SUSTAINABLE SOLUTIONS IN TEXTILE AND FASHION INDUSTRY

Gizem Karakan Günaydın1, Ozan Avinc2*

1
Textile and Fashion Design Department, Pamukkale University, Denizli 20160, Türkiye,
[Link]
2
Textile Engineering Department, Pamukkale University, Denizli 20160, Türkiye,
[Link]

*Corresponding Author: oavinc@[Link]

The fashion sector is one of the largest providers to environmental pollution and social
inequality, making sustainability a crucial issue. The rise of fast fashion has resulted in
excessive resource consumption, increasing carbon emissions, and growing textile waste. High
water usage, chemical pollution, and energy-intensive production processes significantly
impact the environment, while unethical labour conditions raise serious concerns about social
sustainability. With the growing awareness of sustainability in fashion, the adoption of eco-
friendly materials and innovative production techniques has gained momentum. Various
sustainable solutions have emerged, including eco-friendly materials, innovative production
techniques, and circular business models. Nowadays, fashion brands are increasingly adopting
sustainable practices to minimize their environmental impact and promote ethical production.
Many global brands have committed to reducing their carbon footprint by using eco-friendly
materials such as organic cotton, recycled polyester, and bio-based fabrics. Additionally,
innovative production techniques like waterless dyeing, 3D knitting, and digital fashion are
being integrated to reduce waste and resource consumption. Another major shift is the adoption
of circular economy models, where brands promote clothing rental, resale, and take-back
programs to extend the lifecycle of garments. Companies such as Patagonia, Levi’s, and H&M
have introduced initiatives that encourage customers to return old clothes for recycling or resale.
Some brands are also experimenting with biodegradable textiles and regenerative farming
practices to create a more sustainable supply chain. This chapter will cover key strategies such
as the use of organic and recycled fibres, low-impact dyeing processes, 3D knitting, and digital
fashion. Furthermore, concepts like slow fashion, zero-waste design, and upcycling are
discussed, illustrating how brands and consumers can contribute to sustainability. Moreover,
the role of emerging technologies such as artificial intelligence, blockchain, and digitalization
in augmenting transparency and sustainability are also be discovered.

Key words: Sustainable fashion, ecofriendly materials, carbon footprint reduction,

digitalization

Introduction
Sustainable fashion is a comprehensive approach focused at minimizing the social and
environmental impacts of the textile and fashion industries. It involves the use of eco-friendly
materials and production techniques, the promotion of responsible consumer behaviour, and the
advocacy for fair labour practices. In contrast to conventional fashion which often prioritizes
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speed, low cost, and high-volume sustainable fashion seeks to reduce the ecological footprint
throughout the complete life cycle of a garment. This includes the thoughtful selection of
organic and recycled materials, the reduction of CO₂ emissions during production, and a
commitment to transparency across the supply chain.
Beyond material choices, sustainable fashion embodies a transformative lifestyle philosophy,
embracing the principle that “less is more.” It emphasizes durability, craftsmanship, and
mindful consumption over fleeting trends and disposable clothing. By opting for sustainably
produced garments, consumers can help preserve natural resources, reduce environmental
pollution, and support better working conditions and livelihoods for those employed in the
textile sector.
At its core, sustainable fashion is rooted in the responsible stewardship of natural resources. It
favors materials like organic cotton, which have a considerably lower environmental impact
than synthetic alternatives. Moreover, it encourages the use of low-impact production
techniques aimed at reducing the industry’s greenhouse gas emissions and other environmental
harms. Understanding sustainable fashion also requires consumer awareness of brand
transparency in sourcing and production practices. Truly sustainable brands often carry globally
recognized certifications, such as the Global Organic Textile Standard (GOTS) and Fair Trade,
which validate their commitment to ethical labour standards and environmental responsibility.
Ultimately, sustainable fashion represents a lifestyle that respects planetary boundaries and
prioritizes long-term ecological health. Supporting this movement empowers individuals to
contribute to the creation of a more ethical, socially just, and environmentally sustainable
fashion industry for both present and future generations [1].
There are some examples of clothing trades focused on sustainability; Jeanologia is recognized
as a pioneer in sustainable innovation, revolutionizing traditional, water-intensive denim
finishing methods by introducing advanced laser and ozone gas technologies. These techniques
significantly reduce water usage and environmental impact, while also eliminating the need for
harmful chemicals commonly used in conventional processes [2]. Palomo Spain exemplifies
ethical and sustainable fashion practices by prioritizing small-scale, local production. The
brand’s commitment to sourcing sustainable materials and embracing artisanal craftsmanship
promotes a more thoughtful and environmentally responsible model of fashion consumption
[3].
In a similar vein, artisans from Kyrgyzstan highlight the value of sustainable tailoring by
utilizing traditional felting techniques. Their small-scale production methods rely exclusively
on natural materials, helping to preserve cultural heritage while actively contributing to the
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conservation of natural resources. Together, these examples demonstrate the feasibility and
growing adoption of sustainable tailoring within the fashion industry. They underscore a
collective commitment—among both brands and independent artisans—to environmental
stewardship, cultural preservation, and the promotion of fair labor practices.

[Link] Impacts of the Fashion and Textile Industry

Over the previous three decades, the amount of clothing bought per person in the EU has
increased by almost 40%. The quickening of fashion cycles and falling prices are largely
responsible for this spike. An estimated 2% to 10% of the environmental impact associated with
EU consumption is attributable to clothing. However, because a large portion of textile
production takes place outside of the EU, the environmental effects are frequently seen outside
of it. Growing raw materials, turning them into yarn, weaving, and dying textiles all require a
significant amount of chemical and water input, including insecticides for cotton and other
crops.
Due to the energy, water, and chemicals needed for washing, drying, and ironing, as well as the
introduction of microplastics into ecosystems, the garment consumption phase also plays a
major role in environmental deterioration. Because the technologies required to regenerate
fibres are still in the early phases of development, less than 50% of waste clothing is collected
for reuse or recycling, and just 1% is regenerated into new apparel.
Many ideas have been put up to overcome these issues. These include introducing cutting-edge
business models like clothing rental, advocating for design principles that facilitate simpler
recycling and reuse (circular fashion), and urging customers to buy fewer, higher-quality, and
more long-lasting clothing items (slow fashion). In general, consumers must change their habits
to make more sustainable decisions.

Under comments from the European Parliament, the European Union adopted a circular
economy package in 2018 that requires all Member States to undertake separate textile
collection by 2025. The Parliament has long backed programs that encourage the reuse and
recycling of clothing as well as the use of sustainable raw materials [4].

When the environmental impact of textile and fashion industries is considered, it is understood
that it includes the whole life cycle of a product from the raw material to disposal. In fact, less
than 1% of clothing is recycled and the rest is usually abandoned or incinerated which results
with poisoned rivers, reduced soil fertility, climate change. Health risks, child labour,
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destruction of local economies should also be mentioned as additional results. In the 90’s, the
term of fast fashion started to be mentioned which referred to a business model with large
collections (up to 52 in one year). However, the collections included garments of low-level
quality with affordable prices. The fast fashion trend encourages the compulsive buying
behaviour of products which are thrown away within a few months. Today, brands such as
Zara, H&M, and Forever 21 pioneered this model, offering consumers fashionable styles at low
prices with high turnover rates. The goal of fast fashion is to maximize consumer purchasing
frequency, fuelling a culture of overconsumption.

Environmental impact of fast fashion should also be considered as indicated in below:

• Resource Depletion: The industry consumes enormous quantities of water, energy, and
raw materials. For instance, the production of a single cotton T-shirt requires
approximately 2,700 liters of water.
• Pollution: Textile dyeing is the second-largest polluter of water globally. Additionally,
synthetic fibers like polyester shed microplastics, contaminating oceans and aquatic
ecosystems.
• Waste Generation: Due to the low cost and perceived disposability of garments, millions
of tons of textile waste end up in landfills each year. Many items are discarded after
only a few wears.

