Is fashion’s laser-focus on circularity the only approach?

Photo by Karina Tess on Unsplash

Key insights:

• Circular solutions in the fashion sector are valued at $73 billion globally, with resale predicting an economic value of $476 billion by 2030

• Circular frameworks are complex and require stringent cradle-to-cradle policies in order to thrive

• The Creative Wellbeing Economy framework offers multi-faceted solutions for the sector synchronous with wellbeing for people and planet

Search the term sustainable fashion and circular initiatives are front and centre. Used as part of leading sustainable-strategy initiatives, as well as across a multitude of marketing campaigns, circularity is now an industry buzzword. Often used reciprocally with terms such as cradle-to-cradle and closed-loop production, this is an economy which last year was valued at over $73 billion, with its resale business model, predicting an economic value of $476 billion by 2030.

Back in 2019 the Environmental Audit Committee presented the Fixing Fashion: Clothing Consumption and Sustainability report to challenge the Government's inaction around textile and fashion policy. To date there hasn’t been much movement on its 18 recommendations and this inertia has been felt by the sector. While EU policy is currently regressing, the UK is still lagging behind California on policies which better support end-of-life practices such as Extended Producer Responsibility (EPR).

This goes some way in suggesting why time and money has been poured into the circular economy, whereby brands have been conscripted to pioneer their own sets of standards. This can be seen in the ever-growing repair business models such as The Seam and Sojo, who have successfully teamed up with brands to close the loop on linear manufacturing models. A circular business model which is growing year on year and has already seen millions bet on its success.

Is the loop just growing?

As a concept, the circular framework is particularly compelling, promising a move away from linear models negatively impacting people and the planet, in favour of something that is aimed to reduce waste, extend the life of an item, as well as increase prosperity and jobs.

However, to work efficiently this requires a certain set of systems, standards and policies from cradle-to-cradle. This requires farmers to be paid a fair wage. For the design process to factor in zero-waste techniques, as well as fabric choices which can be repaired and recycled back into a closed-loop system. This demands a robust and innovative recycling infrastructure and stringent regulations around modern-day slavery.

While the circular economy framework is a vital change for the sector, we have to be mindful of the loop just getting bigger. There is a danger that this will create greater consumption and exploitation of people and the planet, and therefore result in larger volumes of waste being offshored to the Global South, which is grossly impacted by the overconsumption waste model. There is also the current debate around whether or not labour exploitation is presently supported through circular economies.

“My concern is whether we can safely say this is the case,” Dominique Muller from Labour Behind the Label said.

“It is crucial that brands and other stakeholders do not confuse circularity with the need to reduce over production. Otherwise the continued negative impacts of excess production will continue to impact communities, especially in the Global South.

“Circularity alone can’t guarantee high standards of worker rights. In the UK, the Government must look at regulation across the sector, including for brands that adopt a circular model. We need mandatory human rights due diligence with the duty to prevent abuse in the first place.”

Creative Wellbeing

Last year, Fashion Roundtable launched a new framework centred around wellbeing, called the Creative Wellbeing Economy. Rather than looking at one focal point, the framework offers a multifaceted approach to issues arising in the process of making and consuming fashion.

By looking at the issue of sustainability in fashion holistically, the research has shown that the current growth-at-all-costs paradigm is leaving people and the planet in a crash and burn cycle, without much opportunity to thrive outside of the current system. So long as economic growth looks to GDP as a marker for success, short-term economic thinking will prevail. The report found that the tendency to support and reinforce this needs a complete systemic overhaul, which instead places the Government in a position to deliver long-term policies based on social and environmental wellbeing.

Therefore, the Creative Wellbeing Economy focuses on policies and strategies which value localism, food and fibre sovereignty, the preservation of cultural heritage and hyper-local placemaking. This approach favours long-term policy decisions which support all children across the country with a STEAM education, realising through detailed research that those in our working-class communities do not currently have access to an education which is grounded in creative practice. Something which is vital to develop critical, creative, solutions-oriented thinking and therefore future-proofing the jobs market in a time of planetary distress.

Fashion Roundtable’s CEO Tamara Cincik, who co-wrote the framework said:

“For the UK to take advantage of new economic opportunities, there is a need for young people to be adequately prepared for a changing jobs market. This requires a fusion of arts, sciences and technologies through the talent pipeline. This focus on STEAM is about having a vital interplay between these areas to allow for a creative workforce in the future.”

Made in the UK

Another facet to the framework is in valuing localism through on-shoring and re-building the manufacturing sector within the UK. This year data has shown that growth across the UK in the fashion sector has seen a drastic decline and therefore initiatives that overture green-growth in this area are vital. Offering an alternative to globalised supply chains, ‘Made in the UK’ initiatives value the UK’s unique craft and heritage legacies and go some way to increasing transparency in supply chains, as well as decreasing the carbon-footprint of our increasingly complex supply chains. Kate Hills, the founder of Make it British agrees:

"UK manufacturing isn't just about 'Made in the UK' labels – it's about building resilient local communities, preserving crucial skills, and creating meaningful employment opportunities. When we manufacture locally, we create transparent supply chains where we can ensure fair wages and decent working conditions. The benefits extend beyond just the economic – we're seeing reduced carbon footprints from shorter supply chains, preservation of heritage craft skills, and the ability to produce smaller batches that reduce waste and overproduction.”

By providing fair wages through the value chain, the strategy also ensures our communities' needs are being met, from farmers through to manufacturing workers. This requires keener policy attention intent on making it easier for British brands and manufacturers to work in the UK by creating the right conditions.

For this to happen, garment workers should be added to the Shortage Occupation List (SOL), at least until such time as UK domicile talent is trained in the key necessary skills where there are staff shortages. As well as a commitment to align business needs with university/FE college training, therein plugging the skills gap.

Local procurement for workwear should be looked at under the ECAP framework as a priority for growing jobs as well as a circular and regenerative infrastructure for textiles. The emphasis here should be on ‘Made in Britain’ and not just the purchasing of British brands.

Finally, tax incentives for B Corps and companies with proven positive social and environmental contributions who commit to manufacture in the UK would encourage growth. This is something currently enjoyed by HETV and film who make scripted productions in the UK, but not by the fashion industry.

“The UK Government needs to consider the development of a set of brand purchasing practice principles, commitment and goals aligned to the UK market, to ensure progression and attainment to implementing the highest standard, similar to the pledges around the Prompt Payment Code (PPC) and Living Wage employers,” said Muller.

The Creative Wellbeing Economy, as a framework looks to provide a multifaceted approach to issues within the sector. The circular economy certainly falls within this, but cannot be the only solution. To be truly solutions-oriented we must seek more than one resolution and more than one approach.

This requires robust and supportive legislation that looks to support the initiatives and brands that are already acting as a positive agent for sustainability in the fashion sector. Longer-term policies centred around an economy where planetary boundaries and regenerative practices are intrinsic to an innovative and inclusive creative sector, will not only level the playing field but also ensure meaningful and lasting change.

“What's particularly exciting is the potential for UK manufacturing to support innovation in sustainable practices while maintaining our rich textile heritage. This isn't just about reshoring production – it's about reimagining how we can create a more sustainable and equitable fashion industry that benefits local communities while preserving traditional craftsmanship,” said Hills.