, upcycling requires a blend of factors such as environmental awareness,
creativity, innovation, and hard work. Upcycling aims to develop products that are truly
sustainable, affordable, innovative, and creative. For example, whereas down cycling
produces cleaning rags from Warren T-shirts, upcycling will recreate the shirts into
value added products like a handmade braided rug. Upcycling can be seen as a waste
management strategy, of which there are different types from least to most resource
intents of the strategies are the reuse of product repairing. And reconditioning to keep
products as long as possible and recycling the raw materials. The reuse of textile
products as is for significant environmental savings. In the case of clothing, the energy
used to collect, sort, and resell secondhand garments is between 10 and 20 times less
than that needed to make a new item. The process is highly innovative as it turns
certain materials into something reusable and improved, which gives companies and
manufacturers higher values for their products. Recycling is a big factor in
sustainability, so creating new materials to avoid mass pollution can help improve the
economy. An example of a brand that does this is E-collect. If all clothing items are
made from recycled items like used tires and plastic bottles, the manufacturing of their
items also takes place wherever the materials are recycled from, ultimately reducing
their footprint. Another way to promote the reduction, reuse, and recycling of garments
is through clothing swapping. Reusing clothing and recycling it from one owner to
another leads to a fair amount of source reduction. This helps move away from using
new raw materials and limits the amount of clothing available for consumption. Clothing
swapping is also an alternative resource for consumers to ultimately save both time
and money. It reduces transportation, admissions costs, and the time it takes to drive
and search through the chaos of most clothing stores. Swapping clothes not only
promotes the use of sustainable online shopping, but can also become a fund social
event with clothing swap parties. The EPA states that re sourcing diverts waste from
ending up in landfills as it delays or avoids the items entry into the waste collection and
disposal system. In conclusion, we can see that in order to solve waste management
problems and understand product life cycles. We should consider methods such as
textile recycling, upcycling, and clothes swapping. Brands themselves also create
revenue channels that don't require making new clothes, such as renting them,
creating marketplaces for used clothes, and charging for clothing repair services. A
focused joined effort is the only way to achieve sustainability.

Evaluating the Distribution and Supply Chain

As efficiencies and moving products from one place to another increase, the cost in
doing so will decrease, which in turn lowers the final cost to the consumer. Fast
challenges lie ahead as the fashion and apparel industry attempts to reduce its global
environmental impact. An ethical supply chain means thinking differently about cloths
from the start. As early as the design stage, there must be consideration of how all
elements of the supply chain affect the earth and its people. From organic or natural
materials to transportation, an ethical supply chain takes into account the impact the
garments will have on the world. A traditional fashion supply chain uses over 8,000
various synthetic chemicals, not to mention massive amounts of water. In addition to
these environmental concerns, child labor and all kinds of abuses are common in
unregulated overseas factories. While an efficient supply chain is great for a huge
corporation's bottom line, it's not so great for the people working for very little in return.
Historically, supply chain management refers to a process which reduces costs and
improve sufficiencies. However, ethical fashion defines the process differently. Ethical
supply chain management means that a brand ensures proper treatment and fair pay
for its workers throughout the system. It means necessary steps are taken to
investigate the factories. The farmers and other businesses, a brand works with so that
they can insure their clothing isn't adding to environmental damage or slave labor.
Ethical supply chains require more money and more work to manage because
consumption shouldn't be easy. The final step, which traditional fashion always
overlooks is the consumer phase of the supply chain. It may come as a shock, but
most of the environmental damage caused by the fashion industry happens once the
clothing leaves the store and lands in our closet. Between microfiber landing in our
water from synthetic clothing, in the high amounts of energy use to heat our waters for
washing, consumers leave a damaging impact as well. It may seem small, but it adds
up quickly. For instance, these microfibers released from synthetic fabrics are
estimated to make up 15-30 percent of plastics found in oceans. Even worse once our
clothes reached the end of our life cycle, they often end up in landfills. Although many
of us donate clothing once we're finished with it, our world still has more garments than
it can handle and not enough technology to recover them. Most clothing that
consumers part with winds up and dams, which causes the release of methane
emissions in the air and leads to the pollution of nearby groundwater. Ethical supply
chains need to keep all of this in mind and provide comprehensive knowledge to
consumers as they try to create a product that is able to live out its life without causing
any harm. Well, some brands have began using the cradle to cradle business model.