3. Sustainable Materials and Eco-Innovations

3.1. Selecting the right raw material:

A significant portion of the textile and apparel industry's environmental impact is caused by the
manufacturing of raw materials, including the cultivation of crops for natural fibers. Cotton is
particularly problematic because cultivation requires enormous amounts of land, water,
fertilizer, and pesticides. According to a 2015 assessment by the European Clothing Action Plan
(ECAP), cotton makes up over 43% of all fibers used for clothing on the EU market. Because
bio-cotton consumes less water and produces fewer pollutants than conventional cotton, its
environmental effects can be significantly lessened. A Textile Exchange research states that the
percentage of sustainable cotton rose from 6% in 2012 –2013 to 19% in 2016 – 2017 [5].

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Silk is particularly harmful in terms of global warming and the depletion of natural resources,
cotton is a major contributor to water scarcity, and wool is a major contributor to greenhouse
gas (GHG) emissions. But the industry is also experimenting with less common natural fibers
that use less water, fertilizer, and pesticide, such hemp, flax, linen, and nettle. Polyester, a non-
biodegradable fiber derived from fossil fuels, makes up 16% of the fibers used in clothing. Its
primary benefits are a lower water footprint than cotton, the need for lower washing
temperatures, quick drying and minimal ironing, and the ability to be recycled into fresh (new)
fibers. Made mostly from plastic bottles, recycled polyester raised between 2007 and 2017,
increasing its market share from 8% to 14%. But according to a number of recent studies,
washing a single load of polyester clothing (together with nylon and acrylic) can release
700,000 microplastic fibers into the environment, which can then enter the human food chain
and release poisons. An estimated half a million tonnes of plastic microfibres from clothing
washing are thought to enter the ocean annually. Currently, the industry is experimenting with
biobased polyester, sometimes referred to as biosythetics, which are derived at least partially
from renewable resources such plant oils, sugar cane, corn, or beets. The difficulty lies in
locating feedstocks that don't interfere with food production and don't need a lot of water or
pesticides.

In the EU, about 9% of the fibers used in clothing are created from manmade cellulosics
(MMCs), which are cellulose obtained from dissolving tree pulp. Viscose, sometimes referred
to as rayon, is the most widely used. Although they are biodegradable and derived from
renewable plants, the primary issue is acquiring cellulose sustainably, since the output of
MMCs more than doubled globally between 1990 and 2017. Therefore, the industry is
experimenting with more sustainable materials like Piñatex (made from pineapple leaves),
Bemberg (also known as cupro, made from cotton linter that cannot be used to spin yarn), and
Lyocell (also known as Tencel, a brand name for cellulose from eucalyptus that grows quickly
and doesn't require irrigation or pesticides) [6]. The industry is also testing less frequently used
natural fibres, such as hemp, flax, linen, and nettle, that require less water, fertilisers and
pesticides.

The fibers of Linum usitatissimum, a member of the linen family and one of the earliest crops
to be farmed for use in textiles and food, are commonly referred to as flax. Flax's diverse
properties have been prized for a number of reasons throughout history. Because its fibers were
superior to other fibers and enjoyed by the affluent, they could be hand-made into sturdy,
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ornamental, gossamer-like woven linens and lace, giving it a high position in the fabric
hierarchy. Undoubtedly, this was an ancient premium fiber. Ancient peoples may have spun
wild flax fibers to make linen-like textiles, as evidenced by the finding of dyed flax fibers in a
Georgian cave that dates back to 34,000 BCE. Additionally, flax bandages have been found
wrapped around mummified bodies in Egyptian tombs and used in ancient Egyptian medicine
[7:27], and the creation, use, and cultivation of linen cloth are detailed in tomb images. Because
the flax stalk's center contains long, fine fibers that can reach up to one meter in length, such
high-quality cloth was possible before the contemporary industrial age.
Simple hand spinning tools like a distaff and spindle can be used to effortlessly spin delicate
flax fibers into incredibly fine thread. Before being put together to create garments and
furnishings, the thread may be hand-braided and dyed into fishnets and ropes or woven into
strips of fabric on crude looms. The plant has also been grown for its myriad byproducts, which
include soap, paper, colors, meals, and medications. Linseed oil is an edible oil made from
flaxseed, the seeds of the flax plant. The fiber's many applications, such as the production of
luxury textiles, gained prominence and popularity during the Industrial Revolution. However,
as oil-based fibers like polyester, which had a comparable handle and strength but were crease-
resistant and could be mass-produced at a low cost, began to replace the fiber, its market share
and popularity started to decline. Unlike other fibers like cotton and wool, which were marketed
by Cotton Incorporated PLC and the International Wool Secretariat, respectively, flax did not
establish a brand name in the 1960s [7-21].

It is an accomplishment that flax products have been reintroduced in new forms in the bio-
composites industry, for use in construction materials, automobiles, airplanes, and furniture, as
well as in the medical field. In addition to pointing out the problems and concerns with these
non-biodegradable composites, which are made from non-renewable resources and are using
up remaining oil resources, Blackburn [22] highlights the significance and impact of the
development of synthetic chemical products for composites used in large quantities of products.
Bio-composites based on natural fibers like flax, jute, and hemp are becoming more popular
since they are robust, lightweight, corrosion-resistant, and have good sound and moisture
absorption properties. A material must be able to be "broken down into simpler substances
(elements and compounds) by a naturally occurring decomposer" in order to be considered
"biodegradable." The entire cradle-to-cradle lifetime of the fiber or product must be taken into
account for the material to be considered "bio". Only recently have novel uses for flax fiber
come to light. For instance, a wide range of novel composite materials and applications for new
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luxury premium products with a clear supply and disposal chain from start to finish can be
created by combining incredibly diverse bio-composites with natural fibers and/or coating them
in different bio-resins [22].
The flax story claims that sustainability is the new luxury and that the business can easily and
honestly communicate its benefits to the consumer. New agricultural mechanization and
technological developments in the production of fibre, yarn, and textiles have improved and
refined the materials for a number of high-value industries. The technical properties of flax
were studied and developed to produce high-quality, wear-resistant fabrics free of defects. The
hollow fibers created fabrics that were breathable and comfortable in cold weather, making
them suitable for installation in any season. This was due to the fibres’ ability to absorb 20% of
their dry weight in moisture without feeling wet. In the summer, this assisted in controlling
body temperature. Flax also has antistatic properties, is non-allergic, antimicrobial, and
naturally resistant to mildew and moths (it is utilized in some medical sutures). Since the fiber
absorbs and fixes color well, the color enhances and often intensifies as the fabric ages and the
internal cores of the fibres show. The desire for eco-friendly textiles has prompted a focus on
the development of low-impact reactive dyes and fabric finishes, such as enzyme finishes and
wrinkle-resistant treatments, and flax has a preference for colours that use few dyestuffs [9-22]

3.2. Processing and garment production:

Spinning raw materials into yarns, weaving them into fabrics, and adding finishing treatments
like dyeing or giving the fabrics strength and shine are energy-intensive procedures that require
large amounts of water and chemicals. The EU considers 165 of the more than 1,900 chemicals
used in clothing production to be harmful to human health or the environment. Up to 150 liters
of water can be used for dyeing every kilogram of fabric, according to the 2017 Pulse of the
Fashion Industry report. Since most production takes place in underdeveloped countries, where
environmental rules are less stringent than in the EU, wastewater is routinely dumped unfiltered
into rivers. When making clothes, a lot of energy is used by the equipment used for sewing,
gluing, welding, and seam taping. The cut-offs that remain after the clothes patterns have been
cut out also contribute to over 20% of the fabric waste generated by the company.
The JRC 2014 study on the environmental improvement potential of textiles recommends a
number of tactics to reduce the environmental effects of the processing and manufacturing
phase. These include recycling water, using dye controllers and water-efficient dyeing
equipment, and using fewer chemicals and enzymes instead of chemicals. It also recommends
integral knitting, which creates a whole garment in one piece, obviating the necessity for cutting
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and sewing. However, the lifetime gains can be outweighed by the integral knitting machines'
high energy usage. Some businesses are experimenting with different cuts, computer-controlled
pattern-making technologies that allow them to utilize more fabric with fewer cut-offs,
garments with few or no seams, bonding or gluing instead of sewing, and other cutting-edge
dyeing methods. For instance, the Dutch business DyeCoo is testing the use of CO2 as a dyeing
agent in place of water [23,24].

