Post on 05-Mar-2016
description
transcript
introduction 04
concept & design 14
materials & production 22
distribution & acquisition 32
use & waste 40
awareness 46
competition 48
terminology 52
credits 54
CONTENTS
BIODIVERSITY
Biodiversity is life in all of its manifestations. It is the
variety of life on earth, from the smallest fungus to the
largest animal and from the Dutch polder to the
tropical rainforest.
Despite global efforts, biodiversity is being lost at a
dizzying pace. Animal and plant species are dying
between 100 and 1000 times faster than before.
Over one third of all known species are threatened
with extinction. With the loss of a single species an
ecosystem can be completely disrupted, a
phenomenon which directly affects the livelihoods of
humankind and the foundation of our prosperity.
Our current production and consumption culture is the
largest cause of damage to biodiversity. Irresponsible
production is at the expense of the earth’s biodiversity,
including the ecosystems which provide the life
support services we depend on.
FASHION
Most of the produce in the fashion industry is not
produced in a responsible manner. This means that
materials, dyeing and finishing procedures that possess
environmentally damaging characteristics are often part
of clothing production. In addition, overproduction,
waste and excessive transport take place on a large
scale. Water is wasted, natural resources are depleted,
the environment is polluted and natural land is
converted into agricultural land. All of which result
in the loss of biodiversity.
04
GOAL
Amsterdam International Fashion Week (AIFW) initiated
The Green Fashion Competition in collaboration with
the Dutch ministry of Economic Affairs, Agriculture and
Innovation (EL&I) to counteract the harmful effects of
the current production and consumer culture in fashion
and thus conserve biodiversity. The Green Fashion
Competition aims to create awareness and attention
within the fashion industry for biodiversity and how it
can be sustained through Corporate Social Responsibil-
ity (CSR), a process wherein economic value (Profit) is in
harmony with the social issues surrounding a business
(People) and the impact of business on the environment
(Planet).
APPROACH
AIFW has developed a set of 5 ‘focus points’ in
cooperation with CREM, consultancy for sustainable
development, based on the creative process and
supply chain implemented in fashion practices. These
focus points explain the different manners in which
fashion entrepreneurs can sustain biodiversity within
the fashion supply chain and are intended as guidelines
for participants of The Green Fashion Competition.
Each chapter of this manual covers one focus point and
is a step-by-step guide on how to sustain our world’s
biodiversity in each phase of fashion development. 0
5
Focus Points per chapter
1: Concept & Design
2: Materials & Production
3: Distribution and Acquisition
4: Use and Waste
5: Awareness
Within each of these focus points
specific choices can be made that
can have an effect on biodiversity.
These choices are explained with
five key drivers, which you will
recognise in each chapter with
symbols.
The key drivers of biodiversity
loss directly related to the fashion
industry are:
06
LAND
[habitat loss and degradation]
The loss and degradation of habitats (the areas species
live in and depend on) is the principle cause of the loss
of biodiversity. For example, when natural land is
converted into agricultural land, animals, plants and
other organisms which previously habituated the area
may be displaced or killed, reducing the level of bio-
diversity. Similarly, the use of fertilizers and pesticides
in agriculture (e.g. in cotton production) may result in
the pollution of ground water and surface water, leading
to habitat degradation and the loss of biodiversity.
07
WATER
[water stress and desertification]
Many species depend on the availability of fresh water.
Excessive water-use in the production chain of fashion
may highly impact biodiversity, especially in water
scarce areas. In agriculture, long-term irrigation in dry
areas can lead to falling ground water tables and exces-
sive salinity (high salt levels) of the soil, impacting the
vegetation. In the textiles industry, most water is used
for cotton cultivation (2/3 or more of the total volume).
In the usage phase, a lot of water is used for washing
clothing (up to 1/3 of the total volume). In the processing
phase (e.g. the dyeing process), less water used, but
water pollution can be a major problem putting
pressure on the availability of good quality (fresh) water.
The production, usage and disposal of a conventional
pair of jeans take about 3500 litres of fresh water. Not
surprisingly, many of the larger brands in the textile
industry have already identified water use as one of the
key environmental issues that needs to be covered.
08
RECYCLE
[Use of raw materials and over-exploitation of
natural resources]
The production of fabrics used in the fashion industry
requires many inputs, such as raw materials (e.g. cotton
or wool), energy, chemicals and water. The production
also generates unwanted outputs such as waste and
the emission of CO2 and hazardous substances
(e.g. heavy metals in dyes).
Production of the inputs may impact on biodiversity
as a result of land conversion (e.g. for the production
of cotton or sheep farming), habitat degradation (e.g.
resulting for the use of pesticides and fertilizers) and
water use (especially relevant in cotton production).
Moreover, the inputs of raw materials may result in
‘over-exploitation’ when more resources are extracted
from an ecosystem than the system can produce.
In fashion one could think of the use of fur and other
animal or plant products from endangered species.
The unwanted outputs from fashion production may
also impact the biodiversity in a production area, for
example as a result of habitat degradation (e.g. hazardous
substances may pollute the ground water, affecting
vegetation and animals that depend on this vegetation).
By means of reuse and recycling, the need for new
(virgin) inputs will be reduced and less production of
materials is needed, thereby preventing unwanted
outputs to occur. In other words, reuse and recycling
will reduce the impacts on biodiversity resulting for the
fashion industry.
