green fashion
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This is a short project describing green FashionTRANSCRIPT
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SUMMER PROJECT
ON
RAJAT VATSYAYAN (ROLL- 15)
SOMNATH NANDY (ROLL- 26)
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ACKNOWLEDGEMENT
We hereby acknowledge that the content of this report on green fashion is true to our
knowledge and ability. We wish to thank our college, National institute of fashion technology for
providing us this opportunity. I am grateful to our Course Coordinator Mr. Jyoti Prakash
Behra, Assistant Professor for providing us this opportunity. We also wish to etend our
sincere gratitude to our mentors Mr. Bikas Agrawal, Assistant Professor ! Mr. J. Pari
Assistant Professor for their constant help and support.
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TABLE OF CONTENT
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ABT!ACT
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A growing range of factors distinguish ethical from traditional fashion, including use of
sweat shop free labor, energy efficient processes, alternative energy, and low impact dyes
in manufacturing. &owever, to the etent that fashion consumers make an effort to choose
an ethical wardrobe, they usually do so by trying to pick up an eco:friendly fabric. 0he birth
of sustainable fashion started with the "71<s tree:hugging hippie dedication to locally
grown, pesticide:free, and handmade goods, but has grown into one of the mostsophisticated and highly influential markets in the world, and has spread its value:based
philosophies to every nook and cranny of the business, in the hopes of making the world
better through fashion. 5arge companies like Esprit , Patagonia, Speedo, Gap, H&M
and Nike have made progress toward ethical standards. Industry pioneers, such
as Katharine Hamnett and Linda Loudermilk carved the way and continue to set standards
for new fashion leaders to look to. Correct identification of materials=fibers and product
development processes can significantly reduce the overall environmental impact. 0he
choice of materials during the design phase can also considerably reduce the cost of
disposal at the end of the life stage. 0he challenge for retailers, however, is to identify
materials that are both eco:friendly and available at a commercially viable price. Customers
can be motivated to go for green fashion by increasing their level of awareness about the
merits of eco:friendly clothes on the one hand and environmental ha>ards of the production
process involved in non:eco:friendly fibers.
#NT!OD$CT#ON
W*' DO WE NEED G!EEN FA*#ON+
• 0he re,-r-osi/g o0 te1tiles is often considered the most responsible mode of eco:
fashion. In the nineteenth century, dresses were sometimes reworked to correspond to
changing silhouettes?a testament to the lasting value of tetiles. 0oday, numerous
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designers engage in methods of @upcycling, creating fashionable, new garments from
worn materials.
• Practices associated with growth o0 /atral 0i2ers or the 3a/0a4tre o0
sy/theti4s result in some of fashionBs most environmentally destructive
conseuences. Add to that the carbon emissions and impact of growing non:organic
cotton, which uses petrochemical fertili>ers and leads to reduced soil fertility, soi
erosion, water pollution and reduced biodiversity
• Waste materials from te1tile 5yei/g a/5 -ro54tio/ have historically resulted in some
of the most conspicuous forms of air and water pollution. In the nineteenth century,
some dyes contained highly toic chemicals, such as arsenic. 0oday, there are a
number of sustainable dyeing practices, ranging from technology:based digital to the
rediscovered art of hand:dyeing.
• 6ality 4ra0ts3a/shi-, convertibility, and uniueness are sometimes viewed as key to
the creation of clothing with lasting value and emotional connectivity?effectively
reacting against the @fast fashion cycle.
• 0he health and treat3e/t o0 i/5stry workers plays a key role in the historical roots of
eco:fashion. In the ;nited tates, garment workersB unions were established to ensure
fair labor practices and worker safety. 4ore recently, production outsourcing has raised
concern about the treatment of workers overseas.
• 0he treat3e/t o0 a/i3als in producing fashion has long been a subDect of debate, and
the use of fur, feathers, and animal skins in fashion has been viewed as both luurious
and barbarous. As the debate continues, many of todayBs designers use ethically:sourced furs, while others utili>e a variety of cruelty:free alternatives.