3.3. Distribution and transportation:

Long delivery routes result from the importation of the majority of textile raw materials and
finished goods into the EU. Nevertheless, the Pulse of the Fashion Industry report states that
this stage only 2% of the industry's climate change effects, since the majority of major
businesses have optimized the flow of commodities. But this stage is also marked by waste
from tags, hangers, bags, and packing, as well as a significant percentage of goods that are never
sold since the unsold inventory is thrown away.

3.4. Consumer use:

According to the JRC study, this stage of the clothing lifecycle has the biggest environmental
impact because of the water, energy, and chemicals (mainly detergents) used for washing,
tumble drying, and ironing, as well as the microplastics that end up in the water. Therefore, the
report came to the conclusion that encouraging consumers to adopt small behavioral changes,
like lowering the washing temperature, washing at full load, avoiding tumble-drying, buying
eco-friendly fibres, and donating used clothing, is one of the most effective ways to lessen the
environmental impact of clothing. By washing their clothes less regularly and eliminating
needless ironing, consumers can further lessen the environmental effect of their clothing [23]

3.5. Recycled or reused:

It is difficult to find current, trustworthy information about what happens to clothing after its
owners decide to part with it. It appears that the majority of clothing in the EU is still thrown
away and either burned in incinerators or ends up in landfills where methane is released.
According to estimates from the Textile Recycling Association, which the JRC cited, only 15%
to 20% of textiles that were disposed of in 2005 were gathered for recycling or reuse.
There are significant disparities among EU nations, according to a study conducted by the

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European Clothing Action Plan (ECAP) that concentrated on six EU Member States. According
to estimates, over 70% of worn clothing and home textiles were collected in Germany in 2015,
while 11% were collected in Italy [23].

it is uncertain how much of the clothing gathered is non-reusable and what percentage is
reusable. After being gathered, clothing can either be recycled or used again as second-hand
clothing. Both routes have problems at the moment. In the EU, the supply of used clothing
exceeds the demand, and a significant portion is exported, partially to East Asian or African
nations. This has led to claims that waste is transported to nations that cannot handle it and that
low-cost used clothing contributes to the demise of regional textile businesses. Although
discarded textiles might pose a challenge to domestic textile production, research done for the
Nordic Council of Ministers found that more affordable new clothes imports from Asia are
likely to fill the void. It also came to the conclusion that garbage from European clothing is not
actually shipped to developing nations.

Fewer than 1% of all materials used in clothes are recycled back into apparel worldwide due to
a number of problems with recycling. The lack of technologies for sorting the gathered clothing,
separating blended fibers (though some promising new technologies, like Worn Again and
Blend Re:wind, can separate the most common blend of cotton and polyester), separating fibers
from chemicals, including color during recycling, and determining which chemicals were used
in the production in the first place (which is one reason it is easier to recycle factory waste like
cut-outs) are all reflected in this.

Furthermore, there are currently insufficient technologies that would allow clothing to be
recycled into virgin fibers. For this reason, most clothing is recycled mechanically by being cut
up and shredded, which results in shorter, lower-quality fibers that lose 75% of their value. As
a result, they are typically recycled into mattress filling, wiping cloths, and insulation rather
than being utilized to make new clothing. Mechanically recycled cotton can now be combined
with polyester or synthetic cellulosics thanks to new technology. For polyester and nylon, there
are chemical recycling technologies that yield high-quality virgin fibers; for cotton and mixes,
these technologies are gradually emerging but are not yet completely commercially feasible.

Today, there are some new considerable efforts for reducing the ecological hazard and waste
generated during textile processing or developing sustainable and green materials. One of these
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promising approaches is to promote the usage of SaXcell fibre in textile products as virgin
(100%) or with other blends. SaXcell, an abbreviation of Saxion cellulose, is a regenerated
virgin textile fibre made from chemically recycled domestic cotton waste. The process to
transfer domestic cotton waste into SaXcell fibre is a crucial step in the circular textile chain.
SaXcell production starts with sorting domestic cotton textile waste into an as pure as possible,
well-defined waste stream. Next, the pure waste stream is grinded and non-textile components
like zippers, nails and buttons are removed. The result is a dry mixture of textile fibres with
different fibre lengths. All fibre lengths, long and short, are suitable as raw material for SaXcell.
The dry mixture exists of different colours and is chemically decoloured and made suitable for
the wet spinning process. Wet spinning can be done according Viscose or Lyocell processes.
This means that the new fibre can be produced with few adjustments in the settings of machines
on existing installations in Europe and Worldwide. The end product of this step is SaXcell, a
regenerated virgin cellulose fibre. The fibre can be cut to specified lengths, spun into yarns and
woven or knitted into fabrics. Colouration step can be applied to the fibre, yarn, or fabric stages
[25].

4. Possible Ways Forward for Textile and Fashion Industry

The industry is pushing hard to make all stages of production more sustainable.
The 2018 Pulse of the Fashion Industry report states that major fashion brands and sportswear
firms are setting the standard for investments in innovative technology and business practices.
However, mid-range retailers are also seeing significant advancements, and even quick fashion
is becoming more environmentally friendly. There have been warnings that businesses who
don't alter their practices risk running out of resources in the future due to the rising cost of
commodities. The endeavour is challenging, nevertheless, because, for example, attempting to
lessen environmental effects may result in higher pricing for customers, and persuading
customers to purchase fewer items of clothing may result in lower earnings for businesses.
Finding a more sustainable fabric mix to use less conventional cotton, enhancing sorting and
recycling technologies, improving washing and drying efficiency, boosting energy efficiency
and the use of renewable energy in technological processes, prolonging the life of clothing, and
improving sorting and recycling are some of the recommendations made by several studies [5].
The possible ways to increase the sustainability may be summarized as below:

4.1. Extending Longevity of clothes:

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The estimate research reveals that if the number of times of a cloth is worn doubled on the
average, the emissions would be 44% lower. Some assumptions were considered for this.
Slow fashion: Slow fashion is an attempt which encourages consumers to buy fewer clothes of
better quality and to keep them for longer. The philosophy includes reliance on trusted supply
chains, small scale production, traditional crafting techniques, using local materials and trans-
seasonal garments. It emphasizes a change in the economic model by selling fewer clothes.
However, it may threaten the economic survival of garment producers if consumers do not want
to pay high prices. Buldan hand-woven clothes are good examples of slow fashion. For ages,
cotton has been grown and woven extensively in Turkey's Aegean Region. Denizli city's
"Buldan" town is well-known as the weaving hub for the production of the renowned "Buldan
cloth." Early historical records formally demonstrated that Buldan town supplied a significant
portion of the woven fabric required by the Ottoman Royal Palace. Although Buldan fabrics
were initially primarily made for home textiles and underwear, their comfortable qualities now
allow them to be used for outdoor clothing as well. Because of their highly twisted yarns, those
textiles also offer a great degree of flexibility. Buldan residents began making textiles many
years ago by weaving various cotton fabrics in their living rooms or basements. Consequently,
this production method has made the contemporary Buldan weaving industry not merely a
company, but a way of life in Buldan. As a result, the textile industry began in Buldan homes
many years ago, making weaving there more than simply a business; it is a means of passing
down Buldan culture and customs. Since the nineteenth century, the town's residents have been
weaving the renowned traditional fabric known as "Alaca," which is a cotton garment with
stripes of various colors. Among the vast array of Buldan textile products, a significant number
of handkerchiefs, home textiles including towels and bed linens, vibrant violet silk (pesthemal)
to wrap around the body, and vibrant head coverings are also worth mentioning. Buldan
continues to create and sell traditional handwoven goods. However, as the town's industrial
development extended, semi-automated and sophisticated automatic weaving looms also
started to be employed in addition to handwoven textile items. As the town's industrial
development has grown, sophisticated automated looms have begun to be used extensively,
leading to the export of goods in piece/part and metered weave form to several nations. The
production of Buldan handwoven and machine-woven fabrics, as well as the export of textile
products made from these fabrics [in the form of finished products like clothing (t-shirt, shirt,
short, trousers, dress, scarf, etc.), home textiles (towels, pesthemal, table linen, bed coverings,
curtains, etc.), piece goods, and over-the-counter fabrics] to numerous countries, is growing

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daily due to the environmentally friendly and sustainable nature of handwoven products and
the mass production potential of semi-automatic and automatic weaving machines [26].

