Asian Garment Makers Call for More Help from Brands to Adapt as Europe Calls Time on Fast Fashion

An employee arranges bobbins at a textile plant in Haian county, Jiangsu province, China. REUTERS
An employee arranges bobbins at a textile plant in Haian county, Jiangsu province, China. REUTERS
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Asian Garment Makers Call for More Help from Brands to Adapt as Europe Calls Time on Fast Fashion

An employee arranges bobbins at a textile plant in Haian county, Jiangsu province, China. REUTERS
An employee arranges bobbins at a textile plant in Haian county, Jiangsu province, China. REUTERS

Among the biggest seismic shifts set to transform the global textile industry in coming years is the new European Union Strategy for Sustainable and Circular Textiles.

First proposed in May 2022, the framework was formally passed in the European Parliament this June. “It’s a masterplan that describes what it would take to get Europe to become sustainable in textiles,” explains EU parliament member Pernille Weiss, who is a shadow rapporteur of the new strategy.

The framework proposes that by 2030, all companies selling textiles – clothes, mattresses, car upholsteries, and the like – will have to meet certain standards in order to sell their wares to customers in the EU. This includes making sure products are durable, free from hazardous substances, and comprise mainly recyclable fibers. Human rights must also be protected at all stages along the supply chain, and manufacturers will now be responsible for the waste their products generate, with a ban on destroying unsold or returned textiles.

The strategy remains non-binding for now, but the next steps are “to recast and update current directives and regulations so that they echo what we have suggested in the strategy”, in addition to creating new ones, says Weiss. She and her colleagues are currently studying up to eight such legislative acts, including the textile labeling regulation and Waste Framework Directive, with “the first wave of the new lawmaking processes” expected after the EU elections next summer.

The changes will have a resounding impact throughout Asia, whose manufacturers supply more than 70% of the EU’s textiles. “The new strategy is a big deal,” says Sheng Lu, an associate professor of fashion and apparel studies at the University of Delaware in the US “If Asian companies want to sell their products in Europe in the future, they have to comply with many components of the strategy.”

A spokesperson for H&M, one of Europe’s largest fashion retailers, said the company welcomed the EU’s new move. “The way fashion is produced and consumed needs to change, this is an undeniable truth,” they said. “We support efforts that aim at driving progress towards a more sustainable fashion industry.”

The Swedish giant sources from 1,183 tier 1 factories, employing 1.3 million people, most of them women. It says it is working with its 605 product suppliers, located mainly in China and Bangladesh, to enact changes that will bring imports in line with the new strategy.

This includes initiatives such as the Fashion Climate Fund, which supports suppliers in transitioning towards renewable energy, improving efficiency and scaling sustainable practices. The firm also supplies funding, via the Green Fashion Initiative, to factories looking to invest in new technologies and processes to reduce their reliance on fossil fuels. Additionally, it launched the Sustainable Supplier Facility initiative for other brands to co-invest in projects that support apparel suppliers in their decarbonization journey.

“There is a critical need for collaboration between brands buying from Asian manufacturers and the manufacturers themselves,” said H&M.

Still, textile-exporting countries are aware that the clock is ticking. “Sustainability has become the topmost priority for Europe, one of the most important export markets for Indian garments,” says Naren Goenka, chairman of India’s Apparel Export Promotion Council. The country exported $4.8 billion worth of textiles to the EU in the first 10 months of 2022 alone.

“It’s high time for India to gear up – sustainability is no more a choice for us,” he says.

Some firms in the country have already been making strides in this direction. For instance, Chetna Organic, a farming co-op in Yavatmal, west India, has been growing cotton organically without the use of synthetic chemicals or pesticides since 2004. Today, it comprises more than 15,000 farming families.

In Sri Lanka, garment producer Hirdaramani Group has achieved net-zero carbon emissions across its manufacturing division, and is now working towards slashing its water consumption by 50% while upping its use of sustainable raw materials to 80% by 2025.

Singapore-based Ramatex, which manufactures sportswear in factories across Asia for brands such as Nike and Under Armour, has been part of a research program convened by the non-profit Forum for the Future investigating how to produce clothing that doesn’t shed microfibers.

In Taiwan, meanwhile, textile producer Yee Chain is working with its sportswear clients to figure out how to reduce fabric waste in the footwear manufacturing process, which can see up to two million out of the 48 million pairs of shoes it produces annually being destroyed.

