Chapter 1:

Develop innovative idea for product or seevices(idea generating & Screening of Idea)

INTRODUCTION
Sustainable fashion (also known as eco-fashion) is a term describing efforts within the fashion industry to reduce its environmental
impacts, protect workers producing garments, and uphold animal welfare. Sustainability in fashion encompasses a wide range of
factors, including "cutting CO2 emissions, addressing overproduction, reducing pollution and waste, supporting biodiversity, and
ensuring that garment workers are paid a fair wage and have safe working conditions".

In 2020, it was found that voluntary self-directed reform of textile manufacturing supply chains by large companies to reduce the
environmental impact was largely unsuccessful. Measures to reform fashion production beyond greenwashing requires policies for
the creation and enforcement of standardized certificates, along with related import controls, subsidies, and interventions such
as eco-tariffs.

Fashion industry followers believe the business sector can act more sustainably by pursuing profit and growth. This is done while
adding increased value and wealth to society and the global economy. The goal of sustainable fashion is to create flourishing
ecosystems and communities through its activity. The movement believes that clothing companies should incorporate
environmental, social, and ethical improvements on management's agenda.

This may include:

Increasing the value of local production and products; prolonging the lifecycle of materials; increasing the value of timeless
garments; reducing the amount of waste; and reducing the harm to the environment as a result of production and consumption.
Another goal is to educate people to practice environmentally friendly consumption by promoting the "green consumer", which can
allow the company itself to gain more support and a larger following. Providing more sustainable
option decrease the huge amounts of clothing that end up in landfills.

Consumption geared towards saving money, lowering utility bills and greenhouse gas emissions,
and meeting the country's energy needs is described as green consumerism. In recent years there
has been an increase in research centered around consumer reactions to the advent of green
products within fast fashion.

Critics doubt the effectiveness that this has, but companies have already begun slowly transitioning
their business models to fit a more eco-friendly and sustainable future.

A heightened awareness toward the fashion industry’s environmental impact

has emerged in recent years, stirred by mounting evidence of intensified global
clothing consumption and driven by the increased accessibility and affordability of
clothing. In the last 3 years, the release of several comprehensive reports years
detailing the extent of the fashion industry’s environmental impact, as well as the
founding of several fashion industry-targeted sustainability campaigns (e.g., the
“2020 Commitment” of the Global Fashion Agenda), has not only helped draw
a great deal of attention to the issues but has also triggered an evident wave of
intention toward a concrete, quantifiable action.
 With the abundance of information surrounding the subject of sustainability in the fashion industry, this chapter
intends to provide an overview of (1) the most concerning environmental impacts
caused by the fashion industry, (2) current leading collective sustainability

campaigns mobilizing the fashion industry, (3) current available benchmarks and
tools for measuring environmental impact of the textile life cycle, and (4) examples
of how companies in the fashion industry are executing sustainability initiatives in
their products or processes. Finally, the chapter will conclude with some of the
current challenges and future opportunities in sustainability confronting the
fashion industry.
At the first thought, technology and sustainable fashion might appear to hold constrasting ideals; however an investigation into technology and
sustainable fashion yields complex symbolic relationships between the two areas. Technology is essentially the prime enabler that allows
sustainable fashion to thrive and develop today.

The role of technology within the sustaible fashion realm is broken into two main areas:
The physical manifestation of sustainable fashion garments, including the textiles, and digital domain. The effects of technology in sustainable
fashion are best understood through looking at work of a technology , theoretician, Andrew Feenberg, who advocated for small, but effective, a
democratic reationaloztion of technology to achieve poistive change.

The dilemma of virtue and prosperity in not absolute, but can be mediated in the course of technology developemnt. As it sinks down into
stricture of technology itself, through advances that adapt technical systems to natural environment, it will become obvious that environment
represents progress.
-Andrew Feenberg(1999)

The sewing machine is a tool for liberation.

-Otto von Busch(2007)
 The sustainable fashion (SF) literature is fragmented
across the management discipline, leaving the path to
a SF future unclear.
As of yet, there has not been an attempt to bring
these insights together or to more generally explore
the question of “what is known about SF in the
management literature and where could the SF field
go from there?”. The purpose of this paper is to bring
together the field to identify opportunities for societal
impact and further research.

IMPORTANCE OF SUSTAINABLE FASHION

1. Buy less and buy better

2. Avoid greenwahing
3. Know your materials
4. Watch out for harmful chemicals
5. Avoid microplastic clothing
6. Ensure your clothes have a second life

Thus the industry has to change its basic premise for profit, yet this is slow
coming as it requires a large shift in business practices, models and tools for
assessment. This became apparent in the discussions following the Burberry
report of the brand burning unsold goods worth around £28.6m (about $37.8
million) in 2018, exposing not only overproduction and subsequent
destruction of unsold stock as a normal business practice, but behavior
amongst brands that actively undermine a sustainable fashion agenda.

