How to Fix the Carbon Crisis in Fast Fashion

Workers organize used clothing for packaging at a warehouse near Barcelona on Aug. 1. REUTERS
Workers organize used clothing for packaging at a warehouse near Barcelona on Aug. 1. REUTERS
TT

How to Fix the Carbon Crisis in Fast Fashion

Workers organize used clothing for packaging at a warehouse near Barcelona on Aug. 1. REUTERS
Workers organize used clothing for packaging at a warehouse near Barcelona on Aug. 1. REUTERS

With all eyes on climate talks in Dubai, the world of fashion is working out how it can fulfill an ambitious pledge to slash the emissions it makes clothing the world with speed and style.
And the outlook isn't rosy, says Reuters.
Big brands have promised big cuts to their carbon footprint - but it is manufacturing that causes most of the environmental damage and somebody has to foot the bill for the radical change.
"The scale of the decarbonization challenge completely dwarfs the funds available," said Vidhura Ralapanawe, executive vice president at the fashion company Epic Group.
Hong Kong-based manufacturer Epic - which makes clothes in Bangladesh, Jordan and Ethiopia - has been at the forefront of global efforts to clean up the environmental footprint of the 2 trillion-dollar fashion industry.
"We are working with local and global organizations to move the whole industry forward, while trying to bring together brands, retailers, manufacturers, mills, and service providers."
The key to progress, he said, is a positive partnership between brands and manufacturers.
"Given the investment and risks manufacturers are taking, they need support in terms of long-term partnership as well as business terms that are sensitive to pricing," added Ralapanawe.
Fashion is one of the world's most damaging industries.
Behind 2% to 8% of all greenhouse gas emissions, it sucks up scarce water and creates vast amounts of pollution and waste.
The industry in 2018 set the goal of halving emissions by 2030 and reaching net zero by 2050. But progress has been slow.
Britain's monthly fashion habit alone creates the same carbon footprint as 900 round-the-world flights, according to the Oxfam charity. A 35-mile car trip creates the same environmental damage as making one cotton shirt, it added.
The stats have only got worse as the global appetite for fast fashion grows, with ever more consumers chasing the latest catwalk-to-high street trends.
Industry also knows that as of next year, it must comply with European Union legislation forcing companies to report and address emissions in their supply chains, with manufacturing to blame for about 80% of all apparel sector emissions.
But as global fashion brands pledge to drive down emissions and power towards the 2050 net-zero goal, textile and garment manufacturers are demanding that brands share the financial burden of investing in low-carbon technology and processes.
Last month, Transformers Foundation - a New York-based think tank that speaks for denim makers and brands - released a report urging more collective action to achieve a climate transition.
Kim van der Weerd, intelligence director at Transformers Foundation, said the apparel sector rarely asks 'who pays' for the big transition, assuming that it is the suppliers whose facilities must change who will foot the bill.
"That is both impractical and inequitable," she told the Thomson Reuters Foundation, given that suppliers have far less money than the big brands.
Experts said decoupling the key sticking point - who must act and who can pay - could help break the impasse, putting suppliers in charge of what changes to make and ensuring that brands duly invest in that overhaul.
PAYING FOR AMBITIONS
Textile makers want a range of funding options from the brands they feed to finance a new, cleaner production line.
Mohiuddin Rubel, a director at Bangladesh's apparel makers' trade body - the Bangladesh Garment Manufacturers and Exporters Association (BGMEA) - said fashion brands can support suppliers by offering grants, low-interest loans and direct investments.
That will help suppliers move to more renewable energy and energy-efficient technology, as well as retain workers, he said.
Some initiatives are already underway.
The Apparel Impact Institute (AII), a US think tank promoting sustainable investments, formed the Fashion Climate Fund last year that mobilized $250 million with the aim of unlocking $2 billion of finance and cutting 150 million tons of carbon from fashion over the next three decades.
Kurt Kipka, chief impact officer at the Institute, said the fund could help speed cuts as the sector is ripe with opportunity for rapid reform.
Among suggested easy, quick wins: recovering heat from the water used in production or improving boiler efficiency.
Apparel makers said making climate finance available, accessible and affordable for suppliers is essential for a low-carbon future for fashion. But the sums involved are sizeable.
If the industry wants to achieve net zero by 2050, it will need more than $1 trillion of investment, said an AII report.
NO COOKIE-CUTTER
Besides a shortfall in funding, the industry faces another big hurdle to rapid decarbonization - the sheer diversity of priorities and problems faced by its myriad suppliers.
In densely-populated Bangladesh, suppliers find it difficult to generate enough rooftop solar power as most factory buildings expand vertically rather than horizontally, limiting roof space, cloth makers told a climate conference held in Dhaka in October.
In Pakistan, factories are unable to cut deals with third parties that would supply renewable power to help them cut emissions, and must instead make the reductions in-house, said the Transformers Foundation report.
In other words, one size will not fit all.
"If our approach is to take the collective goal of the Paris Agreement and to divvy it up equally amongst companies without taking feasibility into consideration, we will fail," said van der Weerd of the denim industry think tank.
Epic Group's Ralapanawe said the needs of a giant may not be the same as those of a heavily-leveraged small supplier, and a mix of financial tools will be needed to meet both.
Kurt Kipka, chief impact officer at the Apparel Impact Institute, said helping suppliers lighten their footprint demanded flexibility from funders.
"It’s imperative that we meet industry and partners where they are - based on the different needs of leading facilities and facilities only starting in the decarbonization journey," he said.



