The EU has created a strategy to promote sustainable and circular textiles. Experts agree that it is a solid starting point. However, sustainability legislation should also consider social impact.
The EU hopes textile products by 2030 will be durable, recyclable, free from hazardous substances, and made with respect for people and the environment. The days of fast fashion are over. Repair and reuse will replace disability. Producers will also be responsible for their products long after being sold. Clothes won’t be destroyed or incinerated anymore, and any garments that consumers incorrectly classify as waste will be disposed of.
Is there any way to make this a reality with new legislation?
Last week, the EU presented a series of proposals to change fashion’s business model and bring it into line with sustainability measures. This strategy tracks the supply chain, from design through production to end of life. It draws on existing frameworks and initiatives and highlights areas that need further study. In addition, the EU will be working alongside the European Green Deal. This plan aims to make growth sustainable and climate-neutral, energy- and resource-efficient and also the 2020 Circular Economy Action Plan. EU’s textile and clothing industry is composed of more than 160,000 companies and employs over 1.5 million people. It generated a turnover of EUR162billion in 2019, according to Euratex.
This proposal is part of a worldwide shift towards sustainable fashion legislation. It includes garment workers’ rights (Senate Bill 62) in California, greenwashing (with the UK undertaking reviews in 2023), and brand responsibility (New York Fashion Act). Many applaud the EU for acknowledging fashion’s environmental impact and calling for legislation to stop it. However, it is still unclear if it goes far enough. However, critics claim it relies too heavily on bold existing strategies.
“We are currently in a climate emergency, and urgent change is needed. Amina Razvi is the executive director of Sustainable Apparel Coalition, a global non-profit organization that challenges sustainability strategies, commitments, and slogans. Kutay Saritosun is the head of marketing communication at Blue Sign Technologies. “Voluntary acts don’t cut it anymore.”
What will the EU regulate?
These proposals were developed in consultation with key stakeholders from the fashion industry. They focus on making products more durable, repairable, and recyclable.
The voluntary Ecolabel (or Green Public Procurement) criteria were established in 2014 and 2017. Companies are encouraged and supported to follow these criteria. These criteria are not the only ones. The EU will develop urgent requirements for ecodesign by 2023. This will improve durability, reusability, and repairability, fiber-to-fiber recyclability, mandatory recycled fiber content, and fiber-to-fiber recycling. This initiative will address microplastic pollution, which was identified as a significant area of concern.
The EU deferred to the “Reach” regulation for hazardous substances in textile production. This regulation seeks to minimize the use of dangerous substances and encourages alternative methods to animal testing. It redirects companies to the Industrial Emissions Directive and the Textiles Industry’s Best Available Techniques Reference document. To separate the textile sector’s economic growth and textile waste, producer responsibility will be increased. Waste legislation will be reviewed by 2024.
The EU will create a digital product passport to allow textiles that meet the EU’s mandatory standards for circularity and sustainability to be transparent. The EU will also review textile labels, including information on circularity, sustainability, and size, as well as animal parts and fiber composition. In addition, this commission will crackdown on greenwashing and make it more difficult for brands to claim “green,” eco-friendly, or suitable for the environment. In the second half of 2023, the Green Claims Initiative is expected to be presented.
For garment workers, upskilling is also possible. The strategy states that “the textiles ecosystem needs a highly-skilled workforce to unlock the potential for employment opportunities brought about by the digital and environmentally-friendly transitions.” The EU Pact for Skills aims to scale up training programs focusing on eco-design and fiber development, as well as innovative textile production, repair, and reuse.
What could be done to make the strategy even more effective?
Critics point out that there are many glaring gaps in social sustainability. Sebastian Boger, the managing partner and director at Boston Consulting Group, says that the strategy lays out the “what,” but it is very limited in the “how.” On the other hand, it’s in line with the commitments many brands have made, and there weren’t any surprises.
Kerry Bannigan is the Fashion Impact Fund’s executive director. She was also the founder of the Conscious Fashion Campaign. Bannigan also serves as the UN Sustainable Development Goals Media Zone executive producer. He says the measures have little social impact and emphasize digital transformation. It fails to recognize that many people do not have reliable internet access or electricity. She adds that we cannot exclude people dependent on the fashion industry because we want to accelerate change for good.
Maeve Galvin is the global policy and campaigns director for Fashion Revolution. She suggests that the EU borrows from Senate Bill 62. This garment labor law was passed in California last year. It secures a minimum wage for workers and holds brands responsible for any violations with third-party suppliers.
Muriel Treibich, global advocacy organization, Clean Clothes Campaign, says that the proposal doesn’t cover SMEs. The company scope is too narrow. It also ignores unfair purchasing practices that allow brands to set low prices and alter orders at the last moment, thereby affecting both the environment and human rights within the supply chain.