• It has been shown that the children and infants are highly sensitive to chemicals that are
used in synthetic material. Eapors from these chemicals can aggravate symptoms in
older people and those with respiratory problems.
W*AT # G!EEN FA*#ON+
A growing range of factors distinguish ethical from traditional fashion, including use of sweat
shop free labor, energy efficient processes, alternative energy, and low impact dyes in
manufacturing. &owever, to the etent that fashion consumers make an effort to choose an
ethical wardrobe, they usually do so by trying to pick up an eco:friendly fabric. 0hree criteria
are primarily used to distinguish the creation of eco:friendly from ordinary fabricsF
• 0he use of fewer toic chemicals
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• 0he use of less land or water, !
• 0he reduction of green house gases
ome fabrics perform better than others across all three of these criteria. &owever, in many
cases, one fabric is more preferable according to one of the criteria, than others, making for
complicated choices even without factoring in differences in fabric ualities, cost, labor
conditions or carbon footprint of product transportation.
ustainable fashion is part of the larger trend of sustainable design where a product is created
and produced with consideration to the environmental and social impact it may have
throughout its total life span, including its Gcarbon footprintG. According to the 4ay %<<2 Eogue
sustainable fashion appears not to be a short:term trend but one which could last multiple
seasons. (esigners say that they are trying to incorporate these sustainable practices into
modern clothing rather than producing @dusty, hippy looking clothes. GAt least 6,<<< chemicals
are used to turn raw materials into tetiles and %$H of the worlds pesticides are used to grow
non:organic cotton. 0his causes irreversible damage to people and the environment, and stil
two thirds of a garments carbon footprint will occur after it is purchased.G
*co:fashion is about making clothes that take into account the environment, the health of
consumers and the working conditions of people in the fashion industry. *co:fashion clothes
are made using organic raw materials, such as cotton grown without pesticides and silk made
by worms fed on organic tree. 0hese items dont involve the use of harmful chemicals and
bleaches to color fabrics are often made from recycled and reused tetiles. In addition, high:
uality garments can be made from second:hand clothes and even recycled plastic bottles.
BACKG!O$ND
0he birth of sustainable fashion started with the "71<s tree:hugging hippie dedication to locally
grown, pesticide:free, and handmade goods, but has grown into one of the most sophisticated
and highly influential markets in the world, and has spread its value:based philosophies to
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every nook and cranny of the business, in the hopes of making the world better through
fashion.
In the "7$<s the social elite wore couture and those who could not afford it followed fashion by
making their own clothes. 0he 1<s and 2<s marked the birth of mass production as fashion
houses started to manufacture clothes overseas at lower costs. In response, the environmenta
movement began in the "72<s, soon after hippie values had made a noticeable effect onfashion. hops selling ethnic:inspired clothing that supported communities in various ways
started to pop up all over. People began to purchase clothing for the values it represented and
not solely because they liked the way it looked. *ven with this new focus on social and ethics
values in the fashion industry, in the 6<s and 7<s mass production grew in an overwhelming
way and news of sweatshops caught worldwide attention along with understandable criticism
0he battle between values:based production and purely financially driven production stil
continues to this day, despite ethical fashion having provoked a revolution.
4any things have changed. )ver the years, sustainable fashion lost its look of sewn togethe
patches of burlap and tie:dyed fabrics that looked like canvas which were never going to make
it down a Jfashion weekB runway. *thical consumerism in the fashion industry now involves
every aspect from farming through to manufacture and development, constantly evolving and
keeping those of us who are following the movement on our toes, but most of all, incessantly
focused on the look and feel of the products.
5arge companies like Esprit , Patagonia, Speedo, Gap, H&M , and Nike have made progress
toward ethical standards. Industry pioneers, such as Katharine Hamnett and Linda
Loudermilk carved the way and continue to set standards for new fashion leaders to look to.