The challenge for making fashion more sustainable often requires systematic
reinvention, and this call for action is not new. The UCRF has argued that the
industry focus remains the same ideas originally mooted in the late 1980s and
early 1990s.
The Union observes, "so far, the mission of sustainable fashion has been an utter failure and all small and incremental changes have been
drowned by an explosive economy of extraction, consumption, waste and continuous labor abuse."

A frequently concern of those working in the area of sustainable fashion is whether the field itself is an oxymoron. This reflects the seemingly
irreconcilable possibility of bringing together fashion (understood as constant change, and tied to business models based on continuous
replacement of goods) and sustainability (understood as continuity and resourcefulness). [11] The apparent paradox dissolves if fashion is seen
more broadly, as a process not only aligned to expansionist business model and consumption, but instead as mechanism that leads to more
engaged ways of living.

Both design and designer roles are key to inspiring sustainable design practices; their role can contribute to Challenges associated with
implementing sustainability in fashion design are shaped by the perceptions, attitudes, and involvement of fashion design sustainability by
shaping design production practices and influencing consumption processes.

Upcycled Fashion : A new ERA of Fashion.

 Transform old or unused clothing items into fashionable, upcycled pieces.

 Integrate sustainable materials and showcase a commitment to eco- friendly fashion.

WHAT:
Create an online marketplace for renting designer clothing, promoting sustainable fashion practices, reducing textiles waste, and encoufraging
ore circular economy.

WHY:
Sustainable fashion encompasses a wide range factors,
 Including “cutting CO2 emissions
 Addressing overproduction
 Reducing pollution and waste
 Renting a piece can save upto 24% water, 6% energy, and 3% CO2
 Prolong the life spans of clothes.

What would happen if its technological manifestation was embraced, rather than brushed away?

The back-to-endure philosophy evident in much of the eco fashion movement either is ambivakent about the role of technology, or worse, serves
to position technology as a destructive force acting upon society, leading the way to an ever-dimmer future.

I woulld like to recontextualize this view of technology as a merely functionalist and hierarchical machine of society into onw that affirms its
reole as a multidimensional cultural force with great democratizing possibilities, especially within the realm in fashion.
In essence, I believe that eco-fashion is expressed most successfully when technoligy’s role as a facilator is acknowledge. A close investigation
reveals that the blending if technology with fashion is not merely application of devices or circuits to clothing.

While technology is by no means the only less through which ecofashion, it is imperative that its role not be diminished.
As I will show, many areas pertaining to eco-fashion already rely on some type of technological aspect. If selectively and
 rationally embraced, technology can continue to serve the sustainable and ethical requirements of modern society, enabling ever
sophisticaticated methods of clothing creation, consumptions, and disposal.

“ECO- TECH FASHION”

The relationship between fashion and technology is not new. An inquiry into fashion today uncovers an undercurrent of techno-fashion,
whether conceptually practiced by designers such as Hussian Chalyan or as seen in the prevalence of garments with embedded circuitry or high-
performance fabrics.
The phrase “wearable technology” is often used to describe tgis physicality of technological fashion, and specifically indicates garments
with some sort of attached electrical device or component; however, this definition is inherently limiting and imprecise, as fashion has always
been a wearable expression of technological state of society.
Contextualizing technology within fashion history reveals a system that has always enabled the development of fashion, i.e. technical
improvement in looms led the way to ever sophisticated.
Main focus on sustainability, you can save a lot not buying clothes that you end up not wearing a lot.

Zero-waste fashion refers to items of clothing that generate little or no textile waste in their production. It can be considered to be a part of the
broader sustainable fashion movement. Zero-waste fashion can be divided into two general approaches: pre-consumer zero-waste fashion, which
eliminates waste during manufacture, and post-consumer zero-waste fashion, which generates clothing from garments such as second-hand
clothing. Historically, zero-waste models have been utilised in folk clothing, including the kimono, sari, and chiton, among other.
STANDARD FASHION

Standard garment production process may begin with a drawing of the desired garment, a pattern is then generated to achieve this design, a
marker is made to most efficiently use the fabric, and the pattern pieces are then cut from the cloth, sewn, packed, and distributed to retailers.
Standard garment production generates an average of 15% textile waste.

