The Government won't fix fast fashion. Can consumers challenge a destructive industry instead?

It’s no secret that fast fashion is bad for people and the planet. From river systems polluted with toxic dyes and the exploitation of workers at home and overseas, to microfibres from the washing of polyester clothes ending up in the food chain and even the air we breathe, our addiction to cheap clothes is causing us serious harm. 

When the Environmental Audit Committee chaired by Mary Creagh MP published its findings after an in-depth investigation of the fashion industry, many of us hoped that the government would legislate in favour of the report’s recommendations, which included a ban on incinerating or landfilling unsold stock, mandatory environmental targets for large brands and tax incentives for recycling, repairing and responsible brands. 

To the dismay of most of my Twitter timeline on Tuesday morning, the government rejected even these mild regulations in favour of allowing the industry to self-regulate. This was particularly disappointing after recent reports that fast fashion brands are not implementing the changes they had promised to. The future of the Bangladesh Accord (which aims to secure safer workplaces in the wake of the Rana Plaza factory collapse) is also uncertain, so the chance of the industry properly regulating itself is as slim as a teenage catwalk model. 

Environmentalists and climate change activists are hugely concerned about the impact that fast fashion is having on our planet, but even if you’re a fast fashion fanatic you still have reason to be worried. In Elle Magazine’s 2018 Sustainability issue, Marie-Claire Daveau, head of sustainability at Kering, gave this stark warning: “if we don’t do this now, there will be nothing around to make fashion with in 20 years”. If that doesn’t make you quake in your boots, then I don’t know how to help you. If you truly love fashion, then you know it has to change.

So what can we do? As an individual consumer with limited spending power, it’s easy to feel powerless. But if we act together, we can hit the brands doing harm where it hurts - their profits. 

Extinction Rebellion have launched a Boycott Fashion action, where participants pledge to buy no new clothes for a year. If that sounds too daunting, the Collaction Slow Fashion Season has just started, and only lasts for three months.

Both actions make it clear that only brand new fast fashion is off the table. Participants can still buy secondhand and vintage clothes and swap clothes with friends or at a clothes swap. Mending, upcycling and making new clothes is encouraged; it’s a great way of breathing new life into old clothes, and understanding the skill and hard work that goes into garment making.

But what if you really, really, really have to buy something new? Most of us don’t urgently need new clothes, but we do urgently need to change our long-term shopping habits. Instead of panic-buying the first thing we see at the last minute, we can save money in the long run and experience more satisfaction with our purchases if we put a little thought into them. 

Look into ethical and sustainable brands (I’ll put up a post soon with some links in case you don’t know where to start looking) and interrogate your reasons for buying. Is your “need” genuine and urgent (I imagine some of you are dreaming up nightmare scenarios about secondhand underwear) or are you shopping because you are bored or unhappy? Could you get the same shopping “buzz” from having a wander round the charity shops in your local area or liking clothes on Depop and Vinted rather than filling your ASOS basket? 

If you rely on a high street fashion brand for a particular bra size, for example, or your kids school uniform, write to the brand and tell them that you are concerned about the negative impact they are having on the planet. Fashion Revolution have a template letter here if you’re unsure of what to say. 

Alternatively, you can write to your MP to express your disappointment with their rejection of the EAC’s recommendations. Fashion Roundtable has a template letter here.

We need to let fast fashion retailers and the government know that we will no longer accept business as usual. Fast fashion is a recent phenomenon (it barely existed when I was a teenager!) and like any unflattering trend, it has outstayed its welcome. Most of the 20th century’s iconic fashion trends were brought about by innovation and rebellion, so say no to the status quo and challenge yourself to become an icon of rebel style!

Worn Out: the story of the clothes we throw away

Last year, people in the U.K. sent 350000 tonnes of clothes to landfill. I don’t know about you, but I find this impossible to visualise. Even breaking it down to a figure per person - approximately 5kg - it’s hard to imagine what that might look like. So I created Worn Out.

My sister and I, both recovering fast fashion addicts, had bags of clothes that we were absolutely planning to take to textile recycling. One day. When we got around to it. When we weren’t busy with something else. I combined the contents of these bags, and it turns out that this is what 5kg of clothing looks like! 

Before you ask why we didn’t donate these clothes - these weren’t clothes that charity shops or clothes swaps would accept. Threadbare pyjamas, ratty t-shirts, leggings that had burst at the seams, even (gasp!) my old knickers! These are the clothes that are most likely to end up in landfill. 