“There are questions over how the EU will assess sustainable textiles and garments,” said Dalena White (the International Wool Textile Organisation) and spokesperson for Make The Label count, an international coalition working against greenwashing in Europe. “The EU will use the Product Environmental Footprint (PEF), which does not currently include biodegradability, renewability, biodiversity, or microplastic pollution.
Fashion Revolution produces an annual transparency index based on the sustainability information brands share publicly. It says that there is potential for the EU’s strategy to address the issue of overproduction. Galvin explains that only 14 percent of brands have information about how much they produce.
We need to see a more fantastic range of changes.
Experts agree that the EU needs to acknowledge its broader context and need for better infrastructure in fashion if it wants its proposals to be successful. However, this raises what this means for companies operating outside the EU and how it can be connected with other efforts to regulate fashion in other countries.
Boger, Boston Consulting, says that “there is a need to create and improve recycling infrastructure and financial support to scale up recycling technologies faster.” The commission encourages member countries to provide reuse and repair companies tax incentives.
Bannigan, Fashion Impact Fund’s Director of Finance, says that fashion is still global, while it’s great to see legislation being enacted in different regions. “We need unity between governments and trading nations. To realize this vision, we need to work together more and cooperate. This cannot be a top-down government policy.
Tamara Cincik is the founder and CEO of the Fashion Roundtable. She raises concerns about the implications for the UK post-Brexit and other EU countries. She explains that businesses outside the EU who depend on trade with EU member countries will face additional costs. “I fear that the UK may fall behind in sustainability legislation and businesses will leave the UK, if they don’t receive government support to comply with the EU’s new requirements.”
How to Choose Wedding-Day Fashion for a Queer Couple.
The standard question started it all: What would my ideal wedding look like? Curtis Cassell, his caterers, and coworkers often asked this question after a long weekend of weddings. Cassell shares his thoughts with Brides: “Then, I realized that we as queer people often ask if they’d wear a suit or dress.” “Our options are literally either black or white,” that is, up until recently.
LGBT+ people are opting for something other than the traditional white or black suit when choosing wedding-day attire. Queera Wang, Cassell’s brand, aims to offer a range of wedding attire beyond conventional options. Cassell says, “When I started working on the label and the first collection, it was clear that the brand did not necessarily land on womenswear or menswear.” “I took bits and pieces from masculine and feminine elements and made a Frankenstein out of them,” Cassell says.
When you think of wedding attire, what are some things that spring to your mind? Do you feel the need to look sharp and professional, which is why the sleek tux? Do you feel dreamy and ethereal in a long white wedding dress? Cassell’s work is the same. It’s just different from what is expected.
Queera Wang has replaced the traditional tuxedos worn by dapper dandies with deconstructed beige trousers and jackets. Linen is used in place of wool. The classic wedding dress has been bippity-boppity-boop into a garment that looks like an Edwardian. The sleeves of billowing shirts are dramatic with their dramatic puffed sleeves and long, elongated necklines. People are changing, and so is their vision of what they want to wear on their wedding day. He jokes that everyone wants their wedding to look like the Met Gala. Even the choices of colors are not the norm. There’s an earthy beige here and a seductive red elsewhere. You can even choose a deep blue.
The collection is beautiful, but it also speaks to the larger picture. Queer people constantly change the rules of wedding attire, and the options they have for choosing what to wear on their big day are endless. I don’t want to be seen as a ‘genderless brand. Gender-powerful is more accurate. Cassell says, “I love tapping into masculine and female fashions and merging them.” It doesn’t end there. Many of my clients have bodies that don’t fit the rack. It’s not about serving someone’s identity.
In queer wedding fashion, avant-garde isn’t necessarily the only option. Noa Santos and Ross Matsubara found inspiration in film for their wedding dresses. Matsubara says that Matsubara and Noa Santos wanted their wedding attire to reflect their Hawaiian wedding and personalities. Matsubara states that Noa prefers to be minimalistic, clean, and simple, while I gravitate towards patterns, unique details, and sheen. We didn’t want our suits tied to any particular season or collection. The claims should be timeless.
They took their ideas together to David Hart, a New York menswear designer, to create their perfect looks. They were able to create a dream-like environment in which everything seemed effortless. Matsubara chose a bold, jade green paisley print with a sheen in dark hunter and jade. The suit created the illusion that the colors changed depending on how the light hit it. Santos chose a dark hunter green suit in silk-linen fabric. The accessories were similar: matching Magnani patent leather shoes, extensive Tom Ford bow ties, and vintage gold knots.