THE WASTE HIERARCHY

The waste hierarchy consists of the three 'R's' - Reduce, Reuse, Recycle - in order of impact. Zero-waste fashion design reduces or even
eliminates pre-consumer textile waste. However, it does not necessarily address waste created during the use life and disposal phase of the
garment's life cycle.

During textile production, many pollutants are emitted into the environment. The textile and apparel industry are some of the most polluting, and
both have a low recycling rate of about 15%. Zero-waste fashion design could significantly reduce gaseous emissions during the production
process and help to reuse material waste.

Production and disposal of waste

One concern with fast fashion is the clothes waste it produces. According to the Environmental Protection Agency, 15.1 million tons of textile
clothing waste was produced in 2013 alone. [13] In the United States, 64.5% of textile waste is discarded in landfills, 19.3% is incinerated with
energy recovery, only 16.2% is recycled.[14] When textile clothing ends up in landfills, chemicals on the clothes such as the dye can leech into the
ground and cause environmental damage. When unsold clothing is burned,[15] it releases CO2 into the atmosphere. According to a report from the
World Bank Group, the fashion industry is responsible for 10% of yearly global carbon emissions. [17] In 2019, France announced that it was
making an effort to prevent companies from this practice of burning unsold fashion items. Fashion is produced at such high and fast rates, that
more than 40% of fashion goods are sold at a markdown.

Many synthetic fibers commonly used in mass produced apparel are technically forms of highly
polluting plastic, such as polyester, nylon, and acrylic. Such fibers are not only polluting to produce
but contribute to microplastics pollution in the ocean during their lifecycles.

The greater use of organically grown natural classical cellulose fibers, such as cotton and linen,
protein fibers, such as silk and wool, and recently popular cellulose fibers, such as hemp and bamboo,
that allow the elimination of unwanted chemicals has a lower negative impact on the environment, and
help textile companies increase their sustainability. When looking for ways to increase textile
sustainability, new biopolymers developed from modified Kombucha bacterial cellulose with
properties similar to those of clothing materials have also gained importance. Innovative cellulose-
based fibers, recycled fibers, or reused materials reduce the use of virgin resources. The use of
recycled fibers in clothing also helps ensure circularity in the fashion industry. The circular business
model, which is more advantageous than the linear one with respect to sustainability, is more widely
discussed in this review of the literature later.
Textile manufacturing processes must also be eco-friendly. Today, the textile industry is making many environmentally friendly decisions, such
as replacing chemical dyes with natural dyes, the use of enzyme biocatalysts, and the application of
biopolymers and biomasses for the treatment of textile surfaces. An example of such treatment is the use of enzymes in the textile industry where
they are applied for the treatment of carrageenan, which is produced from seaweed biomass and is used during textile printing to modify its
physical characteristics as a thickener. The use of automated dosing machines and controllers in the different stages of textile finishing, pulsating
rinse technology, both water recycling and reuse, and similar decisions are efficient in increasing the sustainability of manufacturing
processes. Moreover, the application of laser technology for very popular and highly consumed denim fabric finishing also helps to increase the
sustainability of the textile industry. For example, a properly selected CO2 laser of IV class with 500 mW output is less harmful to the
environment and human health than the classical washing with acid or chlorine. Laser finishing is even more environmentally friendly than
enzyme-based textile washing, which has recently replaced less sustainable chlorine bleaching.

Furthermore, laser finishing does not use water, sand, or stones, as does sandblasting. The discussion of the sustainability of fibers, materials,
and finishing technologies can be finished by stating that new textile technologies improve the application of recycled and ecological approaches
and decrease the quantity of released microfibers. Furthermore, scientists suggested a novel approach to decrease microfiber release by more
than 80% during the washing of synthetic textiles. For this purpose, coatings with two biodegradable polymers, such as poly (lactic acid) (PLA)
and poly (butylene succinate-co-butylene adipate) (PBSA), were suggested for application on polyamide fabrics by an electrofluidodynamic
(EFD) method. The problems related to the release of microfibers into the environment are also discussed in this review of the literature later.
Design Method And Approach For Sustainable Method

Claxton and Kent concluded that most fashion brands prioritize sustainability strategies largely associated with the materials and production
stages of circular design. In addition, those scientists pointed out designs for durability, recycling, zero-waste approaches, and disassembly.
However, it is not easy to take into account everything from the stages of the product life cycle to the end-of-life solutions in the design process
of a fashion collection.

For example, Wu and Devendorf analyzed innovative designs of completely disassembleable knitted and woven fabrics suitable for smart
clothing production. Similarly, Gam et al. suggested decisions that ensure a simple way to disassemble a garment and, later, to sort and recycle
the disassembled garment pieces. It was possible to produce a disassembleable jacket by replacing the fusible textile interlining with infusible
interlining to stabilize the front pieces, as well as by joining the outer layer of the jacket with its polyester lining using longer stitches.
Furthermore, the disassembled jacket pieces can be recycled or reused to design new fashion products employing laser cutting technology.