4.2. Improved collection for re-use repair and up-cycling:

Some brands facilitate this process by selling second-hand clothes in their own stores. Some
brands offer long-term guarantees; these include free repairs, providing repair instructions, and
services for reshaping or upgrading clothes.

4.3. Smart and instant fashion approaches:

The 2018 Pulse of the Fashion Industry report indicates that smart and instant fashion
applications have the potential to significantly reduce waste. Smart fashion predicts that future
garments will be equipped with technologies that instantly adapt to consumer preferences (for
example, color-changing), thereby eliminating the need to produce multiple versions of the
same clothing. Instant fashion can enable production according to demand at the point of sale;
with advanced 3D printing technologies, this production can make local manufacturing within
the EU possible. In this way, the consumer can have the product they want produced locally
without excessive stock. Some small brands are preventing overproduction by manufacturing
according to consumer orders.

4.4. Targeting consumers:

Efforts to make clothing more sustainable require consumers to make conscious choices and
accept these changes. There are several approaches that can be applied in this area:

Increasing consumer awareness: By providing information about sustainability in stores or on

clothing labels, or through campaigns, consumers can be encouraged to only purchase the
products they need and to prefer more sustainable options. Research shows that while
consumers generally support environmentally conscious fashion, this attitude does not always
reflect in their behavior. For example, the slow fashion movement has not received as much
attention as the slow food movement. Among the reasons for avoiding sustainable fashion are
higher prices (despite the increasing number of conscious consumers willing to pay more for
sustainable options), and the perception that recycled clothing is of low quality or lacking in
style.
Increasing transparency and environmental labeling: Some brands provide consumers with
information about the environmental impacts of their products (e.g., CO₂ emissions or water
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consumption). Clear and standardized labeling systems for eco-friendly products can facilitate
the preference for sustainable options. The "EU Eco-Label" for textile and clothing products
already exists.
Better washing and drying instructions: Washing and drying clothes hold a significant place
in terms of environmental impact. Therefore, the industry can provide consumers with better
information on reducing this impact. For example, care labels may include eco-friendly care
instructions. Some companies also offer step-by-step repair and maintenance guides on their
websites.

5. Sustainable Business Methods for Textile and Fashion

In the last forty years, the sustainability agenda has significantly evolved, prioritizing
cooperation between governments and organizations within society by focusing on the
implementation of strategies to address sustainability-related issues. Especially the Paris
Agreement has been the first example where governments are directly held accountable for
promoting such collaborations to combat climate change and environmental degradation.
Companies can play a critical role in advancing sustainability by adopting responsible practices
aimed at reducing the environmental impact of their activities. These initiatives not only
contribute positively to stakeholder relationships but can also create growth opportunities,
reduce operational costs, and provide a competitive advantage.
The successful integration of sustainability strategies into business operations requires the
transformation of existing business models. Sticking to traditional structures can hinder
innovation and lead to strategic failure if leadership cannot adapt to sustainability requirements
[27-30]. Fashion industry has been accused for taking limited precuations for sustainabilty-
related issues considering the climate change discussion and over-consumption of natural
resources. The industry is common in low-cost countries where environmental and safety
regulations are not applied properly. For instance, cotton manufacturing requires a significant
amount of water where 19 litres of water is used to produce one pair of jeans and t-shirt. The
industry controls the clothing life cycle.

The environmental challenges associated with the fashion industry also encompass a significant
waste management problem. The sector exerts control over the clothing lifecycle, where
garments that are still relatively new are discarded—not due to physical deterioration, but
because they are deemed unfashionable as a result of aggressive marketing strategies. This issue
has prompted growing concern among industry stakeholders, leading to calls for more
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environmentally responsible practices. In particular, the industry is urged to reconsider its
continued dependence on linear business models, which often overlook or externalize
environmental costs. These traditional linear systems are characterized by a "take, make,
dispose" pattern, which is increasingly viewed as unsustainable in the context of global
environmental challenges [31-36].
The fashion sector is a huge and multifaceted industry which may be categorized into fast
fashion and slow fashion segments. Scholars have emphasized the key distinctions between two
models: fast fashion and slow fashion. Fast fashion is characterized by rapid production cycle,
low-cost items, and high marketing strategies. On the other hand, slow fashion prioritizes
craftmanship and durability over volume. The product development timelines may extend up
to nine months. Nevertheless, even brands operating within the slow fashion paradigm face
criticism for issues like overproduction and for destroying unsold inventory rather than donating
it. These issues are becoming increasingly important in the European context, especially as the
European Commission is currently reviewing the 2008/98/EC Waste Framework Directive and
developing policies to support the circular economy.

Business models are fundamental structures that explain how organizations create, deliver, and
capture value, thereby guiding the development of effective strategies. Companies use business
models both as a strategic tool and to define customer segments and evaluate the value they
offer in order to focus on value creation, profitability, customer demands, and market
positioning. Each company's business model creation process may be unique, but during the
design phase, five key elements are generally considered: people, strategy, structure, process,
and reward. According to Osterwalder and Pigneur, the first element, people, refers to the
alignment of the company's human resources and employee skills, mindset, and corporate
culture with the strategic direction [37]. Strategy encompasses how the organization is
positioned in terms of performance and competition, its main activities, and target customer
segments. Structure determines the type of organizational framework that will support the
business model. The process involves the design of the model, its implementation, and its
adaptation according to both internal and external factors (such as market dynamics, sectoral
pressures, trends, and macroeconomic conditions). The reward, on the other hand, ensures that
employees are motivated and that goals are achieved through human resources practices.

To create a reliable and effective business model, these five components must work in harmony.
The critical point in the design process is how the company will create its competitive advantage
14
and how it will sustain that advantage. This is directly related to how the organization's core
strategy differentiates itself from its competitors.

Additionally, business models function as strategic tools that guide communication with
internal and external stakeholders. It explains value chain processes such as product sales,
distribution, delivery, and customer service. In a study conducted by Osterwalder, Pigneur, and
Tucci (2005), business models are defined by a system consisting of four fundamental
cornerstones and nine building blocks: product, customer interface, infrastructure management,
and financial structure. Each building block plays a critical role in value creation. For example,
the customer interface focuses on issues such as who the target customer base is, which
communication and distribution channels will be used, and how customer relationships will be
managed. Each of these blocks should be customized considering elements such as the
company's financial structure, partner network, core competencies, and overall value
configuration [37]. The difference between linear and circular business models draws attention
to the life cycle perspective involved in circular systems. Linear models generally refer to a
"cradle-to-grave" process — from raw material extraction to the end of the product's life —
while the circular model adopts a "cradle-to-cradle" approach. In this system, materials are
continuously reused, transformed, or recycled within the production and consumption cycle,
minimizing waste, and maximizing resource efficiency.

The Sustainable Consumption and Production (SCP) cycle is one of the key tools for businesses
to develop sustainability and support the circular economy. This tool, consisting of nine main
principles, promotes a circular way of thinking that supports environmentally friendly
consumption, such as resource management, sustainable design, production and research
efficiency, eco-labelling and certification, sustainable marketing and lifestyle, and waste
management [37, 38].

6. Sustainable Solutions of Some Textile and Apparel brands

H&M Sustainable Strategies
Some textile brands have significantly increased their focus on sustainability-related initiatives.
For example, H&M group includes eight clearly-defined brands – H&M, COS, Weekday,
Cheap Monday, Monki, H&M Home, & Other Stories and ARKET. Together, their brands offer
customers a wealth of styles and trends in fashion, beauty, accessories, and homeware– as well
as healthy, modern food in selected stores [39]. Their vision and strategy are built on three key
15
ambitious; 1) 100% leading the change (Promote and scale innovation, Drive transparency,
Reward sustainable actions, 2) 100% Circular & Renewable (a circular approach to how
products are made and used, Usage of only recycled or other sustainably sourced materials, a
climate positive value chain, 3) 100 % Fair & Equal (Fair jobs for all, Stewards for diversity
and inclusiveness). Their global sustainability department consists of more than 30 experts
responsible for setting strategies, targets, goals, policies, and follow-up procedures to ensure
that their sustainability work is carried out systematically. In their 20 production markets, they
employ more than 150 people working specifically in sustainability. These colleagues work
directly with their business partners to assess their performance against their sustainability
commitment and support them in making improvements through capacity building programs
and activities. Each function within each sales market then additionally sets its own measurable
sustainability goals and activities based on the strategy set by our global sustainability
department. Within each sales market, they employ a dedicated sustainability manager who
drives the implementation of our strategy across the entire market to engage all colleagues and
customers.