Popular design houses such as Stella McCartney and Kuyichi are relentless in continuing to
raise the bar with new designs and higher standards each season. -air trade certifications
have been developed and continue to be revised and improved, to fight the deplorable
eistence of sweat shops. hows such as Estethica at 5ondon -ashion Week and he Green
Sho!s at New 'ork -ashion Week have been developed to facilitate and present the ever:
impressive works of sustainable fashion innovators worldwide.
T#MEL#NE7
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"71<F 8irth of sustainable fashion.
"72<F hops selling ethnic inspired clothing.
"76<F 4ass production started, people had become concerned about chemicals in
fabrics, particularly flame retardants in the polymers of synthetics.
"77"F -ashion entrepreneur afia4inney, who set up an environmental campaigning
N+).
"77%F (enim brand 5evi trauss uses sweat:shop labor.
"776F 8ritish -airtrade fashion company +ossypium began.
%<<1F *stethica : the ethical fashion arm of 5ondon -ashion Week was launched.
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!EPO!T BOD'
CA!BON FOOTP!#NT OF TE8T#LE
Fi2ers 9 'ar/s
0he energy needed to produce different fibers varies accordingly. -ibers can be divided into
natural and man:made fibers. -or natural fibers, energy is utili>ed in the form of mechani>ed
irrigation which runs on non:renewable fossil fuels of diesel ! gasoline that emit C) into the
atmosphere. Also the use of pesticides and synthetic fertili>ers for % harvesting the yields is a
maDor component for the carbon footprint. -or e.g. making Dust one ton of Nitrogen fertili>er
emits nearly 2 tones of C) euivalent greenhouse gases. % -or synthetics, very high amount
of energy is needed to both etract the oil from the ground as well as to produce the polymers
as it is done under high temperatures. Production of polyester fiber, the most widely used man:
made fiber, consumes non:renewable resources and high energy levels and generates
atmospheric emissions. A study done by the tockholm *nvironment Institute concludes that
the energy used to create " tone of spun fiber is much higher for synthetics than for natural
fibers. Acrylic is 3<H more energy intensive in its production than polyester and nylon is even
higher than that. 0he table shows the amount of energy
used in the production of various fibers which gives us a fair idea about the C)% emissions of
different fibers.
E/ergy se5 i/ the -ro54tio/ o0 :arios 0i2res
-ibre *nergy in 4K per kg of fibre
-la -ibre "<
Cotton $$
Wool 13
Eiscose "<<
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Polypropylene ""$
Polyester "%$
Acrylic "2$
Nylon %$<
FAB!#C
0here is no dramatic difference in the amount of energy needed to weave fibres into fabric.
&owever the manufacturing of some fibres into fabric is more energy intensive than other
fibres. Petroleum:derived synthetic fibres like polyester and nylon and the @natural man:made
fibers such as lyocell and rayon generally reuire additional energy to cook and reduce wood
pulp into the liuid solution that is forced through spinnerets to become a fibre which is straight
made into a nonwoven fabric. esidues from fibre preparation sometimes emit pollutants
during heat setting processes. 0he spinning, weaving and knitting stages use a lot of energy,
produce solid waste and generate dust and noise and also involve the use of lubricants and
oils to strengthen and protect the fabrics from the stresses of processing. 0his translates into
huge uantities of fossil fuels : both to create energy directly needed to power themills,
produce heat and steam, and indirectly in the form of many chemicals used in the production
of the fabrics.
TE8T#LE P!OCE#NG9F#N#*#NG
0etile processing ! finishing are applied to the fibre or fabric for value addition. 0hey basically
comprises of pretreatment, dyeing, printing and finishing processes which use a significant
amount of water, energy and chemicals thus producing substantial amounts of effluent.