09
ENERGY
[Energy use, greenhouse gasses and climate change]
Climate change is an important driver of the loss of
biodiversity. Many processes in nature are linked to
temperature and many species can only survive in a
certain climate. A well-known example is the polar bear
which may become extinct when temperatures keep
rising. Projected changes in climate by 2050 could lead
to the extinction of many species living. By the end of
the century, climate change and its impacts may
become the main direct driver of overall biodiversity
loss. The emission of greenhouse gasses (such as CO2)
contributes to climate change and energy use is one of
the major sources of greenhouse gas emissions. Energy
is used in all parts of the textile supply chain, including
transport, the wet processing (heating of water and
running machinery for pre-treatment and dyeing of
fabrics) and the usage phase (cleaning, drying and ironing
of the product). Moreover, synthetic fibres based on oil
may also contribute to the carbon footprint of fashion
(when burned in the disposal phase). Reducing the
carbon footprint of fashion (either by reducing energy
consumption or by using green energy) will contribute
to a reduction of the climate impact on biodiversity.
10
CHEMICALS
[pollution of ecosystems due to chemicals used in
agriculture and manufacturing]
Excessive levels of hazardous substances / chemicals in
soil and water constitute important threats to eco-
systems and biodiversity. An example from the past is
the use of the hazardous pesticide DDT in agriculture
which ended up in birds of prey eating the mice that
ate the grain sprayed with the toxic pesticide.
As a result the number of birds of prey significantly
dropped. This pesticide is now banned, although it is
still used in a number of developing countries. Another
positive example is the reappearance of the salmon in
the Rhine as a result of the higher water quality due to
measures preventing hazardous substances from
various industries to end up in the water.
The salmon in the Rhine had become extinct in 1957.
Apart from the pesticides and fertilizers used in
cotton production, chemicals in the textiles industry
are especially used in in bleaching, dyeing, printing
and finishing. Many special features of textiles depend
on the treatment of fibres and fabric with chemicals in
the wet-processing. Decisions on colour, prints, shine,
feel and performance (like shrink-free, fire resistant,
easy iron etc.) have impacts on chemicals to be used.
Some chemicals have already been banned by law (for
example the Azo-dyes), while many of the larger brands
have strict policies on the use of chemicals, both from
an environmental and a (human) safety point of view.
For more information on the environmental issues in the
complex supply chain of the fashion industry download
the CSR Planetfactsheets
http://www.modint.nl/index.cfm/33,4042,126
html developed by Modint and CREM
11
MANUAL
This manual is meant as a tool with which participants
of The Green Fashion Competition can acquire an
understanding of the effects of their fashion business
on the world’s biodiversity. Sustaining biodiversity is
one of the main criteria of the competition. The manual
will create understanding to ‘what biodiversity is’ and
illustrate a few of the many ways wherein biodiversity
can be sustained through sustainable entrepreneurship.
Each chapter of this manual briefly explains a focus
point and provides examples and useful sources.
The manual concludes with an explanation of the
judging criteria, the terminology and contact details.
To illustrate how fashion and biodiversity can success-
fully go hand in hand, the manual features images from
The Green Fashion Shoot - a shoot that features only
biodiversity-friendly clothing with the competition
ambassador (international top model) Lonneke Engel.
Please see page 54 for the shoot credits.
For up-to-date information on The Green
Fashion Competition, please visit
www.thegreenfashioncompetition.com
(original) photo:
Lonneke Engel
by Jouke Bos12
FASHION CAN BE DESCRIBED AS A TEMPORARY STYLE OF DRESS
WHICH IS LINKED TO A PERIOD OF TIME. IT HAS A FUNCTIONAL
PURPOSE; PROTECTION FROM THE ELEMENTS AND CULTURAL
PURPOSE; SOCIAL IDENTIFICATION, ADORNMENT, EXPRESSION OF
PERSONAL TASTE AND STYLE. EACH SEASON THE FASHION CHANGES
AND DESIGNERS AND BRANDS SHOWCASE WHAT THE STYLE OF
DRESS SHOULD BE FOR THE FOLLOWING SEASON. WHAT IS ‘IN’ ONE
MONTH CAN THEREFORE BE ‘OUT’ THE NEXT.
1.1 BIODIVERSITY IN CONCEPT
Sustaining biodiversity can be achieved by facilitating
new or different concepts of fashion. In the words of
Albert Einstein: “Imagination is more important than
knowledge!”
Slow fashion is an example of a new concept that
was developed by sustainable fashion pioneer Kate
Fletcher. Within slow fashion, designs have a prolonged
longevity and more attention is paid to the quality of
individual garments and how they were produced.
In slow fashion, garments do not necessarily go ‘out‘
of fashion after a certain season. By producing less,
over-production and waste is combatted, which can
contribute to conserving certain species and eco-
systems by reducing environmental harm and the
usage of raw materials.
More information about Slow Fashion can be found on
Fletchers’ website: www.katefletcher.com
1.2 BIODIVERSITY IN DESIGN
Fashion designs are generally created by designers with
a functional and aesthetic value, attractive to consumers
whom identify themselves with the designer or brand
and their garments. Biodiversity can be sustained by
approaching the existing design process in an innovative
manner. Ways to do so are through Product design,
Material innovation and Innovative production systems.