“Obviously the production needs to be better,” says Yee Chain’s sustainability manager Martin Su. “There’s a lot of things that can be done in a less polluting way or one that uses less resources and power.”

Unfortunately, these firms are the exception rather than the rule. “There are some glimmers on the horizon, manufacturers who have invested in new technology and are doing well,” says Nicole van der Elst Desai, a Singapore-based textile innovation expert who consults for Forum for the Future. “But I think for the majority, we see that they have not been exposed that much and have been doing business as usual.”

A key roadblock in the path to meeting the new European Union standards is having sufficient knowledge and know-how, she says. “Producers first have to understand how they can contribute proactively to reducing the impact of the industry.”

This includes discerning which raw materials are sustainable and suitable for use, how to source them and set up supply chains; what kind of machinery is needed for processing them into fabrics; how to scale; and, finally, how to dispose of textiles appropriately at their end-of-life. On top of this, producers will have to digitalize certain aspects of their operations, such as improving information capture systems to meet the new supply-chain transparency requirements.

Lu at the University of Delaware says transitioning to a circular business model will require both technical and financial advice, as well as legal support “to interpret the new regulations”, he adds.

And that points to another big challenge – finding the financial wherewithal to do so. According to one 2020 estimate from Fashion for Good and Boston Consulting Group, transforming the $2 trillion industry would require $20 billion to $30 billion of funding every year. A quarter of this is to support raw materials innovation and improvements, a third for overhauling sourcing, processing and manufacturing processes, and 20% for handling textile waste.

There has been some funding on offer from the Green Climate Fund, the United Nations-backed fund aimed at helping developing nations take climate action. Since 2020 It has provided nearly $350 million in loans to help textile and ready-made garment manufacturers in Bangladesh adopt energy-efficient technologies such as solar panels.

Bangladesh’s textile sector also receives funding from the International Finance Corporation’s Advisory Partnership for Cleaner Textile (PaCT) program. Since its initiation 10 years ago, PaCT has introduced innovations that have helped nearly 340 factories cut their annual freshwater consumption and wastewater discharge.

But the Fashion for Good report points out that fashion companies should themselves be developing and commercializing innovation in circular solutions. At the moment research and development for the fashion industry is extremely low, at less than 1% of sales.

“This creates a situation in which players in the supply chain are often asked to bear the risk, costs and effort of innovating, with little guarantee that they will be in a position to capitalize on their investment,” the report said.

One company that has been investing in supporting a more circular textile model in Asia is H&M. In 2016, it partnered with the Hong Kong Research Institute of Textiles and Apparel (HKRITA) to develop the Green Machine, a technology capable of separating cotton and polyester blended textiles, commonly found in many clothing types, at scale without any quality loss – a world first. The award-winning process makes use of heat, water, pressure and a biodegradable “green” chemical for separation, recovering more than 98% of polyester fibers in under two hours.

In 2020, Indonesia’s largest textile manufacturer Kahatex began using the Green Machine, and a year later, Turkey-based ISKO, the world’s biggest denim producer followed suit. “The system is being scaled up in Indonesia and Turkey, with plans for multiple systems in different locations,” says HKRITA chief executive Edwin Keh, who adds that Cambodia is another possible location.

But Keh points out that using recyclable or sustainably sourced materials is much more costly than polyester, the synthetic fiber derived mainly from petroleum that’s found in more than half the world’s textiles. Incorporating sustainable materials into new textiles at scale can drive up costs for Asian manufacturers, which in turn, can decrease their competitive edge.

“Why are people outsourcing in the first place? It’s because they want the cheapest possible product into the EU,” he says.

Keh believes EU retailers might instead turn to nearshoring or onshoring relocating supply chains closer to final markets. “So, places like Turkey or any of the eastern European countries, which are not the cheapest but are EU-esque, will be a lot easier for suppliers to deal with.”

Lu agrees. “Asian suppliers are very good at making cheap products in large quantities. But in the new era where we’re talking about slow fashion, consumers may want fewer products in smaller quantities but using more sustainable materials, which means Asian countries might not be the ideal place to source products anymore.”