For example, ‘rows of loops’ were laser cut from pieces of denim fabric from worn trousers and ‘knitted’ into a new dress. The additional
advantage of the application of laser technology was the possibility of cutting the ‘loops’ of the newly designed ‘knitted’ dress independently of
the shapes of the disassembled trousers. Stankūnienė also made similar design decisions. Plain and twill fabrics were developed from denim
fabric strips cut by laser from dissembled worn clothing to manufacture a collection of fashion accessories, such as collars and belts. Paras
et al. also suggested original design ideas to increase the sustainability of fashion products, and created a design that employed detachable
garment parts and provided the possibility to personalize mass-production garments.
Hwang and Zhang also suggested innovative redesign methods to reduce post-industrial and post-consumer waste. However, there are significant
differences between upcycled design and standard fashion design, research, and manufacturing processes. Another design method called ‘zero-
waste design’ is also a good way to reduce textile waste in clothing manufacturing. Zero-waste fashion is the development of clothing models,
the design of which significantly reduces or eliminates waste in the pattern-making and cutting stage. However, it strongly depends on the width
of the fabric. Furthermore, limitations of this fashion design concept exist because of the dependence of clothing design on seasonally changing
fashion trends, among which quite strict limits are set for the silhouettes of garments. Therefore, more initiatives must be considered to increase
sustainability.
Zheng et al. suggested a design model consisting of key elements of garment design, such as colors, silhouettes, styles, themes, details, and
fabrics. Therein, significant attention was paid to material selection, testing, and production with respect to sustainability and identified factors
strictly related to the requirements of fabric suppliers and manufacturers. Other scientists suggested the design tool called ‘the redesign canvas’
that was based on the design thinking methodology suitable for simpler designs with respect to sustainable performance.

The suggested canvas consisted of 12 building blocks, namely the concept; consumer; (de)branding; circular design and economies business
models; value propositions and innovation; design and smart material selection; prototypes and product development; revenue streams and costs;
data management; sourcing; supply chain and stakeholders, which are described in detail in the canvas and must be encountered when creating a
sustainable fashion brand each building block consists of a list of features and questions that are explained in addition by smaller text on the
canvas. The canvas provides a clear and concise mechanism for structuring thinking and discussion about the opportunities and challenges
design entrepreneurs face in the sustainability context.
Impact of clothing technologies on sustainability
Sustainability problem faced due to washing to textile products

The research published by Browne et al. was among the first to state that microfibers occur because of domestic washing of clothes. Browne
et al. studied microfiber release and compared microfibers collected on the shorelines of six world continents with microfibers found in both
wastewater treatment stations and the filters of domestic washing machines. The composition of the microfibers collected in each of the studied
regions was very similar to that of the most widely spread polyester microfibers. The largest amount of microfibers was found in mostly
populated areas.
In addition, they existed even in wastewater treatment equipment that had not been used for a decade. Textiles and clothing are the main sources
of microplastic pollution in aquatic environments, such as rivers, shorelines, oceans, and seas, due to their care processes, such as washing and
rinsing. Microfibers are even found in hard-to-reach areas around the world. Today, synthetic clothing is the main primary source of synthetic
microfibers that negatively affect both the environment and human health. Recent research carried out in different countries and investigating
textiles of different fibrous compositions confirmed that microfibers are released during washing. The reviewed literature showed that many
factors influence the amount of microfiber released during washing .

The environmental impact of the textile life cycle

In any given industry, each stage of the product life cycle poses an impact on the
environment—by consuming environmental inputs (e.g., water for harvesting raw
materials, fossil fuels to power manufacturing equipment, etc.) and releasing envi-
ronmental outputs (e.g., carbon dioxide emissions from burning fossil fuels, landfill
waste after product is disposed, etc.). For the fashion industry, the environmental

inputs and outputs of the textile product life cycle is reflected i (It is worthwhile to note that the term “life
cycle” used is misleading in that the abovechain of processes does not form a “cycle,” but is instead linear sequence of events, with a definite
beginning and end. A true cyclical life cycle would be indicative of recycling or reuse, feeding the end waste back into the system to beused
again).
As shown, the inputs and outputs of the fashion industry’s “textile product life
cycle” pose impact on the environment, but it is the size of the impact which is
staggering. This is partly due to the immense scale of the fashion industry, which
has been evaluated to be a USD 1.3 trillion dollar industry [6], and the world’s third
largest manufacturing industry, after automotive and technology [7]. But also,
according to a report by the Ellen MacArthur Foundation, data confirms that the
greenhouse gas emissions produced by textile production exceeds that of interna-
tional aviation and maritime shipping combined. If it continues down this path, it is
projected that by 2050 it could account for 1/4 of the worlds’ carbon emissions [1].
To put it into perspective further, the annual carbon footprint of the fashion
industry’s product life cycle (3.3 billion tons CO2emissions) is almost equivalent to
that of 28 countries in the EU (3.5 billion tons) [7].