15
Product Design
Starting the design process with an ecological mindset,
can help to sustain biodiversity. By for example
developing a pattern that excludes waste material or
designing a garment that has many different functions
or that is adaptable by the consumer, a design in itself
can become more sustainable. If a consumer can for
example redesign a product that he/she has already
bought, the lifespan of the product could be extended,
or even become infinite. An example of innovative
product design is the Cradle to Cradle approach. This
means designing products with their end-of-life phase
in mind. The Cradle to Cradle principal is based around
the concept that ‘waste is food’, which basically means
that all used materials should be usefully implemented
as a different product after their lives as another product.
Quality loss should not be an issue in a real Cradle to
Cradle concept and all residuals should be reusable or
environmentally neutral. The Cradle to Cradle approach
sustains biodiversity as the use of raw materials and
water-use is minimised.
For more information concerning Cradle to Cradle
design, please visit www.cradletocradle.nl (Dutch) or
http://mbdc.com/ (English)
16
Another example how bio-
diversity can be sustained
through fashion design is by
applying the ‘Eco design’
concept. Eco design is
comparable to the Cradle
to Cradle approach as it is
a design principle where
the environmental impact
of a products’ total lifespan
is taken into consideration
while the product is being
designed. During the pro-
duction phase, attention is
focused on the raw materials
used and the emission of
harmful substances.
In the usage phase (when
the consumer owns the
product) attention should be
paid towards the amount of
energy, water and other
elements used and the
impact on air quality (for
example washing the
garment). In the disposal
phase it is important to
make a product as easily
recyclable as possible.
For more information
concerning Eco design,
please visit:
http://www.ecodesign.nl/
(Dutch)
(original) photo:
Lonneke Engel by Jouke Bos
17
material Innovation
By designing with, or developing innovative
and/or new (natural) materials, it could become
possible to sustain our world’s biodiversity.
There are many technological developments
that have the ability to change what we currently
perceive to be fashion, how we use materials
and how consumers dress and live. It could be
worth exploring Nano-Technology (manipulating
matter on an atomic and molecular scale) or the
use of luminous materials, which for example
contain LED-lighting. Another option could be
to research BioCouture, textiles that actually
grow themselves due to the use of microbial-
cellulose. Textiles which include antimicrobial
additives such as silver and are already available
and in use. Augmented reality, wearable
technology, such as ‘tweeting coats’ shape
memory alloys, soft circuits, embedded displays,
adaptive contours and kinetic outfits are mere
examples of what is currently being tried and
tested. Furthermore, milk yarn and Tencel
(created by wood cellulose) are more widely
implemented textiles that are already available.
For more information about hallmarks such as the EU Eco-label,
please read chapter 3 and 5.
For more information on sustainable, innovative and fair-trade
materials, please visit: www.allesduurzaam.nl/thema/kledingverzorging
or read the book “Eco Textile Labelling”.
The book (and blog) Fashioning Technology by Syuzi Pakhchyan is a
great introduction to combining technology and craft.
18
Innovative Production Systems
By applying completely new production
techniques, all of the harmful environmental
impacts linked to current fashion production
could be discarded. Examples to do so are by
facilitating a shortened production process,
localizing all production and for example recycling.
Shortening a production process can contribute
to sustaining biodiversity by for example saving
energy expenditures on transportation and
salvaging materials that would otherwise be
wasted. Another example of innovative
production is vertical integration, which means
that a company owns all parts of the supply
chain, from production to sales. By integrating
all aspects of production and avoiding outsourcing,
it becomes possible to achieve a fast turn-
around time from design concept to finished
product. It is also able to monitor each facet of
the production process, therefore guaranteeing
high social standards for workers and controlling
the impact on biodiversity.
19
SUSTAINING BIODIVERSITY THROUGH CONCEPT AND DESIGN
Leave room in your
design for low water-use
choices in fibre, fabric
and processing
Leave room in your
design for sustainable
and certified fibre and
fabric choices
Be aware of the
significance of chemicals
used in the selection of
fabrics and suppliers.
Designers choose which
materials to work with
based on specific require-
ments (look, feel, colour,
print) for fabric and final
garment. Each choice for
a specific fabric features,
such as shrink-proof,
wrinkle-free, fire-resistant,
easy-iron, water-repellent,
stain-resistant, requires
more chemical treatments.
This also counts for feel
and shine and colour.
20
LESS IS MORE
The use of less natural resources through innovative
design, materials and production systems will lead to:
less pressure on natural recourses therefore less
natural land will need to be converted into
agricultural land.
less energy and water use
less materials wasted
less chemicals used and less pollution of ecosystems
This will lead to more biodiversity and healthy
ecosystems.
Explore the availability and
applicability of recycled
fibres.
Address the relationship
between design and
energy consumption and
greenhouse gas emissions.
21
THE MATERIALS USED TO CREATE A FASHION GARMENT AND THE
PRODUCTION PROCESSES APPLIED, HAVE THE LARGEST INFLUENCE
ON BIODIVERSITY. THE SUSTAINABILITY OF A PRODUCT IS DEPENDENT
ON THE AVAILABILITY AND SOURCE OF THE RAW FIBRE, THE PROCESS
OF HOW THAT FIBRE IS TURNED INTO A TEXTILE, THE WORKING CON-
DITIONS OF THE PEOPLE PRODUCING THE MATERIALS AND ITS TOTAL
ECOLOGICAL FOOTPRINT. THE PATH FROM A RAW MATERIAL TO AN
END PRODUCT IS A LONG ONE AND THERE ARE MANY LINKS IN THE
CHAIN WHICH AFFECT THE WORLD’S BIODIVERSITY.