The company currently supports and collaborates with around ten companies including:
Worn Again: are developing a ground-breaking chemical separation and recycling technology
for blended fibre textiles.
Re:newcell: have developed a unique technology for recycling textiles made from cellulosic
fibres (such as cotton, lyocell and viscose) into a pulp, which is used as input for making fully
circular viscose or lyocell.
Treetotextile: are developing a new sustainable process to make textile fibres from forest raw
material in a sustainable way.
Thread: is a marketplace focusing on personalization. By combining tips from real stylists with
machine-learning algorithms, Thread reduces the millions of style options available by only
suggesting things that are perfect for you.
Sellpy: is a service helping people to easily sell their unwanted clothes, giving fashion a second
life.

The company also supports the transparency strategy which means knowing how and where the
products are made and sharing the information wherever possible. As such, supply chain
transparency creates greater accountability for both the company and the business partners.
They introduced “ARKET”, the newest brand in the H&M group, in 2017. The company,
16
which was founded on the fundamental values of sustainability and transparency, enables users
to browse all ARKET goods on its website by material type and production country.
ARKET is leading the market with a fresh and creative approach to making supplier information
customer facing, with openness as a fundamental component of its business strategy.

Customers who visit the ARKET website are instantly given the option to choose and purchase
products based on the products' country of origin through a straightforward search function. As
a result, each ARKET product's tier 1 supplier information is shown to the customer directly
next to the product. The production unit and supplier name are among the details provided.
Customers who purchase specific products can also read supplier stories, which provide them
a detailed look at the facility that produces the product. This degree of openness not only raises
consumer awareness but also gives suppliers credit for their contributions to the brand's
merchandise. Through the sustainable impact collaboration, H#M collaborates with corporate
partners. The business has been rewarding its ambitious and high-achieving associates with
training opportunities and more orders. Every quarter, the management team of H&M UK &
Ireland organizes a clothing collection competition for all UK & Ireland stores to inspire
coworkers to actively participate in our sustainability strategy. In order to determine who can
gather the most unwanted clothing through the in-store H&M garment collection program, store
teams compete with one another. Next, a selection, announcement, and reward are made for the
winning store. Customers are urged to donate unwanted clothing and textiles, regardless of
brand and condition, to any H&M shop in the world so they can be recycled, re-worn, or reused
through the company's in-store garment collection program. Customers receive a voucher in
exchange that they can apply to their subsequent H&M purchases. Customers are also
encouraged to return empty beauty containers for recycling, in addition to having their
unwanted textiles collected and re-worn, reused, or recycled through the H&M group's
collaboration. Customers receive 10% off their subsequent in-store purchases in exchange for
either sustainable action.

Circular models reduce waste and maximize resources. Less than 1% of the materials used in
the clothing industry are recycled into new items when using the current linear model. However,
under a circular model, resources are used for as long as possible before being recycled into
new materials and products, which reduces waste and adverse effects.
In addition to being good for the environment, switching from a linear to a circular model makes
a lot of financial sense. 87% of the fibers used by the industry to make products wind up in
17
landfills after consumers have stopped using them. Each year, this amounts to a missed
opportunity worth over $100 billion. The business improves the efficiency and value of its
operations and goods by designing for circularity, maximizing resource utilization by using
recycled or other sustainably sourced materials, extending product lifespan, and establishing a
value chain that is climate positive. We will be able to continue designing and manufacturing
fantastic, sustainable products while having a positive social and environmental impact because
to this responsible production and consumption.
They concentrated on five crucial phases in our value chain that apply to both commercial and
non-commercial items in order to achieve 100% circularity:
A. Design; B. Selection of materials; C. Production procedures; D. Use of the product; and E.
Recycling and reuse of the product.

Hugo Boss’s sustainable strategies

Hugo Boss aims to provide circular products which are made with renewable/recycled
materials. The products are designed for longevity to keep resources in a cycle for as long as
possible. Hugo Boss’s circular styles fulfil all three criteria including the renewable or recycled
raw material, utilizing recyclable products, utilizing products designed for longevity. Digital
product creation includes the transformation of physical product development steps into digital
processes; from product design and digital prototyping to interactive product presentations
based on 3D simulation and animation. By using 3D simulations to create digital prototypes,
the Hugo Boss company has already been able to significantly cut down physical samples
during product development. Through data analytics, their goal is to harness their data across
the entire value chain to extract actionable insights. By accurately predicting outcomes and
identifying emerging patterns, they can enhance their procurement strategies, reduce
unnecessary waste, and lower their carbon footprint.
By 2030, their objective is to procure all natural raw materials—such as cotton and wool—
exclusively through regenerative agricultural practices or closed-loop recycling systems.
Regenerative agriculture represents an environmentally restorative method of raw material
production, which emphasizes the enhancement of soil health, the promotion of biodiversity,
and the sequestration of carbon, thereby contributing positively to ecosystem sustainability. The
fundamental aim is to preserve soil integrity, recognizing it as the essential foundation for
sustaining life. In the context of closed-loop recycling, only recycled textile waste—sourced
from pre- or post-consumer materials—is utilized, particularly in the production of fabrics and
linings. Their strategy is built on a strong environmental, social and governance basis (ESG).
18
Their ESG -core includes environmental core, social core and governance core which includes
dedicated action fields. Considering environmental core; Hugo Boss is planning to use
recyclable or reusable packaging as of 2026. Also as of 2026, they aim to use only packaging
plastic that consists of at least 50% recycled material. They aim for 100% of the electricity used
to come from renewable sources as well as 20% reduction of energy consumption in relation to
area (m2) compared to 2019. When the social core is considered, they aim for at least 75%
employee satisfaction results in our annual employee survey and at least 75% of vacancies for
the top two management levels to be filled with internal candidates. They aim for a share of at
least 40% women in the top management level (below the Managing Board) and at least 50%
women in the second management level. As the governance core is considered; They only use
mohair that comes from Responsible Mohair Standard (RMS) certified sources. As of their
summer season 2025, they only use certified cashmere in products with more than 60%
cashmere content [40].

The company also would like to minimize the polyester and polyamide fibre in all fabrics and
linings in the products. They have been looking for a true alternative to polyester and polyamide
fibers. They have innovated cellulosic yarn that can serve as an alternative to the traditional
synthetic fibres like polyester or polyamide as part of a long-term, strategic partnership with
HeiQ (LSE: HEIQ). The HeiQ AeoniQ (TM) yarn can offer an alternative to polyester and
polyamide fibers. While polyester and polyamide fibers are made from non-renewable oil-based
raw materials, the HeiQ AeoniQ yarn comprises renewable raw materials. This technology can
help prevent water pollution from microplastic fibers and preserve agricultural land, when
replacing oil-based materials like polyester. Collaborations like this are critical to increasingly
eliminate synthetic fibers and reduce their impact on the planet. The company released the first
HeiQ AeonieQ styles in the market which now includes polo shirts, a sneaker and outwear
styles. the HeiQ AeoniQ yarn comprises renewable raw materials. This technology can help
prevent water pollution from microplastic fibers and preserve agricultural land, when replacing
oil-based materials like polyester. Collaborations like this are critical to increasingly eliminate
synthetic fibers and reduce their impact on the environment [40]. HUGO BOSS has already
released various HEIQ AEONIQ™ styles, including polo shirts, outerwear styles, a sneaker,
and tailoring. The BOSS x HeiQ AeoniQ™ performance shirts which was unveiled at the BOSS
Open 2023 was awarded with the ISPO Award 2023. The seamless high-performance polo shirt
is produced from HeiQ AeoniQ™ fibers made from certified wood pulp. This is one of many

19
possible renewable raw materials from which the yarn can be produced. More HeiQ AeoniQ™
styles were also in the spotlight at the FW23 Fashion Show [41].