Chemicals used for finishing contain heavy metals like copper, chromium and cobalt !
formaldehyde. 8leaching also done prior to dyeing is 1 times more epensive ! is only active
at temperatures above 1<LC thus making the process energy intensive. 8efore "7$1, the
maDority of clothes were dyed using natural dyes, but technological changes, industriali>ation !
population growth brought about a rapid increase in tetile production.
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END P!OD$CT MAK#NG
0he final stage of making a fabric into" a finished tetile product reuires designing,
merchandising, scheduling productions and making of prototypes. 0his phase adds to the
carbon footprint in the form of electricity which is needed to run machines like electric cutters,
sewing ! fusing machines, steam iron sets etc. Also the boilers used to generate steams, used
in pressing consume a lot of diesel fuel thus adding to the carbon footprint.
$AGE 9 D#POAL OF T*E END P!OD$CT
It is a phase when the garment reaches the consumer and this phase has a high negative
impact on the environment. Washing, drying and care for the clothes decides how high these
impacts are. 5aundering contributes highly to the carbon footprint. 0he carbon emissions are
created to generate the electricity used to wash clothing in warm temperature water and
tumble dryers. 0he maDor part of environmental impact in the lifecycle of a garment arises from
the consumer use phase which is a recurring phase during maintenance and irreversible
phase when non:biodegradable substances are disposed off.
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COMPONENT OF APPA!EL L#FEC'CLE
0he cost of adhering to environmental regulations escalates as the apparel lifecycle enters
higher stages. 0he concept and design phase of the product lifecycle is the least capita
intensive and most effective for reducing the overall environmental impact of manufacturing
apparel. 0he cost of green compliance is highest while disposing of retired items of clothing.
Correct identification of materials=fibers and product development processes can significantly
reduce the overall environmental impact. 0he choice of materials during the design phase can
also considerably reduce the cost of disposal at the end of the life stage. 0he challenge for
retailers, however, is to identify materials that are both eco:friendly and available at a
commercially viable price. 0hat being said, retailers should do their best to find greener
alternatives to environmentally unfriendly materialsM when pure green alternatives are not
available, low environmental impact fibers can be used. An eco:enabled P54 can help
designers make such choices.
upply chain optimi>ation can also save energy. Consolidating the geographical widespread
apparel product lifecycle for eample, by positioning local offices and distribution centers
close to supply chain partners can cut down the cost of transporting raw materials and
finished products. Innovative software and information systems plot smarter delivery routes
that optimi>e transportation costs. uch savings can compensate for high green raw materia
costs and maintain the profitability euilibrium.
0he entire apparel lifecycle has a significant negative environmental footprint. )ptimi>ation of
the following three focus areas can ensure the creation of sustainable apparelF
(esign and development o *co friendly materials, fabrics, composites and colors
o 4anage local and global regulatory complianceo 5ess resource=energy intensive process
upply chain management o educe overall transportation carbon footprint
o 4inimal and eco friendly packaging
o *fficient storage and distribution
Product disposal o Improved recycling, reuse and recovery
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o 4inimal solid= landfill waste
C*ALLENGE #N C!EAT#NG ECO LABEL
No consolidated data repository on green attributes and toicity levels of appare
components such as fabrics, dyes, composites, buttons and packaging materials.
Earied regulatory reuirements for different countries and apparel categories.
Insufficient transparency in the sourcing process to firmly establish green credentials
8alancing the fashion and comfort uotient of apparel made with eco:friendly materials.
Precisely calculating the overall green uotient and )I during the design stage.
5ack of information on and availability of eco:friendly materials and suppliers.
Inadeuate knowledge among designers and manufacturers regarding green
characteristics of apparel components.