Photo:
Menno Vermeulen
Besides natural and manufactured fibres, recycled fibres are also attainable
for use in fashion. Recycled fibres are materials that have been retrieved
after being discarded by the consumer. Certain retrieved garments can be
cleaned and reused as a complete product (second-hand clothing).
Other retrieved clothing is processed into rags that can then be reused.
An example of a project that facilitates such a method is Patagonia’s
‘Common Threads Recycling Program’. Please read Modint’s Factsheet on
recycled fibres for more information. Reclaimed plant fibres can be
processed into ‘new’ materials. Examples of which are: Viscose, Modal,
Cupro, Lyocelll, Acetate and Triacetate. By reusing materials, raw materials
are saved and no adverse effects are made on the environment.
Materials used in fashion can consist of natural fibres, manufactured fibres,
and recycled fibres. The choice for a certain material significantly affects
the impact on the environment. Natural fibres are renewable materials
that can be categorized into two groups, plant fibres (cellulose fibres) and
animal fibres (protein fibres). The most widely used plant fibre in fashion is
cotton. Other plant fibres include: Jute, Flax, Hemp, Ramie, Bamboo, Soy,
Corn, Banana and Pineapple. Animal fibres are: Wool, Silk, Hair, Angora,
Camel, Alpaca, Lama, Cashmere and Mohair.
Manufactured fibres are man-made or synthetic materials, which have been
extracted from raw oil. Examples of manufactured fibres are: Nylon,
Polyester, Acrylic, Modacrylic, Elastane, Polypropylene and Polyurethane.
photo:
Lonneke Engel
by Jouke Bos24
2.1 BIODIVERSITY IN MATERIALS
Biodiversity can be sustained by choosing fibres that
are the most environmentally friendly option. Although
natural fibres might automatically seem like the most
planet-friendly alternative, there are advantages and
disadvantages to all fabrics usable in fashion. Cotton
for example occupies vast spaces of fertile soil as a
‘monoculture’ crop, therefore significantly reducing the
variety and amount of different species able to live in
such an area. The cultivation of cotton often goes hand-
in-hand with the use of insecticides and pesticides and
demands large quantities of water for optimal growth.
Such water usage puts pressure on water resources
and causes soil erosion. In total you can conclude that
contemporary cotton cultivation has a negative effect
on biodiversity.
Manufactured fibres also significantly affect the
environment, as harmful substances are often emitted
into the air and the water. During the production of
for example polyester, volatile organic substances and
hazardous chemicals are emitted which are classified as
being carcinogenic. Furthermore, some of the synthetic
fibres are based on oil, a non -renewable natural
resource, making them a less sustainable option in
general. Benefits of synthetic fibres are that they do
not require much land use (as opposed to natural
fibres) and they produce less waste water than natural
fibres.
Reuse and recycling both provide environmental
benefits, which can contribute to sustaining bio-
diversity. These benefits can be summarized as:
• By reusing and recycling textiles, the need for landfill
space is reduced. Biodiversity is sustained as textiles
present particular problems in landfills; manufactured
products will not decompose, while for example woollen
garments do decompose and produce methane, which
contributes to global warming.
• Reuse and recycling also reduces pressure on raw
materials and non-renewable resources.
• And reuse and recycling minimizes pollution and
saves energy, as materials do not have to be produced
again and do not for example have to be transported
from abroad. Nevertheless reuse and recycling do have
downsides, as the designers’ material-choice is limited
and some materials can be less pure after recycling. In
rare cases energy is not saved as it costs more energy
to recycle a material than it would have done to
dispose of the product, making the ecological footprint
larger than necessary. An example would be if a truck
would have to travel for miles to collect a small amount
of material to be recycled.
26
For a helpful overview of the different kinds of textiles that are available
and what environmental (and societal) effects they have on our world,
please download ‘Guidelines’ from www.thegreenfashioncompetition.com/
academy. Guidelines is an excellent handbook on the environment for the
textile and fashion industry, created by the Danish ministry of Environment
and Energy. For a greater understanding of cotton production and help in
choosing the most suitable kind of cotton, please download ‘Sustainable
cotton on the shelves’ by CREM, also on www.thegreenfashioncompeti-
tion.com/academy.
Using materials that help to conserve biodiversity and ecosystems
Local communities will be more inclined to preserve their flora and fauna,
if they can see economic benefits from using their natural resources in a
sustainable manner. The sale of sustainably harvested natural plant and
animal materials can clearly add value to ecosystems such as forests.
A good example of this practice is Treetap®. A plant-based leather from
the Amazon. Tapped by native Indians directly from the trees, the rubber
is purified and spread onto a canvas of organic cotton. Through a unique
hand-crafted process it becomes a fabric used in fashion accessories and
interior design products.
The U.N. Conference on Trade and Development says eco-fashion brings in
between $150 million and $200 million a year. Use of sustainably harvested
natural materials in eco-fashion can be an important source of income for
local communities. This way sustainable and certified management of for
example forests can offer an acceptable alternative to clearing the forest
and stripping it of its biodiversity. This could be an important step in stop-
ping deforestation. Sustainable forest management using FSC principles
and criteria is one of the tools to accomplish this.
For more information and example, on protecting biodiversity by using
sustainably harvested natural products
visit http://amazonyourbusiness.com/
27
2.2 BIODIVERSITY IN PRODUCTION
Many production processes in fashion have a negative impact on biodiversity.