7. Challenges to Sustainability in Textile and Fashion

Fashion markets are oversaturated and because of the extremely effective mass manufacturing
system, the world is full of not only new fashion items and fashion shops but also unsold
clothing. Discount sales in fashion shops seem to be a permanent phenomenon. In addition, not
all new garments even enter the market; some go to landfill directly from the factory, because
of imperfect quality. Furthermore, some garments are never sold to consumers from the shop
because there are too many offerings on the market, which is oversaturated. No one actually
seems to know the amounts of these unsold garments, which end up in landfill. It is estimated
that these unsold garments may account for even 5-10% of the whole fashion production.
Fashion companies try to maintain their brands’ reputations in this risky business and would
rather destroy the unsold garments than discount them and release them onto the market in too
big quantities. Sandy Black (2011) gives the following guidelines for a sustainable fashion
designer: design for the entire garment’s life cycle (including use and disposal) [42].
• reuse waste materials
• recycle
• upcycle
• repair and remodel garments
• recreate (e.g. existing design concepts)
• reduce (use of resources and creation of waste)
• use ecological materials
• use mono materials
• use new Technologies
• create longer lasting products
• design multifunctional clothes
• design for delight.

Cradle-to cradle
The cradle-to-cradle principle was originally suggested by Stahel in the 1970s [43] and again
at the beginning of the new millennium by McDonough and Braungart (2002) [44,45].
According to this principle a product is designed and manufactured in such a manner that
multiple life cycles of the product or materials are possible. The cradle-to-cradle principle
20
counsels that after the use phase the product will continue in technical or biological life cycles,
meaning it will be recycled into a new material or it will be composted. This means that
materials, dyes, chemicals and auxiliaries have to be suitable either for recycling or composting
(i.e. be biodegradable). This is a challenging task since, for instance, only few textile colours
or chemicals in the fibres can be composted without environmental problems.

Redesign
The redesign of old materials into new fashion products has become popular at the beginning
of the 21st century. Reuse and redesign are sometimes called an eco-efficiency approach even
though these strategies do not address the real problem: the increase in production and
consumption. Reuse and redesign need no changes in current consumer practices, so it is easy
to accept. And since we have huge amounts of textile and clothing waste, redesign has begun
to be a popular and trendy fashion design approach. In the redesign approach it is beneficial to
remember that all textile materials are not designed for clothing purposes, which might make
them feel uncomfortable in use and even unsuitable to wear against the skin [46]

Recycling
Recycling means that the product is recycled into new material or fibres. Recycling can mean
downcycling or upcycling. In downcycling processes we lose some of the value of the material
and the quality is lower than in the original material. Therefore, downcycled material is mainly
used for filling purposes. Upcycling, in contrast, aims to keep the product’s quality high and it
can even mean increasing the value of the material e.g. through design. The recycling approach
needs mono materials, which means that the whole garment is made from one material only
(including threads, buttons, zipper etc.). This makes it easy to recycle as one piece and one
material (e.g. as with Patagonia’s products). Another possibility is that all parts are easy to
disassemble, and products have to designed in this manner. But this is complicated to realise in
clothing where disassembling would be too time-consuming and costly. Mono-materials in
fashion items are also not very common and nearly all garments are made of fibre blends that
are complicated or impossible to recycle. If we accept the current consumption practices as they
are, and the concomitant huge amount of textile and clothing waste, we must invest in a
recycling economy; then polyester is our choice. Polyester can be melt-spun and this results in
high quality material. Even though we see savings in e.g. energy, the process still needs a certain
amount of virgin polyester material, and this approach locks us into polyester production and
the accompanying oil production.
21
Materials
Even though new materials are entering the field of fashion, the most commercially important
fibres used in the fashion industry are cotton and polyester, together accounting for over 80%
of all fibres, and the use of polyester has grown each year. Because diversity is an important
value in sustainable development it is important to have variety in textile fibres. Accordingly,
the current predominance of cotton and polyester can be seen as a problem from the viewpoint
of diversity. More recently hemp, which is considered a more environmentally friendly
alternative to cotton, has increased its share in sustainable fashion markets. Hemp grows fast,
produces long fibres and needs little pesticide. It even improves the soil structure and can be
cultivated in colder climates. Environmentally friendly enzymes can also be used in hemp
processes. A similar fibre is flax (linen). In fact, it is not possible to say which fibres are more
environmentally friendly, natural fibres or manufactured fibres. Each fibre has its own
environment burden. Production of acrylic, viscose and cotton into fibres needs a lot of water,
and acrylic, polyester, viscose and cotton need a lot of energy in the production process. The
land area used to cultivate natural fibres might be better used in food production, and some
natural fibres have a big environmental impact during cultivation, e.g. the water and pesticide
use in cotton cultivation. In this regard organic cotton is a better choice; its cultivation uses
fewer chemicals (pesticides and fertilisers).

Many synthetic fibres are by-products from petroleum production, and they are not renewable;
on the other hand, they can be recycled more easily into good quality material (e.g. polyester)
while cotton is mainly downcycled. Nonetheless high quality and recycled cotton has recently
entered the market. New fibres are being developed and bio-based plastics, for example, offer
future potential also in the fashion field. These fibres can be produced from e.g. corn or soybean
protein. Milk (casein) can also be used for fibre production. The best situation would be that all
these new materials are by-products from agriculture, should be biodegradable, and from
renewable sources. The ecological viscose Tencel (lyocell) is made from wood pulp and from
trees specifically cultivated for this purpose. Tencel processing has been developed to have low
environmental impact and the material is biodegradable and renewable [47]
Bamboo is a contradictory material: while it is marketed as an ecological choice (fast growing
and renewable), in reality, its viscose process from fibre to yarn has a rather large environmental
impact. However, it is also possible to process bamboo fibre in a more environmentally friendly
way, not in a viscose process but as a normal fibre process. This environmentally better bamboo
22
fibre has been developed in Switzerland [48] (Steffen at al. 2013). Some synthetic fibres have
bigger environmental impact because they induce more sweating during use and need to be
washed more often than garments made of natural fibres. Recent research has pointed out new
problem areas in the use of, for example, polyester. Microplastics from washing machine
wastewater are polluting beaches and marine environments. These tiny particles come loose
when clothes made from synthetic fibres, like polyester, acrylic and polyamide, are being
washed. (Browne et al. 2011) [49]. Frequently laundered polyester sport clothing especially
causes this problem. The organisation Made By has categorized textile materials according to
their environmental impact. Class A consists of fibres (Recycled cotton, Recycled nylon,
Recycled polyester, Organic hemp, Organic flax) that have the lowest environmental impact
(according to Made By) [51]. When choosing materials for garments, the material’s attributes
and how they suit the particular wearing practices have to be considered carefully. It is also
important to evaluate the material’s aging process, so the material does not look old too fast.
Studies have shown that materials that are considered to age aesthetically include high quality
wool and leather (Niinimäki 2010) [50] In contrast materials like acrylic look old after a rather
short use time, as pilling will occur. This is also seen with commonly used soft fleece-type
polyester.

The Use Phase

Washing, drying, and ironing textiles requires a lot of water and energy. It is known that just
7.5% of laundry is truly filthy. Most of them are cleansed more frequently due to behavioural
or cultural factors [52]. The most significant environmental impact is caused by frequently
washed clothing. By maximizing the appropriate textile materials, fits, and hues for every
purpose and use, both the consumer and the designer can reduce the quantity of washes.
Compared to their anticipated moderate relative environmental impact during manufacture and
disposal, clothing and workwear materials have a substantial relative environmental impact
throughout use [46]. Consumer care can account for up to 75–80% of a cotton shirt's overall
environmental effect, depending on the material and how often it needs to be washed [53]. In
this instance, eco-friendly material selections don't really improve the environmental impact as
measured by the entire Life Cycle Analysis (LCA).
Although reducing energy consumption is the aim of EU energy efficiency policies, new issues
with clothes care are also emerging. The EU insists that every new washing machine has a
temperature washing program set at 20°C. Using cold water to wash clothes although water
saves energy, harsher chemicals are required to remove all dirt from the fibres. Strong chemicals
23
remain in the effluent, creating a new environmental issue. Additionally, using harsher
chemicals during the launch process may exacerbate allergic reactions. Consequently, higher
laundering temperatures rather than lower ones with stronger detergents could be preferable
[54]. The usage of chemicals in general is becoming a bigger issue in the fashion and textile
sector. Numerous chemicals may be used in production processes, which are a danger to end
customers as well as the employees of textile plants. Recently, there have been multiple product
recalls involving clothing that included excessive amounts of dangerous substances. The
REACH chemical legislation in the EU strictly limits chemical residues in clothing, textiles,
and chemical waste from the textile sector. Consequently, there is a greater assurance that the
clothing is safe for the final consumer if it is manufactured in an EU nation.