Even with the best will in the world, our clothes aren’t going to be wearable for ever. While more and more people are embracing secondhand shopping and swapping as a way of ensuring their unwanted clothes won’t go to waste, not every item of clothing is going to be a desirable pre-loved purchase. Most of us are going to end up with a collection of t-shirts, leggings, underwear or worn-out clothes that no one else wants.

While fast fashion isn’t “designed to fall apart”, the choice of cheap fabrics to keep costs down means that basic everyday clothing might be more delicate than we think it is. A washing machine cycle with a high temperature and a fast spin, or tumble drying, can wear down fabrics even faster, leading to a high turnover of clothing in our wardrobes. 

If we send these clothes for textile recycling, they are likely to be downgraded, into stuffing for pet beds, car seats or insulation. At the moment it’s a difficult process to re-use fibres from old clothes, as natural fibres need to be separated from synthetics, and most fast fashion clothing is made from a mixture of both. The shredded fibres then need to be mixed with new fibres in order to spin them into a good quality thread.

While businesses like Rapanui/Teemill and Swedish Stockings are closing the loop in their own supply chain by incentivising customers to return their worn-out clothing, this isn’t happening on a large enough scale to make our current consumption of clothes sustainable.

I’ve constructed Worn Out to show the sheer volume of fabric that could be re-used if we create a more circular fashion system. Think of the possibilities! I wanted Worn Out to look equal parts comical and overwhelming; this is a garment that wears you, and isn’t designed to look flattering (the passing resemblance to the memorable scene in Friends where Joey wears all of Chandler’s clothes isn’t entirely coincidental). The amount of clothing we throw away is absurd, and the way we are encouraged to consume clothing as though it was disposable is absurd. We can’t wear more than one outfit at once, and overconsumption isn’t making us happier or more fulfilled.

Ideally I’d like Worn Out to be an interactive piece of wearable art, something that other people can touch and even try on. It’s going to be making an appearance at the Ethical Influencers meet up and clothes swap for Fashion Revolution Week so hopefully this will be the first of many outings.

As a costume maker and a vintage fashion fan, I’m passionate about clothes as a means of storytelling. Worn Out tells a story about my wardrobe, but it's not the story of favourite clothes or treasured heirlooms. It’s the story of the hidden side of fashion, the parts we don’t show off on social media. It is partly a story of fast fashion failures; the t-shirts with warped seams, the leggings with insufficient elastic, the mistaken belief that fine jersey embellished with metal or plastic can survive a 40 degree wash and spin without ending up full of holes. But it’s also the story of the life I’ve led while wearing these clothes, and how some of them have come to the end of their useful life naturally. My body shape has changed over the years so certain bras no longer fit. Old t-shirts have been downgraded to painting clothes until they are so threadbare that paint has gone right through them. I’ve worn pyjamas for thousands of hours, despite the fact that I don’t really remember it. These clothes have kept me warm in winter, and cool in summer. Some of these clothes have travelled to different countries with me, others have never left my house.

The weight of Worn Out as it settles around your shoulders might feel like a burden, but I prefer to think of it as a reminder of our responsibilities. To look after and appreciate the clothes that hardworking people have made, and to think carefully about what happens to your clothes when you part ways with them.

In case anyone’s wondering what’s left over from Worn Out; it’s not a perfect zero waste garment but I did diligently save every scrap that didn’t make it onto the final design. This little bag of scraps creates an accessory to accompany Worn Out, and serves as a reminder that we can keep improving our ideas for a zero-waste fashion system.

Caring for your winter coats

Our coats have a tough life. Out in all weathers, protecting us from the elements for six months of the year, then all but abandoned for the spring and summer until temperatures start to fall again. Coats are often one of our more expensive clothing purchases, and we want them to last for as long as possible, but we wear them every day during cold weather, so they are subject to more wear and tear than a lot of our clothes. If you’re worried that your favourite coat looks a little drab, here’s my guide to caring for your winter outerwear. 

Follow the care instructions...

Winter coats are designed to protect us from the elements, but sometimes they need protecting from the elements themselves. Leather shoes need polishing and waterproofing to keep the leather supple and our feet dry, and some winter coats need the same treatment. Barbour wax jackets are designed to last for years (they can be sent back to the factory for repairs) but they do need re-waxing to keep them waterproof. If you’re organised enough to remember in August, you can send your coat back to be re-waxed professionally, or you can buy a jar of their garment wax and do it yourself. It’s not a particularly messy process but it does take time; spending over an hour of gently massaging softened wax into garment seams sounds a bit odd but it’s well worth the time; my coat is fully weather-proof again.