The length of the production chain and for example transportation and
storage in between each link also contribute to this negative impact.
The production chain for cotton illustrates the lengthiness of textile
production systems and consists out of cotton growing, harvesting,
cleaning - spinning fibre - weaving and knitting yarn - wet treatment
(desizing, prewashing, bleaching, dying, printing, after treatment) -sewing,
transport and sales.
Manners wherein the production chain can become more sustainable and
preserve biodiversity are:
• By choosing local production – saving transportation, water and energy.
• By taking the range of the season and seasonal produce into account
- look for example at the availability of certain textiles in your region in
certain seasons.
• By facilitating natural farming practices–such as natural pest control and
thus reducing the use of fertilizer and pesticides.
• By facilitating energy and water efficient production
To share your views, idea’s and experiences with fellow ‘green fashion
entrepreneurs’ visit the British Ethical Fashion Forum:
www.ethicalfashionforum.com
(original) photo:
Lonneke Engel
by Jouke Bos
28
DID YOU KNOW THAT CONVENTIONALLY GROWN COTTON IS THE MOST CHEMI-CAL-INTENSIVE CROP IN THE WORLD? IT DEMANDS APPROXIMATELY 25% OF THE WORLDS INSECTICIDES AND MORE THAN 10% OF THE WORLDS PESTICIDES.
29
SUSTAINING BIODIVERSITY THROUGH MATERIAL AND PRODUCTION CHOICES
The very general rule is:
Cotton is the most water
consuming fibre.
For more specific fabric
properties take into
account that the more
wet-treatment steps that
are needed, which equals
more water consumption
and pollution.
Manage the environmen-
tal impact by choosing
a fabric that does not
require a lot of land for
production or make a
specific choice for cotton
and wool with a reduced
environmental impact.
The focus in the textile
chain lies on the
production and treat-
ment of yarns and fabric.
Chemicals are largely used
in wet-processing, dyeing,
printing and finishing.
But also in earlier
production steps such as
mercerizing, bleaching and
de-sizing cloth or yarn and
the scouring/washing of
the raw natural fibre.
All of these processes
largely contribute to water
pollution due to the use of
harmful chemicals.
30
WATER AND BIODIVERSITY
Drought, salinization and water pollution threaten
biodiversity in many areas; in rivers, lakes, swamps,
oceans and on land. Examples of which are:
• The desiccated Aral Sea caused by irrigation of
Cotton Plantations
• Mortality of freshwater dolphins caused by the
use of pesticides in cotton
Consider using recycled
materials. Reuse and
recycling also reduces pres-
sure on raw materials and
non-renewable resources.
It usually results in less
pollution and energy use
than production from new
raw materials.
You can review where you
can use technically and
economically developed
fabrics from renewable
resources, instead of
mineral oil based synthetic
fibres. This will reduce the
need for (non-renewable)
mineral oil and energy in
the production of the fibre.
31
THE THIRD FOCUS POINT FORSUSTAINING
BIODIVERSITY IS DISTRIBUTION AND ACQUISITION.
WHERE YOU BUY STOCK OR MATERIALS AND THE
MANNER INWHICH YOU SELL YOUR END PRODUCTS
CAN HEAVILY INFLUENCE THE TOLL THEY TAKE
ON THE WORLDSBIODIVERSITY. ACQUISITION
FOCUSES ON WHERE YOU SOURCE ALL OF THE
MATERIALS FROM THAT YOU USE IN YOUR FINAL
PRODUCT. DISTRIBUTION FOCUSES ON THE
CHANNELS AND REGIONS WHERE YOU RETAIL.(original) photo:
Lonneke Engel
by Jouke Bos
32
3.1 BIODIVERSITY IN ACQUISITION
Acquisition is closely related to materials and production. Consider where
you buy your materials. Is it necessary to buy a certain fabric from for
example Hong Kong? Or is there a comparable manufacturer in your home
country? Are you purchasing an ecologically ‘sound’ and certified fabric,
from a supplier who complies with social and ecological standards?
A manner wherein the acquisition of materials (but also the acquisition of
packaging, adornment, accessories etc.) can sustain biodiversity is by
monitoring the production process that takes place to create the materials
that you use. Personal contact with farmers, production companies and
factories can provide a clear insight into the processes that have taken
place and therefore what the environmental advantages and disadvantages
are of one material in comparison to the other.
Such contact demands a high level of involvement, time and transparency
from all links in the production chain and is in many circumstances difficultly
attainable for independent designers. An easy manner to monitor the
sustainability of your acquisitions is by facilitating hallmarks and quality
labels. Certain organic labels for example guarantee that a material is
produced with consideration to the environment and therefore comply
with key criteria in fibre production, processing, quality assurance of the
entire supply chain.
33
GOTS (Global Organic Textile Standard)
www.global-standard.org
A textile product carrying the GOTS label grade
‘organic’ must contain a minimum of 95%certified
organic fibres whereas a product with the label grade
‘made with organic’ must contain a minimum of 70%
certified organic fibres. The GOTS standard also
includes requirements with regard to the other steps
in the supply chain, such as the wet processing phase.
The label is both relevant for wool and cotton.