Saint Laurent Says Designer Anthony Vaccarello to Leave

(FILES) Belgian designer for Saint Laurent Anthony Vaccarello acknowledges the audience at the end of the women's 2018 Spring/Summer ready-to-wear collection fashion show in Paris, on September 26, 2017. (Photo by ALAIN JOCARD / AFP)
(FILES) Belgian designer for Saint Laurent Anthony Vaccarello acknowledges the audience at the end of the women's 2018 Spring/Summer ready-to-wear collection fashion show in Paris, on September 26, 2017. (Photo by ALAIN JOCARD / AFP)
TT

Saint Laurent Says Designer Anthony Vaccarello to Leave

(FILES) Belgian designer for Saint Laurent Anthony Vaccarello acknowledges the audience at the end of the women's 2018 Spring/Summer ready-to-wear collection fashion show in Paris, on September 26, 2017. (Photo by ALAIN JOCARD / AFP)
(FILES) Belgian designer for Saint Laurent Anthony Vaccarello acknowledges the audience at the end of the women's 2018 Spring/Summer ready-to-wear collection fashion show in Paris, on September 26, 2017. (Photo by ALAIN JOCARD / AFP)

Belgian fashion designer Anthony Vaccarello will leave his post as chief designer at Saint Laurent after a decade in charge, the French house's parent company Kering announced Friday.

"Anthony Vaccarello has played a key role in Saint Laurent's development, helping to strengthen its identity and influence across the worlds of fashion and culture," Kering said in a statement, without giving any reason for Vaccarello's departure.

The designer had hinted at his potential exit at his final show for Saint Laurent on September 29.

Saint Laurent is the last major Kering brand to switch creative director as a ⁠luxury ⁠industry slowdown prompted designer changes last year at Gucci, Balenciaga and Bottega Veneta.

"The focus of the new designer will be in currently under-represented product categories, such as women's daywear and menswear, in high-end leather goods, and less penetrated regions such as China/Asia," Barclays analysts said in a note.

Industry speculation points to Chemena Kamali, currently creative director at Chloe and previously womenswear design director at Saint Laurent, as Vaccarello's likely successor.
Saint Laurent's gross revenues fell by 9% and 6% in 2024 and 2025, before largely stabilizing this year, according to Kering.


Nicole Kidman and Dua Lipa Watch Chanel’s Creative Revival at Paris Fashion Week

Models present creations for Chanel Women's Spring/Summer 2027 collection fashion show as part of the Paris Fashion Week, in Paris on October 5, 2026. (Photo by JULIEN DE ROSA / AFP)
Models present creations for Chanel Women's Spring/Summer 2027 collection fashion show as part of the Paris Fashion Week, in Paris on October 5, 2026. (Photo by JULIEN DE ROSA / AFP)
TT

Nicole Kidman and Dua Lipa Watch Chanel’s Creative Revival at Paris Fashion Week

Models present creations for Chanel Women's Spring/Summer 2027 collection fashion show as part of the Paris Fashion Week, in Paris on October 5, 2026. (Photo by JULIEN DE ROSA / AFP)
Models present creations for Chanel Women's Spring/Summer 2027 collection fashion show as part of the Paris Fashion Week, in Paris on October 5, 2026. (Photo by JULIEN DE ROSA / AFP)

Chanel’s artistic director Matthieu Blazy sent the fashion house's suits stretching towards sportswear and evening dresses drifting through clouds, with Nicole Kidman, Dua Lipa and Pedro Pascal in the audience as he unveiled his spring-summer 2027 collection.

The Monday night show underscored that a year into his creative revival, Blazy has made the house feel newly unpredictable.