...but don’t expect miracles from dry cleaning

If your coat is marked or stained, dry cleaning can work wonders. It isn’t always the best at removing odours though, and synthetic lining fabrics can retain odours too, meaning that your coat might not smell so fresh after a couple of warm journeys on public transport. You can clean a coat lining more effectively yourself, using a damp sponge on the lining. 

Try a cool wash

A lot of synthetic or cotton coats are designed to be machine-washed at a cool temperature. My green jacket was starting to show signs of wear; a 30 minute, 30 degree wash meant it lost none of its characterful wear patterns but is now a lot cleaner! If you can, put a synthetic coat inside a guppy bag, or in the wash with a Cora ball, to connect microfibres that could contribute to plastic pollution in our water supply.

Store your clothes sensibly

While few, if any, of us will have a perfect clothes storage system in our homes, we can keep our coats looking better for longer by hanging them on hangers, especially when we’re not wearing them every day. Hanging your coat directly on a hook, especially if it doesn’t have a hanging loop, can leave weird lumps and bumps in the neckline or shoulders of your coat, as the weight of the garment causes the fabric to distort around the hook. Using a hanger and fastening your coats up when you’re not wearing them means they will take up less space on a wall-mounted coat rack or row of hooks.

Mend before you wear?

I have a secret to share. The bound edge of the pocket in this coat came loose years ago and I never mended it, I just fastened it with some safety pins and tried to remember not to put small things in there. I’ve kind of got used to this temporary fix (even though it would take me less than five minutes to sew it back together) so I wanted to share this “confession” as a sort of permission for anyone who worries that their mending or sewing might not be up to scratch,  or that their clothes have to be pristine or they can’t be worn. Let’s face it, there are parts of all of us that are just held together with safety pins, but somehow we’re making it work every day. 

This brings me to the thing I wanted to share along with the tips: my thoughts on the value judgements we place on the way things look. I’m wearing my old, much-loved coats proudly because I don’t think there is anything bad about wearing clothes that look worn (we pay extra for someone to sandpaper our jeans, for goodness sake!), and that it’s not always necessary or practical for something to look pristine. Most of us have things we need to prioritise over tending to our clothes, but at the same time garment care is a useful skill that can save us money in the long run. If it helps, reframe this as a subversive and radical act instead of another chore you ought to be doing. Fast fashion relies on customer dissatisfaction with clothes that age or wear badly, so you can stop the cycle of consumption by loving your imperfect but oh-so-wearable clothes.

Sustainable Fashion Zines

I was really pleased to see Elle Magazine’s sustainability issue in September, it was the first glossy fashion magazine I had bought for years. I loved the thought-provoking interviews and uncompromising editorial: “if we don’t do this now, there will be nothing around to make fashion with in 20 years”. But I found one thing jarring: having to flip past dozens of pages of adverts for designer brands, some of whom have admitted to burning excess stock rather than reducing or recycling it. I know that magazines like Elle rely on advertising to make their magazine commercially viable, but what could fashion writing look like if it didn’t have to rely on brands that are taking their sweet time to commit to sustainability?

Zines are not a new phenomenon; they have been around for decades and were an important pre-Internet means of communication between fans. Created and compiled by people who were passionate about their interests, but weren’t finding the sort of content they wanted to read from mainstream magazines or official fan clubs, zines have provided a way for otherwise marginalised writers to get their voices heard. 

Zines have always been an important way to build communities, and while social media is making it easier for sustainable fashion advocates to share ideas and reach a wider audience, it’s lovely to see sustainable fashion zines providing the magazine articles I want to read, telling the stories that don’t fit neatly into a tweet or an Instagram caption. 

I’ve blogged before about how much I loved Fashion Revolution’s Loved Clothes Last zine; it’s filled with amazing artwork and photographs, and some fascinating and important writing. Their newest zine, Fashion Environment Change, is a small but perfectly formed A-Z of the industry’s impact on the natural world, and the work we need to do to improve things. 

Facts and figures are interspersed with poems and personal essays, and the zine ensures that it isn’t speaking for the people involved in different aspects of the fashion industry by giving them a voice. Nishanth Chopra, from Erode in Tamil Nadu, India, writes about the problems that textile industry pollution has caused in his home town, and gives an insider's’ view on what could be done to tackle this. The zine is illustrated by students from Central Saint Martins, encouraging a new generation of artists to collaborate on work with an important global message. if you want to find out more, you can read the Fashion Revolution zines online for free on their website. 