OE 100 and OE Blended (Organic Exchange100 and
Blended)
www.organicexchange.org
The OE 100 is used for tracking and documenting the
purchase; handling and use of 100% certified organic
cotton in yarns, fabrics and finished goods. The OE
Blended details the steps required for textile mills to
receive organic certification relating to goods which
have only a certain percentage of organic fibre. This
label is only relevant for cotton.
34
IWTO (International Wool Textile Organisation)
http://www.iwto.org/
Modified its definition of organic wool by aligning it to
the GOTS processing standard and also unveiled a new
IWTO standard for ‘Eco-wool’, which is based on the
EU Eco-Label guidelines. The Eco-wool standard is only
relevant for wool.
A great source for hallmarks and quality labels used in
fashion and textiles is the book ‘Eco - Textile Labelling’
and the European Union’s website on Eco Labelling.
35
3.2 BIODIVERSITY IN DISTRIBUTION
Distribution is strongly connected to
your consumer and target market.
When developing your designs, it is
important to consider who the end
user will be, where they are situated
and how you can reach them.
Distribution regions
Where your products are sold geographically can contribute to sustaining
biodiversity. Targeting a global market will have a larger impact on bio-
diversity than for example targeting a local market in consideration to
shipping, which costs energy and causes harmful emissions. By retailing
your produce close to where it is actually produced, biodiversity could
be sustained. Biodiversity can thus be preserved by for example local or
regional distribution in comparison to international distribution.
Other examples of how considering your distribution regions can sustain
biodiversity are:
• To only retail in certain areas during a certain season.
• Connecting your products to the availability of raw materials.
• To only retail to consumers who fulfil your own environmental criteria.
• To retail to consumers who are willing to pay a ‘carbon offset’ tax on
top of their purchase.
Distribution channels
The nature of the distribution channels facilitated for retailing your
garments can also contribute to sustaining biodiversity. Selling strictly
online or only through markets could for example prove to be a more
energy-efficient retail tool than retailing through bricks-and-mortar
shops. Other contemporary retail channels include catalogues, TV, fairs
and door-to-door sales. Saving energy, raw materials and avoiding
emissions all contribute to saving biodiversity.
36
How do you know if your suppliers and distributors are biodiversity friendly?
Begin with checking if your suppliers are certified. In sourcing and buying, keep a
keen eye for suppliers that are already certified by one of the mentioned certificates.
Check the suppliers’ sustainability report and/or ask relevant questions.
• Does the supplier have a policy on water, energy and chemical use?
• Is this policy translated into specific targets on the sustainability of materials?
• Does the company use internationally recognized initiatives and labels, and to
what extent?
• Is the percentage of labelled products monitored and reported on?
Ask for specific information about environmental impact on production methods
and measures. It is important that this information can be considered reliable
(‘there is no easy way-out to serious questions’!).
38
WHETHER THE RESPONSIBILITY OF A DESIGNER ENDS AFTER A
GARMENT IS PURCHASED IS A HIGHLY RELEVANT TOPIC WHICH BEARS
MANY HEATED DISCUSSIONS. THE EFFECTS THAT A GARMENT WILL
CONTINUOUSLY HAVE ON THE WORLD’S BIODIVERSITY AFTER SALES
ARE NEVERTHELESS INDISPUTABLE.
The manner in which a garment is used can contribute to sustaining
biodiversity. If product for example demands a consumer’s attention for a
certain topic (e.g. sustaining biodiversity) through the manner in which it is
used, a more conscious lifestyle could be stimulated. The topic ‘awareness’
is more broadly covered in chapter 5.
How a consumer uses a garment, its functionality, the necessary care
(cleaning)involved and the disposal can be influenced by the choices that
designers make and can therefore be made more ‘biodiversity-friendly’.
41
4.1 BIODIVERSITY IN USE
The functionality of a garment can contribute to how
biodiversity-friendly a garment is. If a garment can be
used in more than one way, for example as trousers
and a shirt, or inside-out, the consumer would not have
to buy as many garments as when the garment would
only have one use. This would reduce production rates,
over-consumption and waste. Providing consumers with
the possibility to adapt the garments to their liking
or to for example change them completely could also
extend the lifespan of a product.
4.2 BIODIVERSITY IN CARE
Washing is a major role-player in the usage of a
garment and its continued effects on biodiversity.
The manner in which the end user washes his/her
purchase is highly influential to biodiversity due to the
detergents (chemicals) and water most frequently used.
Dry cleaning for example requires the usage of solvents.
The most commonly used is perchloroethylene (perc),
which is a central nervous system depressant, and is
listed as a hazardous air pollutant.
But even regular detergents contain bountiful
chemicals, which can be both harmful to humans
as the environment. To name just two:
• Phosphates found in clothing detergent stimulate the
growth of certain marine plants, unbalancing ecosystems.
• Artificial fragrances (often made from petroleum) are
not degradable and have been linked to toxifying fish
and mammals, and causing allergies and skin and eye
irritation on humans.
Examples to sustain biodiversity through care
are therefore:
• To promote the usage of environmentally friendly
washing alternatives
• To facilitate / develop materials that do not require
(frequent) washing.
• To find washing alternatives that reduce the amount
of water, energy and chemicals are used.
42
4.3 BIODIVERSITY IN WASTE
The amount of clothing wasted and the manner in
which textiles are disposed have a significant impact on
the environment. As mentioned before in this manual,
a tremendous amount of clothing is discarded each day.
The most common way that clothing is disposed of is
though landfills (namely in the USA) and burning.
