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.”



Valentino’s New Designer Puts on Maximalist Paris Ready-to-Wear Debut

 A model presents a creation by designer Alessandro Michele as part of his Spring/Summer 2025 Women's ready-to-wear collection show for fashion house Valentino during Paris Fashion Week in Paris, France, September 29, 2024. (Reuters)
A model presents a creation by designer Alessandro Michele as part of his Spring/Summer 2025 Women's ready-to-wear collection show for fashion house Valentino during Paris Fashion Week in Paris, France, September 29, 2024. (Reuters)
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Valentino’s New Designer Puts on Maximalist Paris Ready-to-Wear Debut

 A model presents a creation by designer Alessandro Michele as part of his Spring/Summer 2025 Women's ready-to-wear collection show for fashion house Valentino during Paris Fashion Week in Paris, France, September 29, 2024. (Reuters)
A model presents a creation by designer Alessandro Michele as part of his Spring/Summer 2025 Women's ready-to-wear collection show for fashion house Valentino during Paris Fashion Week in Paris, France, September 29, 2024. (Reuters)

Alessandro Michele’s eagerly awaited ready-to-wear Paris Fashion Week debut at Valentino was unveiled in a setting that hinted at a transformation— a living room in flux. Stools, ladders, and lamps shrouded beneath white blankets evoked a house renovation, signaling not just change, but a conscious revival of past glories. The scene, poetic and subdued, perfectly set the stage for a “maximalist-lite” spectacle that was equally haunted by history and illuminated by Michele’s unique flair.

Meanwhile, under the soaring ceilings of the École des Beaux Arts, overlooking the Seine, Sean McGirr’s sophomore ready-to-wear show for Alexander McQueen arrived with a palpable sense of relief. The shift in setting — from a bleak industrial warehouse outside Paris to this iconic venue — reflected a fresh start for McGirr, whose uncertain debut had left critics shivering, both literally and figuratively. Now, with the benefit of more time to prepare, McGirr appeared more at ease, though hints of his sometimes overly simplistic approach still lingered.

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

Michele's Valentino's debut

The mood was set with haunting music and the steady beat of a drum, creating an ambiance charged with drama and anticipation. Michele, who made headlines earlier this year after being named the new creative director of Valentino, following his successful reign at Gucci, brought with him much of his recognizable style. Yet there was a distinctive evolution in his vision — less overtly ostentatious, but still unmistakably eclectic.

Feathers floated on hats, soft and playful. Lingerie peeked through delicate layers. Flowers, fortune tellers’ hats, sparkling embellishments — all coalesced into an eclectic wardrobe that carried a vintage feel. Michele, it seemed, was teasing apart the DNA of both houses he knows intimately: the exuberance of Gucci and the ethereal heritage of Valentino.

Some of the pieces felt familiar to longtime Valentino admirers: the feminine nipped-waist dress, the floppy floral gown with its tiered skirt, and the iconic Valentino red that made its dramatic entrance. Yet in Michele’s hands, these classics were playfully twisted — feathers replaced fur on a billowing stole, and the result was a softer, more modern take that eschewed excessive luxury.

Jared Leto was among the VIPs who sat in the front row, a testament to Michele’s continued draw among Hollywood’s elite. The designer, who had risen to international recognition by infusing Gucci with his beloved “Geek-Chic” aesthetic, seemed to bring a similar ethos to Valentino, though filtered through a more graceful, couture lens.

Throughout his tenure at Gucci, Michele was celebrated for prioritizing his personal vision over the often suffocating codes of heritage houses, and Sunday’s show echoed that defiant spirit.

McGirr's sophomore outing

The opening tailored suit, its lapels rolled as if to ward off an unexpected London downpour, seemed a pointed metaphor — perhaps a shield against the relentless skepticism that followed his first runway outing. This season, McGirr turned to a reference steeped in both his heritage and McQueen’s early days: the dark romance of the “Banshee” show. In doing so, he anchored his own identity more deeply in the label’s legacy, embracing a Gothic allure that was more commercially viable this time around.

It was a collection of contrasts. The precise tailoring echoed McQueen’s subversion of British suiting, twisting and clutching fabric in ways that seemed as though it had been caught in a sudden gust. However, this wasn’t always effective. One such example — a jagged, off-white tuxedo — felt more like a costume of restraint. This overly simplistic take on tailoring lacked the subtle layering and tension that distinguished Sarah Burton’s previous work for the house.

Where McGirr truly shone, however, was in his eveningwear — an area that has become increasingly vital in the era of celebrity-driven fashion. The shimmering embroideries and featherlight silks, frayed and distressed in lilac georgette, signaled his understanding of red carpet glamour. The brushed white chiffon minidress, paired with a gold beaded and sequined jacket, made a convincing case for the designer’s growing confidence. And when the silver chains traced the body’s lines, their intricate embroidery brought a level of audacity that was finally worthy of McQueen.

The night’s high point was a look of pure excess: an extreme gown embroidered with glistening silver chains that seemed to catch every glimmer of light in the venue. It was an ensemble that Daphne Guinness herself — who watched approvingly from the front row — might have worn in a heartbeat.

Despite his strides, McGirr’s sophomore effort still carried the weight of a designer learning the ropes of a storied brand.

Akris: Where utility meets minimalism

Akris’ Sunday collection had the audience leaning in, not for any over-the-top spectacle, but for the luxurious subtleties that Albert Kriemler so masterfully crafts. The designer, true to form, took the trench coat idea — a staple of the wardrobe — and transformed it into something distinctly Akris. With utilitarian detailing threaded through every seam, this was an exercise in functional luxury, the kind that Kriemler has long perfected. His designs don’t shout; they whisper.

The collection opened with takes on trenches, each reimagined to fuse practicality with fashion-forward flair. Minimalism, too, reigned supreme, with looks that kept embellishments at bay to let the craftsmanship shine. A flat, clean-cut fabric top paired with culottes nodded to the timeless Akris aesthetic — unfussy, luxurious, and quietly powerful. This was minimalism of the highest quality, a testament to Kriemler’s commitment to making clothes that defy the viral trend, focusing instead on timeless appeal.