Sew Irregular is a beautifully illustrated zine doing what zines do best: allowing people to write about their passions and interests. There’s a fascinating mix of different voices: costume designers and drag performers talk about the processes involved in creating their outfits and personas, while the zine’s “long read” dives into the costumes worn by Janelle Monae in her music videos, and the cultural references she celebrates or subverts. 

Slow fashion advocate Caro Gomez discusses her journey as a designer and maker, and Lauren Sweeney from Salvaged Project describes how she raises money for charity by rescuing unloved clothes. As if that wasn’t enough food for thought in the first issue, there’s also a look at the relationship between mental health and embroidery, told through the examination of old clothes and new learning processes.

Little Black Pants Club have a novel way of distributing their zine/newsletter: it’s the packaging for their product! Every other month, as part of their pants subscription, a pair of knickers pops through my letterbox, and I carefully unfold the wrapping to read founder Alice’s latest reflections on the fashion industry. 

Her latest mini-zines have focussed on her role in the world as a small business owner: how to balance the need to make money in a capitalist society with a dislike of greed and excessive profits, the difficulties of juggling work and family life, and the mental and physical struggles with health conditions that make you less productive. She tackles some wide-ranging, important questions: can the human race get better at sharing the earth’s dwindling resources? Is empathy incompatible with strong business leadership? Who am I if I can’t do the things I used to define myself by? I love discovering the stories behind sustainable brands and receiving purchases in eco-friendly or reusable packaging, and LBPC are ticking all the boxes with this novel idea.

I might be tempted by other mainstream fashion magazines if they start putting sustainability front and centre, but first and foremost I’ll be looking for more zines to add to my collection. The zines I’ve read so far allow writers to express themselves honestly and joyfully. They are able to speak truth to power because there is no conflict of interest with advertisers or sponsored content. There is always a kindness to this honesty; no one is haranguing their readers or trying to spread negativity.

Alice from LBPC’s writing style is perhaps the most direct and irreverent, but to me it’s a very readable blend of dark humour, uncomfortable truth and the determination to live and work according to her values, which I really admire. Fashion Revolution’s zines suggest solutions rather than just pointing out problems, encouraging readers to understand the changes they can make on a personal level, as well as the contributions they can make to creating change on a global scale. The first issue of Sew Irregular really managed to evoke a sense of the joy that can come from expressing yourself thoughtfully and truthfully through what you wear, from using your clothes to explore your sense of identity or to help others.

I feel confident that we could all do with a little less negativity in our lives, so why not look beyond the magazine rack in your local supermarket for some fashion-themed reading material? I’d love to hear your recommendations for further reading too, so please get in touch!

Fashioned From Nature: Designing a Sustainable Future

Fashioned from Nature at the V&A is an exhibition designed to encourage debate and raise awareness about the complex, uneasy and unequal relationship between fashion and the natural world, without preaching or causing feelings of guilt. Fashion takes inspiration from nature but also exploits it, and as the fashion industry has grown rapidly in scale since the Industrial Revolution it has become a global problem that is impossible to ignore.

Senior Curator Edwina Ehrman’s introduction to the Fashioned From Nature: Designing a Sustainable Future conference gave some fascinating insights into the design of the exhibition and also set the tone for the rest of the day: fashion has some hard truths to face up to but it is also a space for experimentation, innovation and beauty.

The first speaker was Professor Dilys Williams, Director of the Centre for Sustainable Fashion. She posed questions that challenged the audience to think about our intentions when we choose our clothes and dress ourselves. If our ability to project our identity through our clothes is an identifier of being human (no other species can alter their appearance in this way), what does that say about our relationship with nature? For four hundred years humans have believed that we could change or control nature, but the truth is that we are a part of nature, not separate from it. The current fashion system relies on inequality, and the imbalance between what we take from and what we give back to nature.

The Centre for Sustainable Fashion encourages the fashion creatives of the future to look at the fashion industry through different lenses, considering power, culture, nature and society. Rather than putting economy before ecology, we need to work towards an era of interdependence, using our imaginations to construct new identities which are more in sync with the world around us.