Each has a negative effect on biodiversity. Landfills
waste valuable land, pollute the soil and groundwater
and burning clothing causes harmful air emissions.
Reuse and recycling provide environmental benefits as
they reduce the need for landfill space (also applicable
to incineration). It reduces pressure on raw materials
and non-renewable resources .Reuse and recycling
usually result in less pollution and energy use than the
production of new raw materials.
43
The environmental aspects
of the waste stage of
clothing depend on the
method of disposal.
Clothing is disposed of in
two ways: with the
domestic waste or through
separate collection.
Separate collection leads
to reuse, like second-hand
or recycling as cloth, yarn,
or even as fibre but
clothing still partially ends
up in landfills, leading to
land use and potential
emissions of hazardous
substances to soil and
ground water.
Recycling textiles in order
to make ‘new’ high quality
products from existing
material while reducing
waste is a valuable approach
in making the textile
production chain more
sustainable. The textile’s
composition and design will
largely affect its durability
(use-life) and re-use or
recycling potential.
Reclaiming fibre avoids
many of the polluting and
energy intensive processes
which are needed to make
textiles from raw materials.
All recycled fibres score
highest on environmental
performance.
Manners wherein a product’s disposal can become
more environmentally friendly are for example:
• Use recycled or recyclable fabric/fibre
• Consider the way your product is discarded and
how it is processed
• Encourage the separate collection of textiles for
reuse or recycling:
• Make your products easily recyclable.
• Develop a cradle 2 cradle product.
• Inform consumers about why, how and
where separate collection of used textile
is organized, or organize a separate
collection point yourself.
• Organise a return system for used clothing.
photo:
Menno Vermeulen44
THE FINAL DOMAIN OF ACTION FOR SUSTAINING BIODIVERSITY
THROUGH FASHION IS ‘AWARENESS’.ALTHOUGH CREATING AWARENESS
THROUGH YOUR FASHION BRAND AND/OR PRODUCTS CANNOT
DIRECTLY BE LINKED TO SUSTAINING BIODIVERSITYBY PRESERVING
CERTAIN SPECIES AND ECOSYSTEMS, IT CAN CONTRIBUTE TO
CHANGING CONSUMERS’ ATTITUDES AND STIMULATING SUSTAINABLE
LIFESTYLES.THE MOST OBVIOUS MANNER WHERE IN AWARENESS
AMONG YOUR TARGET MARKET CAN BE ACHIEVED IS THROUGH
MARKETING AND COMMUNICATION.
How can you raise awareness about biodiversity?
Public awareness of biodiversity loss is increasing, leading to changes in
consumer preferences and purchasing decisions. Consumers are more
concerned about the environment today than they were five years ago.
NGO campaigns, scientific research and media attention are part of the
reason for this change. As a result, more and more consumers are favouring
ecologically-certified goods and services.
Fashion entrepreneurs and businesses can show leadership in this field.
Examples of marketing and communication tools that can create awareness
concerning biodiversity are:
• Communicating the effects that a product has on biodiversity through
visual merchandising.
• Informing your consumer how the world’s biodiversity can be sustained
by using and disposing your garment in a certain manner (e.g. washing
with ecological detergent).
• Creating a transparent brand /company wherein the effects of your
operations on the world’s biodiversity are communicated.
• Channelling your consumers’ focus to specific topics of interest (e.g.
extinction of a species / seasonal production / transport emissions).
• Facilitating Hallmarks: Hallmarks such as for example the blue ‘Made-By’
button are recognisable signs that communicate to your consumer that you
maintain a certain quality level. In Made-By’s case the label communicates a
certain quality level for your production process, but there are many
different internationally and nationally acknowledged labels/hallmarks,
which communicate different things.
• Make the link clear between your design and biodiversity in your product
packaging and marketing.
• Work with NGO’s and civil society to improve your products and to raise
awareness on biodiversity and ecosystem conservation.
47
THE FIVE FOCUS POINTS ELABORATED IN THIS MANUAL ARE MEANT
AS GUIDELINES FOR PARTICIPANTS OF THE GREEN FASHION COMPETITION.
THE COMPETITION QUESTION IS:
“DESIGN THREE OUTFITS AND WRITE A BUSINESS PLAN, WHICH EXPLAINS HOW YOUR FASHION ENTERPRISE CONTRIBUTES TO SUSTAINING BIODIVERSITY.”
photo:
Lonneke Engel
by Jouke Bos
Sustaining biodiversity is one of the
core criteria for the competition.
Reducing energy usage, the amount
of raw materials used, the amount
of water used and harmful emissions
are ideal ways to sustain biodiversity.
Ideally participants will be able to
take the competition a step further
by connecting their fashion enter-
prises to conserving biodiversity
and ecosystems by addressing the
main drivers of biodiversity loss in
the different focus points through-
out the supply chain.
habitat loss and degrada-
tion: natural land is con-
verted into agricultural
land with unsustainable
farming practices
desertification and falling
water tables
over-exploitation of natural
resources, ecosystems and
species
climate change due to en-
ergy use and the emission
of greenhouse gasses
pollution of ecosystems
due to chemicals used
in agriculture and manu-
facturing
50
A representative from the Dutch ministry of Economic Affairs, Agriculture and
Innovation and an expert from CREM will be judging the applications on basis
of biodiversity.
It is a requirement to have one chapter of your business plan dedicated to
sustaining biodiversity.