It was not just the beautiful final designs that made the couple memorable but also the entire process. Hart was involved in creating everything from choosing fabrics to creating silhouettes, which became a lasting memory. Matsubara says that Hart’s tailors and studio are in Greenpoint. This is an area we rarely visit, so the tuxedo designing process was a fun little adventure for us. We would always go to Greenpoint Fish & Lobster Co. for happy hour oysters, wine, and after each visit. We would talk about the wedding and remember the incredible journey. It became a very memorable tradition.”
The choice of wedding attire for queer couples comes down to personal preference, just like with other types of weddings. There are endless options and no boundaries, but it is essential to remember that what you wear directly affects your couple’s happiness. Cassell said that she had received emails from people stating that they couldn’t imagine getting married until they saw my clothes. “Those are the most empowering moments.
Decide on What Matters
One shoe size doesn’t fit all, just like most things. One couple who chooses to be avant-garde doesn’t necessarily mean that another couple who prefers traditional attire is wrong. Your wedding is yours, and your opinion is final. Start by asking yourself basic questions. Do you feel confident going bold? Do you prefer a more classic style? Decide what you value in clothing and how you and your partner will embody that.
Display your personality
The wedding is only one thing. It is essential to showcase your and your partner’s personalities whenever possible. It can be easy to choose something different than the norm. A red suit or a shirt and t-shirt with a billowing collar say enough about your personality. It would help if you also thought about the small details, such as changing the color of your shoes or the bow tie. Perhaps you’d like to wear a unique shirt or adorn your brooch with a stunning pin. It’s all about the details.
Take into account the formalities of the wedding.
Although you don’t have an obligation to follow these codes at your wedding, they can help you decide on your dress. If you ask them, it might be respectful for your guests to wear black ties. At the very least, it should be in some way. A tuxedo is a dress that can be tailored to your taste.
Make a wedding wardrobe.
Do you need options? Or do you want a drastic wardrobe overhaul? It would help if you made compromises with your partner. You might consider having two wedding looks. You may feel you need a formal ceremony in a sharp tuxedo or dress, but you also want something glamorous and campy for the reception. You can never go wrong with a wardrobe change.
Red Luxury buys US brand The M Jewelers.
Red Luxury has taken another risky move. When the market for watches and jewelry is changing quickly, The French company’s goal is to shake up its traditional model by investing in new and directional brands. Thus, the acquisition of the majority stake with US personalized jewelry company The M Jewelers.
Mark Shami founded the M Jewelers in New York’s Diamond District in 2013. It pioneered the introduction of personalized jewelry on Instagram and was an industry leader, with annual revenue of 12 million (approximately EUR11.2 million) in 2023. It is a favorite of many famous people, including Bella Hadid. The brand is expanding and has opened an exclusive store at the number 204 Mulberry Street in New York on the 8th of January in 2023. The brand new, 111 square meters store has black lighting fixtures and an exclusive viewing area that allows customers to customize the jewelry they’ve purchased. Since the store’s opening, there have been fifty or so customers waiting to be allowed into the shop on Saturdays.
Red Luxury aims to double the M Jewelers’ revenues in the next two years and pursue growth online while also expanding the company’s distribution footprint by opening new stores in the USA and overseas, such as with concessions within Europe.
Red Luxury was founded by Romain Benichou and David-Emmanuel Cohen back in 2012. The company has a portfolio of licensing agreements with Zadig & Voltaire, Christian Lacroix, Opex, and Rochas. But more than 70% of its revenue comes from its jewelry brands, including Ginette NY, Pamela Love, Reminiscence, and Maison Montignac, all created, manufactured, and sold across the globe via Red Luxury itself. Based on the growth of these brands and expansion, by 2023, Red Luxury expects to generate sales of EUR40 million and is aiming for EUR100 million in 2027. Red Luxury is an expert in e-commerce, and it anticipates earning 30 percent of its total revenues on the internet.
Red Luxury is positioning itself as a significant player within the market and is determined to “wake up the sleeping beauties.” As an accelerator for specialist jewelry brands, the company has joined forces with emerging talent and designers to create and promote their brands on an international, multi-channel platform. Benichou Cohen and Benichou Cohen are convinced of a healthy balance in the mix of B2B in addition to B2C operations, with the latter using both digital and physical retail.
A strategy that has paid dividends for the brands the group has purchased. For instance, since being acquired through Red Luxury in 2017, Ginette NY has grown 300 percent. Similar is the case in the case of Pamela Love, whose revenue has grown by 500 percent since it was acquired in the year 2019. Additionally, Red Luxury is preparing to launch the second Pamela Love store in Brooklyn and the eighth Ginette NY store located in Strasbourg, France.
Dubai Design District welcomes leading Polish designers to the world-class fashion community.
Dorota Goldpoint is now part of the design hub’s diverse collection of established and emerging fashion talents.