Kathy Gomez, the Vice President of Innovation at Nike, talked about the new techniques the brand is pioneering to achieve their goal of increasing sales while dramatically reducing their environmental impact. An interesting fact I’ve noticed during the time I’ve been writing this blog and looking into sustainable fashion is that brands that run their own factories have many more opportunities to change and improve their practices. For instance, the plastic used to make the air soles for Nike trainers can be recycled and reused in-house because Nike own and operate the factories.

Journalist and vegan fashion advocate Bel Jacobs was joined by director of sustainability at Stella McCartney Claire Bergkamp for a conversation about the search for alternatives to animal products for the fashion industry. Even as an emerging designer, Stella McCartney was adamant that she did not want to use leather, so from the start the brand had innovation at its core. Not wanting to offer products that were an inferior quality, collaborations with traditional manufacturers that had moved with the times to stay in business were often the answer when it came to finding artisans to work with new materials. The search for new materials has led to a collaboration with Bolt Threads, who make lab-grown spider silk and mycelium leather, and the brand has embraced the opportunities for creativity and change that come with pioneering the use of new fibres.

After lunch (an opportunity to sit in the V&A garden and digest everything I’d just heard) the afternoon’s presentations began with founder and director Nina Marenzi and curator and consultant Amanda Johnson from The Sustainable Angle, a not-for-profit that aims to connect the makers of sustainable textiles with buyers from the fashion industry. They run the Future Fabrics Expo, which showcases thousands of samples of new and innovative materials (you can read more about my trip to the Future Fabrics Expo in this blog post). Many of their most successful fabrics use post-consumer waste from a variety of industries to create fabrics that are a great substitute for their cruel or polluting “natural” alternatives. Leather is being replaced by some brands with Pinatex, made from pineapple fibre, or Frumat, made from apple pulp. Malai is made from coconut water waste, grown onto a banana fibre base, while post-consumer plastic bottles can be made into a synthetic down substitute for jackets which feels and behaves just like the real thing.

Oya Barlas Bingul from Lenzing gave us an overview of the company’s latest sustainable textile innovation: Refibra. Taking cotton waste from the manufacturing process and combining it with lyocell creates a natural fibre which reduces both  textile waste and the need for ever-increasing quantities of raw materials. Lenzing maintains a traceable and transparent supply chain for their fabrics, viewing innovation as a necessity: “don’t settle for the way things are, push for the way things could be”.

Dyeing is a hugely impactful part of the garment-making process, responsible for large-scale water pollution in countries like Bangladesh, but Orr Yarkoni, founder of Colourifix, had some good news about revolutionary sustainable processes that are currently being developed. Colourifix’s new technology will first ferment synthesised pigments from naturally occurring colours before the dyeing process begins, which improves the absorption of the dye by the textile fibres. This new technology will be compatible with existing dyeing infrastructure, and can be used on yarn, fabric or garments. It also successfully dyes both synthetic and natural fibres, unlike many other dyes.

PhD researcher Miriam Ribul is interested in fashion on a molecular level, investigating better fabrication models for an already abundant source of plant-based textile waste: cellulose. In the past, cellulose could only be made into fabric using toxic chemicals, but new technology is making cellulose regeneration a cleaner and safer process. One key problem that limits current textile recycling is the lack of information about what chemicals have been used to dye or treat the fabrics, and if the garment label has been removed or damaged even the information about the mixture of fibres in a garment is lost. DNAture material coding would embed this information in the fibres themselves, so a quick glance under UV light and a microscope would provide all the relevant information about the garment.

Carry Somers, co-founder of Fashion Revolution, sat down with Amy Powney from Mother of Pearl to bring fashion back to the personal. The two women spoke about the ways in which their unconventional upbringings had paved the way for a career in sustainable fashion: living off-grid meant they didn’t take modern conveniences for granted. A parental lack of concern about her street cred at school led Amy to obsess about saving up for the latest trends, and she remembered every detail about these precious passports to teenage acceptance. Being detail-oriented meant that Amy wouldn’t accept a lack of knowledge when it came to starting her own label, and her search for information took her all the way to South America. Interestingly, sourcing a collection from scratch rather than relying on existing supply chains has reduced the costs of manufacturing this collection, rather than increasing them.

From the molecular to the global, there are positive changes to be made at every level of the fashion industry. We can learn from the past, as the Fashioned From Nature exhibition shows us, and we can overcome the current problems in the industry by learning from one another and collaborating, fashioning the identities that will shape a better future.

You can also read my review of the Fashioned From Nature exhibition here, or catch it at the V&A until January 2019.