The judges will focus on five main points within this chapter, namely:
1. Does the concept convincingly sustain biodiversity in comparison to
prevailing techniques?
2. Is the design / concept innovative when it comes to the ‘advantage’ for
biodiversity? Does it address the main drivers of biodiversity loss and does it
offer alternatives to existing unsustainable practices throughout the supply chain?
3. Does the concept provide expansion possibilities, which could increase the
positive impact on biodiversity?
4. Are other aspects of sustainability in the supply chain, such as social aspects,
taken into consideration?
5. Does the concept contribute to awareness raising on halting the loss of
biodiversity and ecosystems?
Further criteria that will be covered in the competition are: Vision, Profitability,
Feasibility, Market, Positioning, Design and Execution.
These criteria will be elaborated during the workshops (see requirements
business plan on the website) held for the participants of the competition and
on www.thegreenfashioncompetition.com.
For all queries concerning this manual and TGFC, please contact:
Holly Syrett - project manager for The Green Fashion Competition at
Amsterdam International Fashion Week
holly@amsterdamfashionweek.com51
BIODIVERISTY
Biodiversity is life in all of its manifestations.
It is the variety of life on earth, from the
smallest fungus to the largest animal and from
the Dutch polder to the tropical rainforest.
CARBON OFFSET
A carbon offset is a financial Instrument aimed
at a reduction in greenhouse gas emissions.
CRADLE TO CRADLE
Cradle to Cradle is a design principal based
around the concept that ‘waste is food’, which
basically means that all used materials should
be usefully implemented as a different product
after their lives as another product.
CSR (Corporate Social Responsibility)
CSR is a concept wherein companies take
responsibility for the impact of their activities
(manners wherein they aim to gain Profit) on
the environment (Planet) and on humankind
(People).
ECODESIGN
Eco design is a design principle where the
environmental impact of a products’ total
lifespan is taken into consideration while the
product is being designed.
ECOLOGICAL FOOTPRINT
The ecological footprint is a measure of human
demand on the Earth’s ecosystems. It compares
human demand with planet Earth’s ecological
capacity to regenerate. It represents both the
amount of biologically productive land and sea
area needed to regenerate the resources that
a human population consumes as well as the
amount of biologically productive land and sea
area needed to absorb and render harmless
the corresponding waste that comes forth from
that consumption.
ECOSYSTEM
An Ecosystem is all of the organisms in a given
area, along with the non-living (abiotic) factors
with which they interact; a biological community
and its physical environment.
NATURAL FIBRES
Natural fibres are renewable materials that can
be categorized into two groups, plant fibres
(cellulose fibres) and animal fibres (protein
fibres). Manufactured fibres: Manufactured
fibres are man-made fibres which can be made
fromregenerated (reclaimed) plant fibres or
from solely synthetic fibres, which have been
extracted from raw oil.
52
RECYCLED FIBRES
Recycled fibres are made from waste fabric
from clothing factories, which are processed
back into short fibres and spun into new yarn.
REUSED FIBRES
Reused materials are materials that have been
salvaged after being discarded by the consumer.
SLOW FASHION
Slow Fashion is a concept of fashion design
wherein garments are designed to surpass
fashion seasons and more attention is paid on
the quality of a garment and how it is produced.
VERTICAL INTEGRATION
Vertical integration is a style of business
operation wherein all links of a supply chain
are owned by one company.
photo:
Menno Vermeulen
THE GREEN FASHION MANUAL
AIFW: Amsterdam International Fashion Week (AIFW) started in 2004 as an
initiative to put Amsterdam on the map as a sparkling and internationally
oriented destination for fashion. Twice a year, AIFW forms the centre-point
of the Dutch fashion world, with a full schedule of catwalk shows, trade
fairs, presentations, lectures and parties.
AIFW and the Dutch Ministry of EL&I aspire to initiate a change towards a
more sustainable fashion industry with The Green Fashion Competition.
To do so, they provide a complete “prize pack” with which the participants
can really start a fashion business. Besides cash prizes, The Green Fashion
Competition provides workshops on biodiversity, sustainable
entrepreneurship and creativity, a platform during AIFW and
expertise from and connection with the Fashion Week network.
The United Nations Conference on Trade and Development (UNCTAD)
works together with The Green Fashion Competition on supporting
talented entrepreneurs.
AIFW was awarded ‘Best International Fashion Week 2011’ by Sublime
magazine for its innovative and sustainable initiatives in the fashion industry.
CREM: CREM is a specialised bureau for sustainable development projects.
CREM’s strength lies in an interdisciplinary approach and the placing of
ecological, economic and social problems in an international context.
Graphic design: Cezanne Noordhoek
54
THE GREEN FASHION SHOOT
Photography Jouke Bos @ UNIT
Model Lonneke Engel @ Paparazzi
Styling Jordy Huinder @ Eric Elenbaas
Hair & Make-up Judith Neyens for Chanel @ NCL Representation
Fashion Pants : Elsien Gringhuis
Dress + Jacket - Iris van Herpen
Dress vintage - Roberto Cavalli
Jacket - David van der Schraaf
Body - American Apparel
Skirt - Elsien Gringhuis
Shoes - Ilja Visser
Dress + belt vintage Viktor & Rolf
THE GREEN FASHION VIDEO
At http://vimeo.com/26060418 you can find back the scenes footage,
shot during The Green Fashion Shoot.
Video & editing: Bas Zwartepoorte & Cezanne Noorhoek55