Japan's Traditional Kimonos Are Being Repurposed in Creative Ways

Designer Tomoko Ohkata, left, and her assistant Koki Unami hold Ohkata's designs made from old kimono, in Tokyo, on Jan. 15, 2026. (AP Photo/Yuri Kageyama)
Designer Tomoko Ohkata, left, and her assistant Koki Unami hold Ohkata's designs made from old kimono, in Tokyo, on Jan. 15, 2026. (AP Photo/Yuri Kageyama)
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Japan's Traditional Kimonos Are Being Repurposed in Creative Ways

Designer Tomoko Ohkata, left, and her assistant Koki Unami hold Ohkata's designs made from old kimono, in Tokyo, on Jan. 15, 2026. (AP Photo/Yuri Kageyama)
Designer Tomoko Ohkata, left, and her assistant Koki Unami hold Ohkata's designs made from old kimono, in Tokyo, on Jan. 15, 2026. (AP Photo/Yuri Kageyama)

The kimono, that elaborate, delicate wrap-around garment worn by geisha and samurai from centuries back, is getting a vibrant remake, appreciated these days for a virtue that’s more relevant than ever: sustainability.

A genuine silk kimono, which literally means “worn thing,” lasts a hundred years or more. In a Japanese family, it’s handed down over generations like heirloom jewelry, artworks and military medals.

It never goes out of style.

The design of the kimono and accompanying “obi” sash has remained basically the same since the 17th century Edo period depicted in Akira Kurosawa samurai movies.

But today, some people are taking a different creative approach, refashioning the traditional kimono, and also taking apart and resewing them as jackets, dresses and pants.

“I noticed that a lot of beautiful kimono is just sleeping in people’s closets. That’s such a waste,” said Mari Kubo, who heads a kimono-remake business called K’Forward, pronounced “K dash forward.”

Hers is among a recent surge in such services, which also turn old kimono into tote bags and dolls.

The most popular among Kubo’s products are “tomesode,” a type of formal kimono that is black with colorful, embroidered flowers, birds or foliage at the bottom, The Associated Press reported.

She also creates matching sets, or what she calls “set-ups.” A tomesode is turned into a jacket with its long, flowing sleeves intact, and its intricate patterns placed at the center in the back. She then takes a kimono with a matching pattern to create a skirt or pants to go with the top. Sometimes, an obi is used at the collar to add a pop of color.

Kubo said many of her customers are young people who want to enjoy a kimono without the fuss.

A remade kimono at K’Forward can cost as much as 160,000 yen ($1,000) for a “furisode,” a colorful kimono with long sleeves meant for young unmarried women, while a black tomesode goes for about 25,000 yen ($160).

What Tomoko Ohkata loves most about the products she designs using old kimonos is that she doesn’t have to live with a guilty conscience, and instead feels she is helping solve an ecological problem.

“I feel the answer was right there, being handed down from our ancestors,” she said.

Recycling venues in Japan get thousands of old kimonos a day as people find them stashed away in closets by parents and grandparents. These days, Japanese generally wear kimonos just for special occasions like weddings. Many women prefer to wear a Western-style white wedding dress rather than the kimono, or they wear both.

Many of Ohkata’s clientele are people who have found a kimono at home and want to give it new life. They care about the story behind the kimono, she added.

Her small store in downtown Tokyo displays various dolls, including a figure of an emperor paired with his wife, who are traditionally brought out for display in Japanese homes for the Girls’ Day festival every March 3. Her dolls, however, are exquisitely dressed in recycled kimonos, tailored in tiny sizes to fit the dolls. They sell for 245,000 yen ($1,600) a pair.

The original old-style kimono is also getting rediscovered.

“Unlike the dress, you can arrange it,” says Nao Shimizu, who heads a school in Japan’s ancient capital of Kyoto that teaches people how to wear a kimono and how to carry oneself while wearing it.

“In half a year, you can learn how to do it all by yourself,” she said, briskly demonstrating several ways to tie the obi to express different moods, from playful to understated.

Besides its durability, said Shimizu, that versatility also makes the kimono sustainable.

Younger Japanese are taking a more relaxed view, wearing a kimono with boots, for instance, she laughed. Traditionally, kimono is worn with sandals called “zori.”

Although it requires some skill to put on a kimono in the traditional way, one can take lessons from teachers like Shimizu, like learning a musical instrument. Professional help is also available at beauty parlors, hotels and some shops.