Dubai, UAE: Dubai Design District (d3), an international center for design, art, and innovation, has expanded its international presence of fashion designers by introducing Polish fashion designer Dorota Goldpoint. She has set an office within the community of the. Goldpoint is among the most famous figures in Polish fashion and design globally. This new addition to the d3 community demonstrates the district’s dedication to developing both young and established talent and providing the world’s most influential and diverse design and mixing for the UAE and the region.
A host of local designers and brand designers, d3 has developed an enviable environment and platform for homegrown designers like Michael Cinco and Amato Couture, who have shown their work in Arab Fashion Week and global runways raising their profile to global heights. This addition to the renowned celebrity Polish designer is in line with the district’s goal of bringing new influences and inspirations into the community, further delighting buyers and fashion enthusiasts in the emirate and the wider region.
Commenting on the newest addition to d3, Khadija Al Bastaki, the Executive Director for Dubai Design District (d3), declares: “At d3, we are always looking for ways to bring together creative talents to create a diverse creative community to work together and promote collaboration, innovation, and challenging the norm. Dubai is a melting pot of different cultures and backgrounds, and we at d3 are thrilled to play an integral role in showcasing the diversity and the very best in creative thinking that comes from not only the UAE but also the regionally and internationally.”
“We are thrilled to welcome Dorota Goldpoint to our family and are looking forward to her showing her distinctive style of fashion and collection. Her talents, enthusiasm, and curiosity make her a perfect choice for our community. She will bring us collections we’re certain will appeal to the public throughout Dubai and the region. Her presence at d3 is an example of our ever-growing and diverse collection of local, regional, and international designers in the fashion world. It aids in establishing Dubai’s place as a leading global capital of creativity.”
Commenting on her recent appearance in d3 Dorota Goldpoint, she says: “The fashion industry in Dubai is truly inspirational and distinctive. As I have seen other designers visit huge numbers to show their collections at Arab Fashion Week, I am convinced that Dubai will continue to set the standard for international fashion. I’ve visited the region numerous times in the past five years, and it’s my privilege to set the base in Dubai Design District. It’s a stunning place with pulsating optimism and creative energy. In my numerous visits to this area, I’ve noticed that it’s popular with locals with a plethora of renowned fashion labels and intimate cafes, restaurants, and art galleries. As one of the very first Polish women to set up a base here in the d3 region, I’m glad to be a part of this wonderful community that shares an environment with famous names and the most prestigious brands, such as Channel, Louis Vuitton, Hermes, Bottega Veneta, Prada, Hugo Boss, and Vogue and local talents from our region and locals. With people with such impressive talent and backgrounds, I am looking to expand my wings and expand my career and reach out to the region.”
Goldpoint’s debut show during Arab Fashion Week was in October of last year. In her debut show, she showed an extraordinary and vibrant collection influenced by culture, with designs inspired by the Polish folk songs and dance group “Mazowsze,” known across the globe. A reflection of her cheerful and optimistic attitude and outlook, she used vibrant colors and floral designs like poppies, roses, and peonies – the flowers and colors that are a part of the Polish landscape. The show was further enhanced with the perfect use of music and the famous Polish model Grazyna Szapolowska stepping out on the runway.
The brand has recently presented for the Fall-Winter 2023/23 collections for women in March and has created cocktail and evening styles. The cocktail designs she created referenced past eras in the classic, vintage style. The designer also showed pieces she thought would appeal to today’s market – dresses that were draped close on the body and with cut-offs that are symmetrical, as well as vintage prints and classic skirts.
Offering collections for a cocktail, evening casual and sportswear, beach wear, and abayas, the foundation of Goldpoint’s brand is luxurious minimalism, minimalist designs, and fashions with gorgeous proportions, made from natural and high-end fabrics like silk. Inspiring her style, she draws inspiration from contemporary Italian fashion and French style; she uses asymmetric cuts, scaled sleeves, and ruffles. Her designs are in line with the principles of sustainable style. Floral prints are featured in her collection every season. She’s a lover of feminine style, and her designs appeal to women of all sizes and ages. She believes that it is possible to stylishly dress any woman.
Events like Arab Fashion Week, which is organized by d3 in strategic collaboration in conjunction with the Arab Fashion Council, are essential to increasing the district’s reputation as a leading artistic, fashion, and creative center.
The most recent version of Arab Fashion Week in March was the biggest to date, with 28 runway shows featuring fashion designers and models from Italy, USA, France, Russia, Egypt, Palestine, Indonesia, China, Poland, UAE, Lebanon, Jordan, Algeria, Belarus, Saudi Arabia, and Libya. The diverse selection of shows included famous names like Maram Borhan, Giannina Azar, Ihab Jiryis, Hian Tjen, Hamariff, LuLu Liu, and Michael Cinco, all presenting the world’s first-ever display of couture and ready-to-wear womenswear. Arab Fashion Week will return in October and June this year.
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