G!EEN PLM FO! FA*#ON
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$REEN PLM %&'%a()*&+
$'ee+ ,&-./*a+,e 'e.&'0*+g
L&1,a'2&+ %&&0.'*+0(3../4 ,)a*+
$'ee+ RO5 a+6 23(*+e(( *-.a,0 a+a/4(*(
$'ee+ -a0e'*a/* +6e7*+g
$'ee+ 6e(*g+ 8 6e9e/&.-e+0
Ma+age'eg3/ a0&'4,&-./*a+ ,e
6&,3-e+0(
8y enforcing green strategy at design stage retailers can ensure sustainable product
development with minimal cost of green compliance. +reen P54 adds a layer of processes around the regular P54 framework to ensure that
the individual processes address environmental concerns and the end product is
environmental friendly. Ouick )I analysis will yield information about commercial viability of green apparels
thus allowing retailers to implement a successful and profitable green label strategy. ;sing green P54, the environmental impact at different stages of the apparel lifecycle
can be effectively assessed and the most eco: compatible and financially feasible
designs can be marketed. -or instance, green P54 can automatically replace different components of the
proposed apparel designs like buttons, threads, fibers, >ippers, colors etc with eco
friendly substitutes, and display the eco:friendly versions along with their cost
components such as raw material, manufacturing and shipping.
KE' CAPAB#L#T#E OF G!EEN PLM
0he following are the key capabilities of +reen P54F
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$REEN APPAREL PLMRE$ULAR APPAREL
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*co:indeing of green characteristics of materials, composites, dyes, fabrics and other
components. ingle window view of wide ranging environmental and regulatory compliance
reuirements. &igher visibility in procurement and manufacturing operations to validate the green
credentials of eco labels and meet reuisite traceability reuirements.
*nterprise:wide green alignment and measurement of internal and eternal compliance
with green guidelines through reporting and alerts. Precise )I calculation during the design phase.
e:engineered supply chain to enable both green sourcing and minimal transportation
carbon footprint.
ECO,F!#ENDL' FAB!#C
&ere we can put a look at some of the new fibres which are considered to be eco friendlyF
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BAMBOO , 8amboo is a grass, so it is biodegradable and has the ability to breathe. As
the fastest growing plant in the world, it is also highly renewable. It has antibacterial and
antifungal properties. 0he fabric is soft, luurious, stretchy, comfortable, and strong
great for daily wear and active wear.
8A48))
CO!N F#B!E , 0he starch and sugars are etracted from corn, and processed to make
a fibre called Natureworks P5A. 0his process is currently being done by Cargill (ow
Polymers, and the resulting fabric is called Ingeo. 0he fabrics are comfortable and can
resemble cotton, silk and wool, but with a lower cost, easier care higher durability and
superior wicking capabilities. COTTON ; O!GAN#C , Non:organic cotton accounts for approimately "< percent of
the worldBs pesticides, and %$ percent of the worldBs insecticides. 0hese chemicals are
associated with health conseuences such as cancer, birth defects, and asthma. Non:
natural bleaches and dyes release further toins. )rganic cotton is grown chemical:free,
and the tetiles are often dyed with natural dyes.
*EMP , &emp plants grow uickly and densely. 0hey reuire only an average amount
of water and are pest:resistant. 0hey do not reuire herbicides, pesticides, or fertili>ers.
&emp can be spun into yarns with minimum processing. 0he fibres are more durable,
absorbent, and insulating than cotton. M#LK #LK , +oatsB eggs are mied with genetic material from spiders, so that the
female goals produce milk that contains silk fibres. 0he resulting fibre is biodegradableand durable. 0he downsideF its genetic engineering, and kind of gross.
!EC'CLED POL'ETE! , 0he polymer from recycled soft drink bottles is melted and
etruded as a new fiber. It reduces energy consumption and saves raw materials. 0he
polyester is more fire retardant, easy to clean, and inepensive. A particular brand of
polyester *copun04Q is a warm and durable fleece popular among back:packers.