Many more need to adopt these methods before there's discernible change. Creating
unethical supply chain is far from easy, but there are various technologies,
organizations and initiatives that encourage fashion companies to be more responsible.
An example of this is blockchain, which has been touted as the new frontier for
transparent supply chains. Still, others maintain that real investment is necessary for
any large change to happen in the future. The only way we can be sure of this is with
full transparency.

Solutions for Textile Waste

The first thing to remember is that discarded materials and textiles, in any form, have
value and can be reused, recycled our up cycled into something entirely new. Textile
recycling is often framed as a solution to either one of two important questions. First,
what is the best use of textile waste, environmentally and resource wise? And second,
how do we make the textile industry environmentally sustainable? The first question is
material focus. The goal is to utilize the full potential abuse of textiles either in terms of
economic value or some kind of technical properties such as fiber length. When he
asked what's the best use of textile ways, best is in relation to the current situation.
Where the majority of use textiles are either incinerated with or without energy recovery
or consigned to a landfill after their first recycle. The second question is textile industry
focus. Textile recycling is one of many possible ways to reduce the total environmental
impact of the textile industry. Impact reduction potential or efficiency can apply to other
interventions as well, such as switching to renewable energy and less harmful
chemicals along the entire textile lifecycle value chain. It can also apply to new
business models and design strategies for prolonged use of clothing. In 2008, the
European Union introduced the waste framework directive, which seeks to protect both
an environment and human health by preventing or reducing the effects of waste. This
directive has led the way for further action towards a circular economy. In 2018, the EU
also adopted the circular economy package which declares that all member states
must collect textile separately by 2025. It also says that member states have until 2024
to decide whether specific targets should be introduced for reuse and recycle. As we
dive deeper, it's important to be familiar with some basic recycling terminology.
Chemical recycling uses a series of chemical processes to recycle a waste stream
back into building block chemicals called monomers. Mechanical recycling takes waste
and recycles it into secondary materials without changing its basic structure. Common
mechanical techniques include shredding fabrics and melting plastic fibers such as
polyester. Downcycled is when a recycled material of a lower quality than the original
product, while upcycle is when a recycled material is of a higher quality than the
original product. Closed-loop recycling refers to when the material for my product is
recycled and used in a more or less identical product. An open-loop recycling refers to
the processes in which the material from the product is used in another product.
Moving on, let's look at how to replace fibers or fabrics. First, here's a chart of routes
for the reuse and recycling of materials in the textile value chain. If recycling leads to
the replacement of certain types of virgin fibers. It can help mitigate the environmental
issues associated with extraction of virgin raw materials and the subsequent fiber
production processes. The replacement of cotton fibers reduces the use of fresh water,
pesticides and fertilizers. It also mitigates water depletion, ecotoxicity and other
impacts. Now, if polyester fibers are replaced and benefits are primarily in terms of
reduction in climate impacts and fossil resource depletion. Other than impacts caused
by land and water use, most impacts of the textile industry occur in production stages
after fiber production, such as yarn, spinning, weaving, knitting, finishing and dyeing.