The lifespan of the garment is one of the most significant determinants of the environmental
impact during the use phase. Nowadays, clothes are much less expensive in contrast to
household earnings from a few decades prior. Prices for apparel and textiles have decreased,
and consumers now own an increasing amount of impulsively purchase low-quality,
inexpensive clothing Textures. These types of inexpensive, low-quality clothing are simple to
get rid of. One of the most important concerns for sustainable development is extending the life
of clothing. According to research conducted in the UK, nearly half of people's clothing has
been stored in closets without being utilized in the previous 12 months. This translates to an
estimated 2.4 billion goods in the UK. It's crucial to make investments in order to reduce
consumption, excellent design, long-lasting style, and aesthetically pleasing aging materials in
addition to good quality and durability. In this sense, services that try to prolong the lifespan of
clothing have benefits in the sustainable context of development. One difficulty with the current
approach is figuring out how to create products that are added with services that motivate
customers to take more ecologically friendly actions. The following issues should be taken into
account while concentrating on moral and sustainable usage and consumption [55].
• Purchasing fewer garments
• Investing in meaningful garments
• (promoting emotional bonding)
• Investing in durable garments, more classical style and high quality
• Investing in eco-materials and eco-labels
• Extending garments’ owning time and using them more frequently
• Washing less, letting garments rest and air between use times

24
 • Maintaining garments, also repairing
• Using services to intensify use and to extend the use time (e.g. repair, upgrading).

New Digital Technologies

Compared to traditional industrial mass manufacturing, new digital technologies provide the
potential for local production with less of an impact on the environment. Started manufacturing
is made easier by new digital equipment, which don't require large investments locally. Digital
technologies, such as 3D knitting and textile printing, allow for smaller production runs, the
avoidance of surplus production, and even the ability to manufacture only in response to orders.
Additionally, individual, and distinctive designs can be made through digital manufacturing.
Additionally, clothing made nearby and locally can result in significant logistical savings.
The opportunity to do things differently is provided by digital textile printing. It offers the
chance to produce locally, in small quantities or solely in response to orders, and with a
customized and distinctive style.
The textile and fashion industry has experienced profound transformations over the centuries,
evolving from manual craftsmanship to the integration of computer-aided design (CAD) and
computer-aided manufacturing (CAM) systems (Tao et al., 2016) [56]. This technological
evolution has engendered a paradigm shift, enhancing precision, efficiency, and creativity
within textile and apparel design and production processes.
The initial integration of CAD/CAM components into woven textile production was publicly
introduced at the International Textile Machinery Association (ITMA) exhibition in 1983, held
in Milan, Italy. Notably, AVL Looms UK, a subsidiary of AVL USA, showcased the first
computer-interfaced handloom. During the same event, Bonas Machine Co. Ltd., a UK-based
loom manufacturer, unveiled the first electronic Jacquard loom. Furthermore, pioneering CAD
design systems for Jacquard textiles were presented by EAT/Designscope, Sophis Systems, and
Scotweave. Among these, Sophis and EAT, in particular, established high benchmarks in the
development of Jacquard weaving design software. EAT has arguably emerged as the global
leader in Jacquard design systems, widely adopted by both industrial manufacturers and
academic institutions. Its core strength lies in its ability to simulate woven textile structures in
both two and three dimensions.

Additionally, NedGraphics, a Dutch company, introduced a carpet design system that utilized a
large color monitor capable of displaying 256 colors. In the absence of digital color printers at
the time, the NedGraphics system projected digital design images onto a white carpet displayed
25
on the wall of their exhibition booth. Several early-stage (beta) versions of digital design
systems tailored for textile printing, carpet design, Jacquard design, and knitting were also
demonstrated at this event.

In the present context, CAD/CAM technologies enable designers to select yarns, sketch weave
designs digitally, and transmit them rapidly to clients via printable or digital formats such as
JPEG files [57]. Revisions can be executed swiftly in response to feedback. Technological
improvements in monitor and printer calibration have facilitated the use of "virtual sampling"
methods, although final production approvals are still typically required before full-scale
manufacturing commences [58]. While digital tools have significantly streamlined and
accelerated the design process, modern weaving designers must be equipped with
multidisciplinary competencies. These include a solid understanding of supply chain logistics,
cost management, production techniques such as fabric analysis, pattern drafting, tension
calibration, yarn length calculations, and proficiency in specialized CAD software packages
[55-61].
One of the principal advantages of integrating CAD-CAM technologies in knitting lies in their
capacity to significantly reduce production waste through precise digital manufacturing
methodologies which creates sustainable knitting production. By enabling numerical control
over stitch distribution, CAD-CAM systems facilitate the generation of highly customized
three-dimensional textile surfaces tailored to specific functional or aesthetic requirements
(Sinke, 2023). The intrinsic elasticity and structural flexibility of knitted fabrics further
empower designers to experiment with innovative forms and functionalities that are often
unattainable with conventional woven textiles, thereby expanding the creative and technical
potential of textile design.

Recent research underscores the critical role of CAD-CAM systems in enhancing both the
efficiency and effectiveness of the design process. These technologies streamline development
workflows and bolster the competitiveness of textile products by supporting rapid prototyping,
iterative design, and on-demand customization aligned with dynamic market trends (Indrie et
al., 2019). Such adaptability is particularly vital in an industry continually shaped by shifting
consumer preferences and accelerated fashion cycles. Furthermore, the integration of CAD-
CAM systems enables the exploration of programmable textile materials capable of responding
to environmental stimuli—such as changes in humidity—thus pushing the boundaries of what
knitted structures can achieve in terms of functionality and responsiveness. [61-63].
26
Traditional printing methods make extensive use of fabric, dyes, and chemicals. Before the print
quality and colors are adjusted to look as they should, for instance, the industrial rotation
printing technique requires several meters at the start of the print process (imperfect pre-printing
can take even 15–20 meters). In contrast, digital textile printing has advantages for the
environment.

When opposed to rotation printing, digital textile printing has the following environmental
advantages (Digital inkjet textile finishing 2013, p. 35):
• Up to 60% in energy savings; 80% in water savings; and 90% in ink savings
• a 90% reduction in color waste
• a 70% reduction in stock.
Digital printing reduces the need for dyes by accurately controlling the amount of dye applied
to the fabric. Additionally, it is feasible to print only what is required or ordered, preventing
overproduction. Additionally, a small quantity of textiles or even the patterns inside the
garments might be printed. This preserves both fabric and dye [64]