However, greenhouse gas emissions are not the only harmful environmental
outputs from the fashion industry; it is just one of the numerous other inputs and
outputs which have strenuous environmental implications, as exemplified in
Figure 2. The below provides a summary, along with examples, highlighting some
of the leading concerns (note that there are indeed many others; however, for the
purpose of this condensed article,
he “2020 Circular Fashion System Commitment,” introduced by the Global
Fashion Agenda
◦ Mission/action points:
The Global Fashion Agenda is a leadership forum engaging the fashion industry toward sustainability [9]. Its “2020 Circular Fashion System
Commitment” is a call on the fashion industry to commit toward a
“circular fashion system,” by taking concrete action on one or more of
the following points:

1. Implementing design strategies for cyclability

2. Increasing the volume of used garments and footwear collected
3. Increasing the volume of used garments and footwear resold
4. Increasing the share of garments and footwear made from recycled post-
consumer textile fiber

ndustry commitment (as of May 2018):

Ninety-four companies signed on (represents 12.5% of the global fashion market), including ASOS, H&M, Nike, Inditex, Kering, and Target.
• The “Sustainable Clothing Action Plan (SCAP) 2020 Commitment,” intro-duced by the Waste and Resources Action Programme (WRAP)
◦ Mission/action points:
The SCAP (spearheaded by WRAP) is a collaborative framework andvoluntary commitment for organizations to deliver industry-led targets of
1 5 % reduction in carbon, water, a n d waste in the clothing industry by [10]:

1. Reinventing how clothes are designed and produced

2. Rethinking how we value clothing by extending life of clothes
3. Redefining what is possible through reuse and recycling
• Industry commitment (as of March 2019):
• Eighty companies signed on (represents 58.5% of the UK’s retail sales volume),
including ASOS, Marks and Spencer, Ted Baker, and others.
The action points of both these campaigns show an emphasis on cyclability—not
just of materials but also practices—and reshaping the product life cycle toward
circularity [10]. The number of companies committed to these campaigns so far is a
promising sign that sustainability is gradually becoming an integral factor in the
fashion industry. Aside from the global sustainability campaigns such as above,
another industry resource supporting companies toward sustainability is the various
benchmarks and tools developed to help the fashion industry gauge the environ-

mental impact of certain materials or processes and therefore help steer decisions
accordingly. The following section will explore some of these tools and benchmarks.

Measuring environmental impact: benchmark and tools for thefashion industry

For companies in the fashion industry to become more cognizant and proactive
about minimizing the environmental impact of their product life cycles, they would
need to rely on a definitive benchmarks and tools to gauge the environmental
impact of their decisions regarding product or processes. However, measuring
environmental impact of such decisions can be very convoluted, as results tend to
be conflicting depending on which angle it is viewed from. Here are some examples
of the conflicting nature of environmental impact measures.
CONCLUSION

This article has attempted to provide a current and overarching view on the
most concerning environmental impacts of the fashion industry today, the leading
global sustainability campaigns and benchmarks and tools established to help
empower the fashion industry toward concrete action and, last but not least, exam-
ples of sustainability initiatives being implemented in the industry. The fashion
industry’s large-scale wave of movement toward sustainability is evident; however,
there remain questions and challenges to be addressed, one being how successful
the “2020 commitment” goals will be, with 2020 just around the corner, and
considering how potentially disruptive any kind of change is in an industry which is
built on long-established processes and practices and adheres to an inflexible, tight
calendar.
Furthermore, as discussed in this article, the array of benchmarks and
tools available for measuring environmental impact can result in a convoluted
process and conflicting, inconclusive information. Such challenges may deter a
company from successfully achieving concrete changes toward sustainability.
Even if companies are able to navigate through the intricacies in evaluating
environmental impact of a textile product or process, it is important to remember
that the textile product life cycle is never impact-free (at least not in the foreseeable
future), as it relies on the environment to provide various inputs and outputs. With
this reality in mind, companies may find that making small but carefully holistically
considered steps in the right direction can be much more effective than larger
uninformed leaps when it comes to sustainability.
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