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O' #LK , oy silk is made from the by:products of tofu. 0he liuid is etruded into
fibres, which are dried and then spun into yarns. 0he high protein content allows it to
easily absorb natural dyes. 0he fabric is soft, luurious and breathable, as well as
durable and washable. It is often referred to as @vegetable cashmere. WOOD P$LP , 5yocell and 4odal are two fabrics produced in a solvent:spinning
process from wood pulp. 0he resulting fabric is very smooth and supple, which is good
for sensitive skin. It also has very good wicking properties, keeping moisture away from
the skin. WOOL ; O!GAN#C , Wool is a renewable resource, and natural dyes can be used. -or
organic wool, the livestockBs food is organic, and no growth hormones or synthetic
insecticides are used.
)+ANIC W))5
G!EEN FA*#ON B!AND
P*I
P*I is an eceptional eco friendly fashion brand. Clothes are made eclusively from organic
cotton, reclaimed silk, and tencel fabric. 0encel fabric is softer than cotton and is made
sustainably from the cellulose fibers of sustainable tree farms.
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Rkano )rganic Cotton ocks
Rkano makes athletic socks and fashion socks for both women and men. Rkano also makes
really cute striped socks, too. Rkano socks are certified organic cotton, made from natural
fibers without bleach, and use low:impact dyes which are better for the environment.
)lsenhaus
)lsenhaus makes eco:friendly shoes from sustainable materials like cork and organic
cotton.)lsenhaus also makes shoe fabric from recycled 0Es. Polyester microfiber is spun from
old:fashioned television screens.
*;* (enim
*;* denim is made from recycled Deans from waste in the denim tetile industry in China.Chinas landfills are overflowing with waste from the tetile industry, and ethical manufacturing
policies are enforced to protect workers. 0he Deans are made from 6<H recycled denim.
LAN#F#C#O NELLO GO!#
5anificio Nello +ori produces fabrics that are Cardato egenerated. 0he mill is located in the
Prato region of Italy. According to 5anificio Nello +oriBs ; agent +iovanni CarlesiF @Cardato
egenerated is an ecological product based on the concept of reuse. 0hese fabrics are C)%
neutral and have >ero impact on the environment. 0o bear the mark JCardio egenerated C)%
neutralB, fabrics mustF
S be made with at least 2<H recycled material clothing or scrap materialQ
S have their C)% emissions accounted for, their producers having purchased, from the
Chamber of Commerce, emission credits corresponding to the volume of production
concerned.
CAE T$D'
Peo-le Tree7 Desig/i/g 5i00ere/tly
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People 0ree, the 8ritish:Kapanese fair trade fashion company, has a design process which
sets them apart from other fashion brands. 0heir trend conscious designs are built around
traditional skills and utili>e hand:weaving, hand skills and organic cotton to maimi>e
employment. 0hey commit to increasing orders from their network of producers year on year to
build continuity and community and start their design process with these producersB skills in
mind.
8ackground
People 0ree began life as +lobal Eillage in Kapan in "77" and launched its ;T operations in
%<<". 0he ethos of the design is to creatively eplore ways in which to balance wellbeing of
makers with delight for wearers. 0hey are manufacturers of fashion and accessories for men,
women and children. 0here is a simple idea behind the company Jfor every beautiful garment
People 0ree makes, thereBs an eually beautiful change happening somewhere in the worldB
0he driver behind the brand is founder and C*) afia 4inney who has been awarded an 48*
and has been recognised in the Asian 8usiness Awards for her work with Asian producer
communities. 0he company was also awarded the W+N +lobal -ashion Awards and &igh
treet -ashion 8est *thical -ashion Awards in %<"< for fashion and accessories.
0he company has offices in Kapan and 5ondon, responsible for design, sourcing retail and
producer capacity development. 0heir core customers are %$:#< year old females, however
they also sell a significant amount of organic cotton babywear, kids ! teen tees, and menBs
clothes. 0he companyBs main outlets are its online store and selling product through 1<< fair
trade shops in *urope and Kapan, as well as in 0opshop and Kohn 5ewis on the ;T high street.
World -air 0rade )rgani>ation
People 0ree is a design:led company that sees clothing as a vehicle for poverty alleviation.