8. Role of Technology and Artificial Intelligence on Textile and Fashion

Although the fashion industry is fundamentally defined as an industry based on the production
of clothing and accessories, this definition falls short of fully explaining the distinctions
between fashion and mere clothing. The transformation of a garment into a fashion item is not
solely the result of design and production processes; it is also shaped by marketing and sales
strategies. The fashion industry operates through a complex and multi-layered supply chain that
extends from the procurement of raw materials to the production of garments, and from
distribution to the final consumer. The sustainability of this chain depends on the efficiency of
production, design, management, and communication systems. Unlike other manufacturing
sectors, the fashion industry is a dynamic structure that brings together numerous stakeholders
including designers, shop owners, factory workers, tailors, artisans, media professionals,
advertisers, wholesalers, and retailers. Furthermore, marketing, promotion, fashion shows,
pattern making, textile designing, and consumers themselves are integral parts of this structure.
In this context, fashion designers are required not only to possess the ability to design garments
but also to adapt their designs to changing conditions.
Schwab (2017) [65], while describing how artificial intelligence surrounds us with innovations
that are transforming our lives, highlights its impact across a wide spectrum—from autonomous
vehicles and virtual assistants to translation software and drone technology. AI, enabled by the
27
rapid growth in computational power and expanded data access, demonstrates its influence in
various fields ranging from the development of new drugs to algorithms that predict individual
interests. The scale of future transformations that AI may bring remains one of the most debated
topics of our time. Luce (2018) [66], provides numerous examples of how AI is utilized within
the fashion industry. These applications are examined under four main categories: shopping and
product discovery, sales, design, and supply chain. A notable example in the context of supply
chain innovation is the mobile application developed by the brand Badgley Mischka. Introduced
during New York Fashion Week in 2018 [67] , this application was available exclusively for
iPhone and iPad users. Participants were able to give feedback on the runway collections
through "like" or "love" options. The real-time data collected through the application was
analysed to guide the brand’s future design and production decisions. Such applications not
only facilitate more accurate production planning but also help prevent excess inventory. The
data collected allows for trend forecasting, cost optimization, and more attainable sustainability
targets.
According to Elaine Stone [68], the fashion system can be analysed at four fundamental levels:
the primary market, the secondary market, the retail level, and the auxiliary level. The primary
market includes the production of raw materials such as fibers, yarns, and fabrics. The
secondary market encompasses design, collection development, garment production, and
distribution processes. The third level involves retail and wholesale platforms such as
boutiques, department stores, and e-commerce platforms. The auxiliary level includes media
and consultancy tools that inform consumers about fashion products. The success of the fashion
industry depends not on the performance of a single component but on the harmonious
functioning of all these components. In particular, technological developments have profoundly
transformed how fashion products reach consumers. Augmented reality-based marketing
applications and the widespread availability of online shopping have facilitated consumer
access and created new opportunities within the sector. As debates continue around whether
artificial intelligence can truly produce art, the development of algorithms capable of creating
visual artworks demonstrates the rapid progress in this domain. Applications such as AARON,
Google Deep Dream, and GauGAN have emerged as significant examples in the field of visual
arts. These advancements have also raised an important question in the context of fashion
design: "Can AI design?" Artist and researcher Robbie Barrat [69] conducted a project to
explore whether AI could generate a fashion show. Using data obtained from Balenciaga’s
runway presentations, Barrat trained a neural network model to learn the brand’s design style
and attempt to create a new collection. Although the AI was unable to fully replicate the depth
28
and originality of human-led fashion design, it did demonstrate a remarkable ability to generate
complex patterns and textures. Additionally, the project culminated in a virtual fashion show
using AI-generated garments and virtual models, showcasing the potential of AI-assisted
creativity in fashion.
Another significant innovation in fashion design is the rise of wearable technology products.
The concept of smart clothing not only fulfills the basic need for covering the body but also
integrates functional features through conductive textiles that are sensitive to touch, pressure,
or temperature. A notable example in this area is the “Levi’s Commuter Trucker Jacket,”
developed in collaboration between Google and Levi’s. First introduced in 2016 and released
for sale in 2017, this seemingly ordinary denim jacket allows users to control their smartphone,
music player, and navigation apps through touch-sensitive fabric panels embedded in the
sleeves.
Thanks to conductive fabric technology and interactive design, this jacket represents a fusion
of fashion and function. It is emblematic of how wearable technology is reshaping the design
and purpose of everyday garments. These innovations underline the convergence of digital and
textile technologies, indicating a future where garments are not only aesthetic but also
responsive, data-driven, and multifunctional.
The ready-to-wear sector generates approximately 2 million tons of waste, 2.1 million tons of
carbon emissions, and consumes 70 million tons of water annually contributing significantly to
environmental degradation [70]. The industry's environmental damage includes excessive use
of energy, raw materials, and water, in addition to fostering overconsumption, the rise of a
throwaway culture, and the accumulation of discarded garments in landfills. Other critical
issues include noise pollution caused by textile machinery and animal rights violations in the
production of animal-based fibers, all of which indicate the disruption of ecological balance.
The fashion industry also presents challenges to social sustainability. The weakening of human
values due to industrialization is among the primary concerns. In many Asian countries—such
as China, Bangladesh, Vietnam, and India—low-cost labor is extensively used to increase profit
margins in both fast fashion and luxury brands. However, this system fails to improve workers’
living conditions. Many laborers, some starting as young as 12, earn less than $40 per month
under harsh conditions. One of the most tragic examples of these injustices is the Rana Plaza
disaster in Bangladesh, which occurred on April 24, 2013, claiming the lives of over 1,100
people. This tragedy revealed the urgent need for reform in the garment industry and raised
awareness among consumers regarding social responsibility, ethical values, and human rights
2021While the long-term effects of the COVID-19 pandemic on industries and consumer
29
behavior have yet to be fully assessed, Dutch trend forecaster Li Edelkoort stated that the
pandemic would not only slow the pace of daily life but also alter consumption habits. She
coined the term “quarantine of consumption” to describe this phenomenon [71].
The pandemic-induced transformations in the fashion industry can be summarized under three
main themes:
1. An increased awareness of sustainability,
2. A reevaluation of the number of fashion collections and fashion weeks,
3. The acceleration of digitalization and the integration of artificial intelligence into
fashion processes.
The growing role of digital tools in production and marketing has significantly reshaped the
fashion industry, particularly during the COVID-19 pandemic. As homes turned into
workspaces and outdoor activities were restricted, consumers began to reevaluate their
consumption habits. Reduced spending deeply impacted the fashion sector, prompting a shift
toward environmentally conscious behavior and slow fashion ideals. During this period,
consumers not only focused on the appearance of garments but also began to care more about
how those garments were made and the materials used in their production.

The accumulation of unsold inventory led many brands to reconsider the frequency of their
seasonal collections. Rather than launching 6–8 collections per year as is typical in fast fashion,
many companies decided to produce fewer but more meaningful collections. For instance,
Levi’s launched campaigns encouraging consumers to buy fewer, higher-quality garments,
while H&M highlighted collections made from recycled and sustainable materials.
Digitalization has had a transformative effect on production, design, supply, and sales processes
in the fashion industry. Technologies such as CAD-CAM systems have increased efficiency and
speed in manufacturing, while zero-waste pattern-cutting techniques contribute to sustainability
goals by minimizing material waste.

In the realm of retail, virtual shopping platforms offer personalized design options tailored to
individual body measurements, creating a novel and interactive consumer experience.
Moreover, the rapid growth of the digital fashion market—centered around 3D digital
garments—demonstrates a new frontier where physical production is no longer required. With
tools like CLO3D and Marvelous Designer, designers can create realistic, wearable digital
clothes that are showcased and sold online. One of the pioneers in this space is The Fabricant,
founded in the Netherlands in 2019 by Kerry Murphy. As the world’s first digital fashion house,
30
The Fabricant offers fully 3D-designed clothing for consumers. By eliminating the need for
fashion shows, physical studios, and garment sampling, it presents a revolutionary model for
both economic and environmental sustainability [68-72].

CONCLUSION
The textile and fashion industries are undergoing a profound transformation in response to
growing environmental and social concerns. This chapter has examined a wide range of
sustainable approaches, from raw material selection and production innovations to
digitalization and the integration of artificial intelligence. It is evident that the industry's
conventional linear models are increasingly being replaced by circular, transparent, and
technology-driven systems that prioritize environmental stewardship and ethical responsibility.
As sustainability becomes a central focus, brands are embracing eco-friendly materials,
adopting zero-waste production techniques, and implementing digital tools such as CAD-CAM
systems and virtual design platforms. Furthermore, artificial intelligence is emerging not only
as a tool for operational efficiency but also as a catalyst for creative innovation, particularly in
design, retail, and supply chain management. These technological advancements, coupled with
new business models that emphasize durability, recyclability, and consumer engagement, offer
promising pathways toward a more responsible industry. Nevertheless, challenges remain—
particularly regarding overproduction, excessive consumption, and the need for systemic
change. Moving forward, a multi-stakeholder approach involving policymakers, manufacturers,
designers, and consumers is essential to foster a truly sustainable fashion ecosystem. Only
through collective efforts and continued innovation can the textile and fashion industries
transition toward a future that respects ecological boundaries while preserving cultural values
and social equity.

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