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.”



McCartney’s Street Fare: High-Octane Fashion with a Playful, Eco Twist

A model presents a creation from the Spring/Summer 2025 Womenswear collection by British designer Stella McCartney during the Paris Fashion Week, in Paris, France, 30 September 2024. (EPA)
A model presents a creation from the Spring/Summer 2025 Womenswear collection by British designer Stella McCartney during the Paris Fashion Week, in Paris, France, 30 September 2024. (EPA)
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McCartney’s Street Fare: High-Octane Fashion with a Playful, Eco Twist

A model presents a creation from the Spring/Summer 2025 Womenswear collection by British designer Stella McCartney during the Paris Fashion Week, in Paris, France, 30 September 2024. (EPA)
A model presents a creation from the Spring/Summer 2025 Womenswear collection by British designer Stella McCartney during the Paris Fashion Week, in Paris, France, 30 September 2024. (EPA)

On an ordinary Parisian market street on an ordinary rainy fall day, Stella McCartney’s high-octane show on Monday was anything but. Guests gasped as the drizzle ceased, the clouds parted, and the sun emerged moments before the show — a heavenly metaphor, perhaps, for McCartney’s optimistic and nature-inspired display.

Here are some highlights of spring-summer 2025 ready-to-wear shows in Paris:

McCartney’s street fare

The designs were dazzling, fusing sparkle, wit, and sharp tailoring to capture a disco-ready sense of fun.

VIPs including Natalie Portman, Greta Gerwig, and Paris Jackson couldn’t resist tapping their feet amid the most infectious soundtrack of Paris Fashion Week thus far. Models strutted with clever hairstyles swaying theatrically, reminiscent of Gerwig’s own film, Barbie, adding another playful element to the spectacle.

Savile Row tailoring was reimagined in true Stella style — strong-shouldered jackets paired with slimline blazers and exaggerated belt loops, while voluminous trousers and cheeky boxer culottes kept things playful. This isn’t new territory for McCartney, who often reworks classic tailoring with an edge.

Pinstripe suits got a glamorous upgrade with clean satin lines and shimmering lead-free crystals, paired with cropped sporty jumpers — another of her signature juxtapositions of high fashion with an easygoing vibe.

Fluid draping was another runway star, from gravity-defying asymmetric silk gowns to vegan leather skirts folding over themselves. Cream bombers with wing-like cutouts and sheer dresses injected an ethereal flair.

Cloud-like creations were a showstopper.

“We had some of these clouds in the knitwear (made of) a yarn that’s made out of recycled plastic bottles, which is amazing,” McCartney said backstage.

Bird motifs took flight, literally and figuratively. Doves painted across silk and origami-inspired details were visual treats — harking back to McCartney’s years-long message to remember to protect nature.

‘Stella Times’ newspaper and Helen Mirren

McCartney’s show kicked off with Helen Mirren delivering a “Save What You Love” manifesto—more a direct punch than a gentle plea. Inspired by Jonathan Franzen’s “The End of the End of the Earth,” Mirren’s voice rang out, urging action before it’s too late. Birds, which are disappearing, were the symbol, a reminder of what’s at stake if we don’t get our act together.

Guests were also each given a newspaper made for the show humorously called the “Stella Times” that spelled out a tongue-in-cheek, yet serious, message about sustainability. McCartney's advice to readers to spur on positive action: “Read! Because I don’t think people read anymore.” And “get a copy of our newspaper. I’ll give you all of the information you need to know. Be more conscious, be more curious, and find out the facts of fashion to be more the future of fashion.”

McCartney has long been ahead of the game regarding eco-conscious fashion. She was one of the first designers to champion sustainability, well before it was on anyone else’s radar. With fashion being one of the world’s biggest polluters, her 91% conscious materials and animal-free production were another sign that the designer is taking the message seriously.

Sacai’s raw construction and deconstruction

A giant wooden structure of a house — just raw beams on display — set the scene for Sacai. It wasn’t just a striking venue, rather it served as a metaphor for Chitose Abe’s ethos: deconstruction and reconstruction in the most unexpected of ways. Like Abe’s clothing, the exposed beams represented an unfinished, yet powerfully architectural take on form and structure.

An urban T-shirt dress was paired with a black leather jacket sporting a ruffled, leg-of-mutton arm, a detail more often reserved for historical gowns. It was the embodiment of Abe’s dualities: urban biker meets historical drama, masculine melds into the overtly feminine.

Throughout the collection, the clever fusion of seemingly incongruent parts was front and center. A crisp white shirt was fused with a dark pleated skirt, set just under the bust. It was all one garment, and this mash-up exemplified Abe’s inventive approach to pattern-making. Her concept of hybridization — combining garments so they look like one thing from the front and another from the back — is more than a gimmick. It’s Abe’s groundbreaking way of challenging the very fabric of what fashion can be.

Another look was simplicity at first glance: a white toggled hoodie. But in true Sacai fashion, the back featured a floor-length, floppy skirt insert, transforming what could have been mundane into something extraordinary.

Volume and silhouettes were in abundance as well, with flattened, boxy shapes taking center stage.

The modest pieces — like the long black skirt fused into a white shirt — were emblematic of her recent exploration in monochrome and shifting her dissected garments into elevated territory.

Isabel Marant embraces crafty Amazonian spirit

Isabel Marant blended South American craftsmanship with the raw energy of an Amazonian warrior, her craft-heavy aesthetic on full display in a powerful celebration of femininity. There’s no “quiet luxury” here. Marant has always been unafraid to explore new territories, and this season she ventured into the tribalist punk influences of the early 1980s, blending it seamlessly with her love craft.

The runway was ablaze with sunset hues: rust, mauve, pink, and purple rippled across tasseled skirts and knot-constructed dresses, evoking the warmth of a Latin dusk. Marant is celebrated for embracing authenticity, and here she let her heritage sing loud and proud, with flat moccasin boots and suede satchel bags that harked back to the bohemian spirit she has championed for decades.

Marant’s strength lies in her ability to craft looks that marry accessibility with audacity, and the embellishments told this story well. Heavy gold bangles adorned models’ wrists as they strode in braided and embroidered silk dresses. The weathered black-gray denim blousons and studded black leather shorts hinted at a rebellious streak.

This season marked another chapter in Marant’s evolution as she leaned even further into craftsmanship — embroidered leather, blanket-stitched suede, and intricate knotting that felt deeply personal. The weighty, luxurious materials were balanced with slouchy, relaxed silhouettes. There’s an unpretentious ease here, a reminder that while Marant’s designs are fiercely statement-making, they are made to be lived in. It’s not about loud for the sake of loud, but about a woman standing confidently in her own skin.