Unless colors retain due to sort on color, these impacts are not prevented in
monomers, polymers or fiber recycling. However, they may potentially be prevented by
fabric recycling. Fabric recycling can potentially reduce more impacts than routes that
separate the recycle material to a greater extent. However, fabric recycling is often
impossible as the material is too worn out or because of difficulties in finding a suitable
use. Now, let's discuss recycling possibilities. The main material recycling route for
textiles are chemical and mechanical. With the same input material, the recycling
process can give different outputs. One possibility is the chemical recycling of cotton
and nylon. Chemical processing is typically used on synthetic fibers such as pure
polyester. It's applicable in several situations including is closed-loop and open-loop
systems for pure polyester and nylon six materials, as well as an open loop system for
cotton materials. In fact, cotton can be chemically recycled by pulping process followed
by a solution spinning to produce regenerated fibers. For some synthetic fibers, a
viable route for chemical recycling is through depolymerization. This is when the
polymer chains are broken into monomers which are then separated and purified
before being reunited into new polymers. Additives are removed during the purification
process. Today, pet and nylon six are chemically recycled at the commercial, yet
limited scale. Next, let's go over mechanical recycling of cotton. Mechanical recycling is
performed either by tearing or melting. When cotton is mechanically recycled, it
produces cotton fibers with shorter fiber lengths which makes in use such as coarse
yarn or blends with other fiber possible. Oftentimes, virgin materials with longer fiber
length is added to create a higher quality output. The mechanical process for recycled
cotton begins when text on material is freed for metal and plastic parts such as zippers
and buttons. Next, it's separated by color to avoid redyeing. Then, the materials cut into
smaller pieces that are fed into a textile tearing machine which opens up the textile
structure and releases the fibers. When recycled to yarn, the textile fiber mass is
carted, and they also pass through additional steps to remove shorter fibers. And
finally, a so-called sliver is produced which is produced into yarn by ring or rotor
spinning. Now, we'll move on to recycled polyester which mostly comes from plastic
bottles. The process begins as bottles are separated by plastic types and sorted by
color. Take note that only pet bottles can be used to make polyester, so sorting by
plastic type is absolutely critical. Next, the pet bottles are shredded into flakes, then dirt
and contaminants are washed away from the plastic. The shredded plastic is then dried
to remove excess water before recycling. The plastic flakes are then made into small,
consistently shaped pellets. These pallets are then melted and made into recycled
polyester fiber. Mechanical recycling can also melt synthetic fibers which produce
granular which are used for spinning new fibers. This is also known as thermo
mechanical recycling. However, it is not very common. Just remember that the
remelting method does not tolerate any contamination, whether it be certain service
treatments, dust or dirt. Since textiles are very complex materials, it's unlikely that a
single technology will solve the global need for efficient textile recycling. In order to
best utilize the potential of end of life textile, a range of recycling technologies must be
applied both mechanically and chemically. Some current issues faced by textile
recycling include a lack of infrastructure, low collection rates, manual sorting, low
recycling rates and relatively low value recycled products. To move forward, we need
to focus on increasing the recovery rates and achieving high-quality products. It's
important to demonstrate the potential of new materials to reduce waste strains. We
must also increase resource efficiency and recycling, while guaranteeing economic
environmental sustainability. There are two significant prerequisites for optimizing
value. First is capturing and supplying different recycling processes with suitable
feedback in appropriate collection system. The second is to cultivate an efficient
material-specific sorting of textiles destined for material recycling. A resource efficient
system when utilize an exchange of materials between textile, plastic composite and
non woven applications. Recycling relies on different sources. Discarded textiles are
collected and sorted from hundreds of thousands of factories and billions of users. In
contrast, version production relies on concentrated point sources, both time and
geography, such as pumping oil from the ground and harvesting cotton from farms.
One of the main issues of transportation is climate impact. How far can use textiles be
transported for recycling to make sense from an environmental standpoint? It's
important to compare the impacts of transport with its benefits. While transporting from
a collection site to a sorting facility by truck is efficient and generally climate safe. The
user's transport of discarded textile to a local recycling station may not be as efficient.
Climate wise, a transport distance up to 20 kilometers makes sense. Beyond that, the
benefits of recycling are questionable. Some key takeaways from this lesson are the
following. Discarded materials and textiles in whatever form have value and can be
reused, recycled or even upcycled into something entirely new. Apart from impacts
caused by land and water use, most of the impacts of the textile industry occur in
production stages after fiber production. Yarn, spinning, weaving, knitting as well as
finishing and dyeing. 20 kilometers is the limit to how far used textiles can be
transported from recycling to make sense from an environmental point of view. And
finally, since textiles are very complex materials, it's unlikely that a single technology
will solve the global need for efficient textile recycling. It's a lot to take in, but the issue
of recycling is one of the largest in our industry.