0hus its focus is on community centered sustainability through economic stability, skills
preservation and low impact production methods. 0he company aims to maimi>e use of loca
skills hand:woven fabrics, hand screen printing and hand embroideryQ to create employment
0he company is a member of the World -air 0rade )rgani>ation. It works closely with fifty fair
trade groups in marginali>ed communities across fifteen countries including 8angladesh
working along the supply chain from growing cotton to weaving and embroidery to stitching.
People 0ree producers are also involved in community development and training for workers.
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In 8angladesh, they work with the community proDects wallows, Artisan &ut, -olk
8angladesh, and Tumundini.
Alongside a focus on the wellbeing of the people involved, focus is given to ecologically
sensitive methods of sourcing and production. $<H of their cotton is organic and -airtrade
certified by -airtrade International. 4ore than 76H of People 0reeBs products are imported by
sea from their fair trade producers in the developing world, thus saving energy.
0he design process starts with a Jkick offB meeting between the People 0ree teams in the ;T
and Kapan, who work collaboratively to plan fabrics, colour palettes and share inspiration.
(esigns are inspired by trends, but more fundamentally by the producers they work with.
People 0ree design, production and technical teams regularly visit producers to get to know
their capabilities, check uality and resolve any problems. 0he designers start the process by
thinking about the skills of the people they will be working with. &ow can those skills be best
utili>ed/ Will there be a market for those products/ &ow can the design process enhance and
develop the skills of the producers/ People 0ree invests heavily in promoting -air 0rade and
awareness of the environmental problems with conventional fashion to build customer
awareness. *ssential to the balance between buyer and maker is the prereuisite timescales
Preparation for a new collection starts up to eighteen months ahead, a whole fashion season
ahead of the high street. 0his means that producers can plan their production, preventing the
bottlenecks prevalent in mainstream fashion that can result in unpaid overtime to fulfill orders
and insecure employment due to peaks and troughs in orders. People 0ree designers ordertheir fabric from source, right down to ordering specific cotton plants to be planted to provide
the perfect cloth for their collection.
E8TENT OF AWA!ENE AMONG C$TOME! ABO$T G!EEN FA*#ON
0he etent of awareness regarding green fashion among Indian citi>en is considered to be
uite low. 0his is the reason that green fashion has not become sustainable in indiainspite of
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the increasing awareness about environmental degradation , environmental pollution and its
ha>ardous effect on the health of the people.
0able "F Percentage distribution of customers according to their age group and awareness
about green fashion
Age gro- Flly aware o3ewhataware
Not aware at all Total
$- to %< years &=.> %?.& =>.? =<<
%= to &( years %=.? %).& %=.? =<<
A2ot &( years ).% "(.< )?.? =<<
Total %< %&.( %(.( =<<
It may be seen that proportion of customers who are uite aware about the properties about
the fibres used in green fashion decreases with increase in their age group. 4ore than half in
the age group upto 3< years are uite aware as against only less than one fourth %3.7HQin the
age group of 3" to #$ years and less than one seventh "$.%HQ in the age group above #$
years . as the calculated value of chi:suare is much higher than its table value at # degrees of
freedom ,the association between age group and awareness about properties of eco
friendlyfibres or green fashion seems be highly significant.
!EAON FO! NON,POP$LA!#T' OF G!EEN FA*#ON
0he reason of non popularity of green fashion has to be looked into two different lines
"Q Why tetile industry is not prone to green fashion and%Q Why customers are not giving preference to green fashion
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0hose concerned with tetile industry well knows that this industry is ecological most harmful
industry in the world .0he eco:problems in tetile industry occur during some production
processes and are carried forward right to the finished product. In the production process of
bleaching and then dyeing, the subseuent fabric makes a toin that swells into our
ecosystem. (uring the production process controlling pollution is as vital as making a product
free from the toic effect. 0etile industry owners are also uite aware that the utili>ation ofrayon for clothing is adding to the fast depleting forests in India.