The former Bottega Veneta designer succeeded Virginie Viard, who took over after Karl Lagerfeld ’s death in 2019. Viard’s tenure brought record sales but Blazy’s contribution has been to restore a sense that Chanel’s familiar ingredients can produce something unexpected.

That renewal is visible in his treatment of the house’s symbols: tweed can stretch; formal jackets sit against bare skin; quilted bags turn slouchy.

The appeal lies in giving established clients something recognizable, and newer ones something to reinterpret.

Beneath illuminated birds at the Grand Palais, Blazy's collection traced Gabrielle “Coco” Chanel’s passage from Edwardian constraint towards the freedom she sought in dress.

“It’s about the women within a woman,” Blazy wrote in his notes.

Across 83 looks, that meant expanding the possibilities of a Chanel wardrobe: knits that skimmed the body, masculine tailoring, airy eveningwear and sharply abbreviated skirts.

Raw-edged waistcoats and narrow skirt suits reworked men’s formal clothes. A pearl-embroidered corset top paired with black trousers brought the tension between restriction and ease into focus.

Older fashions lingered in ruffled collars, peplums and traces of corset boning.

The strongest development was Chanel’s new “smocked tweed,” designed to stretch and move with something of athleticwear’s ease. It was a useful proposition for an expensive, familiar garment: preserve its character while improving its possibilities.

Competing patterns and frothy tutus sometimes tipped towards costume. Dres

ses made from layered, printed silk were more persuasive, turning cloud formations and changing light into shifting color, The Associated Press reported.

Model Dyanira Hurbuscher opened and closed the collection — carrying Gabrielle Chanel’s own 2.55 handbag, borrowed from the famed archives.

That element neatly framed the collection’s ambition: continuity with room for change — a balance Blazy’s revitalization of Chanel rests on.

He has made Chanel's heritage feel available for play, backed by serious work in the ateliers.

Lipa wore a sleeveless skirt suit with pink heels. Kidman attended with her daughter Faith Margaret.


Chanel Unveils Tiger-Print Tweed and Sheer Skirt Suits in Spring/Summer Paris Show

Models present creations from the Spring/Summer 2027 collection of Chanel during Paris Fashion Week, in Paris, France, 05 October 2026. (EPA)
Models present creations from the Spring/Summer 2027 collection of Chanel during Paris Fashion Week, in Paris, France, 05 October 2026. (EPA)
TT

Chanel Unveils Tiger-Print Tweed and Sheer Skirt Suits in Spring/Summer Paris Show

Models present creations from the Spring/Summer 2027 collection of Chanel during Paris Fashion Week, in Paris, France, 05 October 2026. (EPA)
Models present creations from the Spring/Summer 2027 collection of Chanel during Paris Fashion Week, in Paris, France, 05 October 2026. (EPA)

Chanel showed see-through skirts and tiger-print tweed in creative director Matthieu Blazy's spring/summer 2027 collection on Monday as the Parisian fashion house rides a wave of enthusiasm that has helped drive sales even as other luxury brands struggle.

Since his first collection a year ago, Blazy's designs — injecting youthful glitter and loud color combinations into the Parisian label's traditional tweed suits — have attracted new customers to the brand and kept Chanel stores ‌buzzing with activity.

Front-row ‌guests including Dua Lipa, Nicole Kidman, ‌and Pedro ⁠Pascal arrived to throngs ⁠of cameras in the vast expanse of the Grand Palais. The glass dome roof was hung with a giant moon and a flock of luminescent seagulls, while the floor was laid in a Martian orange-and-green pattern in reflective resin.

Models emerged wearing skirt suits in sheer cream ⁠or black fabric embroidered with flowers and beads, ‌and in tweed loosened into a ‌wide windowpane print with mesh panels, or reworked in ‌an eye-catching red-and-white tiger print.

“Chanel felt as alive as ever,” ‌said Angélique Liautaud, womenswear buying and merchandising director at French department store Printemps. “The masculine wardrobe, the fluid dresses, the lingerie, the liberated body, brought a new sensuality to the house.”

Some skirts were sliced ‌into swinging panels, others were shortened into pleated mini-skirts paired with cropped jackets showing the ⁠midriff. Hems ⁠were frayed or finished with metallic beading.

Models sported new versions of the brand's two-tone pumps — in leopard print or tiger print with a cream toe, or baby blue and silver, while sandals were chunky with a large interlocking C logo in gold across the front. Quilted handbags came in black, burgundy, and white with a couple of wild variations in zebra print layered with clashing primary colors.

Blazy, known for soundtracking his shows to anthems from the 2000s, ran out to greet the crowd after the finale to the heavy synths of "Gimme More" by Britney Spears.