Most Japanese might wear a kimono just a few times in their lives. But wearing one is a memorable experience.

Sumie Kaneko, a singer who plays the traditional Japanese instruments koto and shamisen, often performs wearing flashy dresses made of recycled kimonos. The idea of sustainability is deeply rooted in Japanese culture, she says, noting that the ivory and animal hide used in her musical instruments are now hard to obtain.

She calls it “the recycling of life.”

“The performer breathes new life into them,” says the New York-based Kaneko.
“In the same way, a past moment — and those patterns and colors that were once loved — can come back to life.”


Scottish Fashion Seeks New Talent for Homespun Crafts 

Members of staff work at the Alex Begg mill in Ayr, southwest Scotland, on January 15, 2026. (AFP)
Members of staff work at the Alex Begg mill in Ayr, southwest Scotland, on January 15, 2026. (AFP)
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Scottish Fashion Seeks New Talent for Homespun Crafts 

Members of staff work at the Alex Begg mill in Ayr, southwest Scotland, on January 15, 2026. (AFP)
Members of staff work at the Alex Begg mill in Ayr, southwest Scotland, on January 15, 2026. (AFP)

Far from the glamor of fashion weeks in Paris, Milan and London, a nondescript cashmere mill on Scotland's western coast that supplies luxury labels hopes local training programs can attract new talent.

"It's a dying trade," 61-year-old Maria Wade said of her job as a "greasy mender" at Alex Begg, a semi-rural mill that has been based in Ayr in southwest Scotland for more than a century.

The weaving mill supplies cashmere to prestigious fashion brands, which cannot be named for confidentiality reasons, as well as its own luxury label, Begg x Co.

"You don't get many people mending raw cashmere," said Wade, whose role is to meticulously inspect and darn any defects in the fabric by hand, before it is washed, cut and shipped around the world.

Famed for its luxury tweeds, wools and cashmeres, Scotland's textile industry has seen a sharp decline in recent decades as high manufacturing costs struggle to compete with cheap production abroad, and an ageing workforce retires, taking traditional manufacturing skills with them.

When technical transformation director Lorna Dempsey joined Alex Begg more than 25 years ago, the average age was "quite old", she told AFP, "about 50-plus".

Since then, the company has made a "conscious effort to try and recruit younger people" and brought the average age down to around 40.

It's no easy task in the run-down former mining town, with those interested in fashion careers looking to places such as Glasgow, around an hour's drive away, or even further afield.

"We don't have a lot of skills within the Ayrshire area, so it's very difficult for us to try and find skilled staff," said Dempsey.

The rise of fast fashion has made it harder to find young people with manufacturing know-how.

"A lot of our operations are definitely a skill from the past," said Dempsey, adding that people don't learn how to "darn their socks anymore."

- 'On my doorstep' -

The mill's partnership with the King's Foundation -- a charity founded by King Charles III and headquartered in the nearby Dumfries House estate -- has helped turn things around.

The foundation runs programs aimed at addressing "a skills gap within the UK textile industry".

Trainees learn about production lines, supply chains, working with different materials and sustainable design -- skills that employers say are often not covered in fashion school.

They are then given work experience at Scottish mills such as Alex Begg, and some like Emma Hyslop manage to secure a job.

Sat behind a fringing machine at the mill, Hyslop, 28, deftly ran a dark cashmere fabric destined for a Spanish luxury brand through its frame, twisting the ends of the cloth into fringes.

After getting a fashion design diploma at a Glasgow college, Hyslop did a six-week course with the King's Foundation, through which she discovered the luxury mill in her backyard.

"I had no idea about the place beforehand, and it's on my doorstep," said Hyslop, from south Ayrshire.

"We're actually quite a hidden gem," said Dempsey.

"So it's our job, our legacy, to keep bringing people through our manufacturing businesses, and keep bringing the skills alive again."

- Heritage skills -

The mill currently has four apprentices and is hoping to add more this year.

Dempsey also gives talks to local primary school children with the King's Foundation.

It is an issue close to the king's heart, with the British monarch attending Thursday's opening of London Fashion Week and meeting apprentices "supporting heritage skills and sustainability" -- including students on King's Foundation programs.

Nicole Christie founded her own sustainable women's luxury brand, Ellipsis, after completing a textile program at Dumfries House in 2020.