o far the tetile industry is concerned for non:popularity of green fashion, mainly due to the
following drawbacksF
In some cases, using green products and materials will cost much more than using
conventional materials. 0hey fear that the increase in cost will make clothes more costly
and beyond the reach of ordinary middle class families in India compels them for using
conventional material. 4oreover, 0ime is another area where going green is a disadvantage according to
tetile manufacturers. 0he tetile industry that goes green needs to spend time
researching the best ways to make the transition to green. In addition, the industry needs to locate sources of green material and green products
and make sure that personnel are properly instructed in the use of the new products.
CONCL$#ON
At last, we can discuss some ways to populari>e green fashionF
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Customers can be motivated to go for green fashion by increasing their level of
awareness about the merits of eco:friendly clothes on the one hand and environmenta
ha>ards of the production process involved in non:eco:friendly fibres.
Clothing labels generally reveal what fibers are used to make a garment and how to
clean it. &owever, those labels dont outline all the chemical finishes applied to the
garment or the environmental impact of the manufacturing process. If it is mademandatory for the tetile industry to specify clearly and prominently the adverse affect
and ha>ards of environment on non:eco:friendly clothes, people will become aware
themselves and donBt go for clothes made of such fibres.
0here is need to develop environmentally:responsible or JgreenB marketing in India and
intensively campaign for it. +reen marketing is a business practice that takes into
account consumer concerns about promoting preservation and conservation of the
natural environment.
+reen marketing campaigns highlight the superior environmental protection
characteristics of a companys products and services, whether those benefits take the
form of reduced waste in packaging, increased energy efficiency in product use, or
decreased release of toic emissions and other pollutants in production. 0his campaign
along with the ready availability of eco:friendly clothes and their affordable cost may
help sustaining green fashion in India. -armers should be encouraged to grow organic cotton and other eco:friendly fibres. As
the growth process of the harvested fibers does not involve chemicals, harvesting such
fibres will reduce the cost. +overnment should purchase these fibres for onward supply to tetile industry and give
incentive to tetile industry for giving due cast of these fibres to the farmers. Checks
should also be made on synthetic fabrics, such as polyesters, nylons, and acrylics
which have adversely affect human body and help in degrading the environment.
B#BL#OG!AP*'
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• httpF==www.infosys.com=industries=retail=white:papers=(ocuments=green:plm:fashion:
apparel.pdf UIN-)'V +reen P54 for fashion ! apparel, (esigning Profitable *co
labels, 0anu(eo harma, Christopher &all
• httpF==www.cardato.com=media=press=tetilesXenvironment.pdf U*co:-riendly -ashion
and the, +reen Consumer, 8y Kames 4endolia, of Parsons 0he New chool for
(esign, New 'ork
• httpF==www.imageinstitute.com=files=*co:-riendly-ashion.pdfU*C):-I*N(5'
-A&I)N Taren 8runger, 8&*c, AICI CIP
• httpF==www.ecofashionworld.com=Industry:News=*co:Criteria:eries:Part:I:8rief:
&istory:of:*co:-ashion.html
• 4ahaDan, urabhi F )rigin and -unctions of ClothingF A Note, Kournal of
National (evelopment, Eol. %#, No. " ummerQ, %<"", pp. %37:%##, IN <72%:63<7.
• . Kain, anDay T. and Taur, +urmeet F +reen 4arketingF An Indian Perspective,
+lobal 8usiness eview, Eol. $, No.%, %<<#, pp. "62:%<$, IN <72%:"$<7.
• 4annarswamy, 8anumathi F A tudy on the *nvironmental Awareness and the
Changing Attitude of the tudents and Public in Coimbatore towards +reenProductsF esearch Kournal of ocial cience and 4anagement, Eol. ", No. 2NovemberQ, %<"", pp. 2$:6#, IN %%$":"$2.
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