Entering luxury fashion in Scotland is "difficult", said Christie, with other major brands usually based in London or other European cities.

"At one point, leaving university, I did think that I would have to move down south," said Christie, who instead decided to build her brand in Glasgow.

"I'm really proud that I'm doing it here, and I really hope one day that I'll actually be able to give other people opportunities."


London Fashion Week Opens with Tribute to One of Its Greats

London Fashion Week will pay tribute to iconic designer Paul Costelloe who died in November, and had been a stalwart of the British captial's catwalks since the show was launched in 1984. Niklas HALLE'N / AFP/File
London Fashion Week will pay tribute to iconic designer Paul Costelloe who died in November, and had been a stalwart of the British captial's catwalks since the show was launched in 1984. Niklas HALLE'N / AFP/File
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London Fashion Week Opens with Tribute to One of Its Greats

London Fashion Week will pay tribute to iconic designer Paul Costelloe who died in November, and had been a stalwart of the British captial's catwalks since the show was launched in 1984. Niklas HALLE'N / AFP/File
London Fashion Week will pay tribute to iconic designer Paul Costelloe who died in November, and had been a stalwart of the British captial's catwalks since the show was launched in 1984. Niklas HALLE'N / AFP/File

London Fashion Week, better known for nurturing new talent than for its big-name shows, kicks off on Thursday with a tribute to one of its stalwarts Paul Costelloe.

The Irish-American designer, who died aged 80 last November, was a regular fixture on the opening day of the British capital's fashion week since the inception of the show in 1984, AFP said.

Over four decades, his romantic, sartorial catwalks remained a constant: witness to the rise and fall of London Fashion Week (LFW) which has seen the departure of big fashion names to its counterparts in Milan, Paris and New York in recent years.

His son William Costelloe is now the creative director of the brand, which wrote on social media ahead of its LFW Autumn/Winter 2026 opening show: "A new season. A powerful moment. A legacy moving forward."

Tolu Coker, a British-Nigerian designer who launched her brand in 2018, will also show on Thursday her elegant, mainly-unisex designs inspired by diverse identities.

Notable names including Harris Reed and Richard Quinn will return to the catwalk in London, with Burberry closing the week in its usual fashion on Monday evening.

Other labels will bring a royal flavor to the runway, with brands worn by Princess Catherine including Emilia Wickstead, Edeline Lee and Erdem putting on shows.

However, there will be no show from the breakout Northern Irish designer Jonathan Anderson, who was one of the most eagerly awaited at London Fashion Week in recent seasons.

The 41-year-old took over at Dior last June, leaving him little time for his own brand, JW Anderson, which he founded in 2008.

For several years, London has been losing ground to its star-studded rivals in Paris and Milan, but it has clung onto its role as a breeding ground for young talent.

The British Fashion Council's NewGen initiative provides funding for emerging talent, with several up-and-coming designers finding their stride at LFW through the incubator.

'Great support'

Designers like Simone Rocha, Tolu Coker and Roksanda have become fashion week mainstays after making their debut on the NewGen catwalk.

Among the recent breakouts is Joshua Ewusie, a 27-year-old British creator born to Ghanaian parents who is due to put on his second fashion week show with his brand "E.W.Usie".

The young designer was supported by the King's Foundation, a charity founded by King Charles III, in partnership with Chanel, which gave him a studio space shortly after he graduated from the prestigious Central Saint Martins school.

His hometown London, which boasts several notable fashion schools, provides "great support for young designers," Ewusie told AFP ahead of his LFW presentation on Sunday.

"There's so many opportunities, I think, that London gives to help young brands start," he added.

His new collection is inspired by the 1980s, when his mother moved to London, says the designer. It's all about culture and identity, with leather as the star material.

French designer Pauline Dujancourt, known for her work with knitwear, also chose to stick with London Fashion Week after her studies at Paris's Ecole Duperre and Central Saint Martins in London.

"As much as Paris Fashion Week is incredible and I'm dreaming to be part of it one day, maybe there's a bit more room for younger brands in London at the start," said the 31-year-old designer, who will show her collection on Sunday.

"I think people have come to London Fashion Week expecting to see a bit of newness and younger generations as opposed to Paris and Milan, where it's more like established houses."