China's Landfills Brim with Textile Waste as Fast Fashion Reigns

A worker feeds discarded textiles to a shredding machine at the Wenzhou Tiancheng Textile Company in eastern China's Zhejiang province on March 20, 2024. (AP Photo/Ng Han Guan)
A worker feeds discarded textiles to a shredding machine at the Wenzhou Tiancheng Textile Company in eastern China's Zhejiang province on March 20, 2024. (AP Photo/Ng Han Guan)
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China's Landfills Brim with Textile Waste as Fast Fashion Reigns

A worker feeds discarded textiles to a shredding machine at the Wenzhou Tiancheng Textile Company in eastern China's Zhejiang province on March 20, 2024. (AP Photo/Ng Han Guan)
A worker feeds discarded textiles to a shredding machine at the Wenzhou Tiancheng Textile Company in eastern China's Zhejiang province on March 20, 2024. (AP Photo/Ng Han Guan)

At a factory in Zhejiang province on China’s eastern coast, two mounds of discarded cotton clothing and bed linens, loosely separated into dark and light colors, pile up on a workroom floor. Jacket sleeves, collars and brand labels protrude from the stacks as workers feed the garments into shredding machines.
It’s the first stage of a new life for the textiles, part of a recycling effort at the Wenzhou Tiancheng Textile Company, one of the largest cotton recycling plants in China, The Associated Press reported.
Textile waste is an urgent global problem, with only 12% recycled worldwide, according to fashion sustainability nonprofit Ellen MacArthur Foundation. Even less — only 1% — are castoff clothes recycled into new garments; the majority is used for low-value items like insulation or mattress stuffing.
Nowhere is the problem more pressing than in China, the world’s largest textile producer and consumer, where more than 26 million tons of clothes are thrown away each year, according to government statistics. Most of it ends up in landfills.
And factories like this one are barely making a dent in a country whose clothing industry is dominated by “fast fashion” — cheap clothes made from unrecyclable synthetics, not cotton. Produced from petrochemicals that contribute to climate change, air and water pollution, synthetics account for 70% of domestic clothing sales in China.
China's footprint is worldwide: E-commerce juggernaut brands Shein and Temu make the country one of the world’s largest producers of cheap fashion, selling in more than 150 countries.
To achieve a game-changing impact, what fashion expert Shaway Yeh calls “circular sustainability” is needed among major Chinese clothing brands so waste is avoided entirely.
“You need to start it from recyclable fibers and then all these waste textiles will be put into use again,” she said.
But that is an elusive goal: Only about 20% of China’s textiles are recycled, according to the Chinese government — and almost all of that is cotton.
Chinese cotton is not without a taint of its own, said Claudia Bennett of the nonprofit Human Rights Foundation. Much of it comes from forced labor in Xinjiang province by the country's ethnic Uyghur minority.
"One-in-five cotton garments globally is linked to Uyghur forced labor,” Bennett said.
In May, the US blocked imports from 26 Chinese cotton traders and warehouses to avoid goods made with Uyghur forced labor. But because the supply chain is so sketchy, Uyghur cotton is used in garments produced in other countries that don't bear the “made-in-China” label, Bennett said.
“Many, many, many clothing brands are linked to Uyghur forced labor through the cotton," she said. They "hide behind the lack of transparency in the supply chain.”
While China is a global leader in the production of electric cars and electric-powered public transit and has set a goal of achieving carbon neutrality by 2060, its efforts in promoting fashion sustainability and recycling textiles have taken a back seat.
According to a report this year from independent fashion watchdog Remake assessing major clothing companies on their environmental, human rights and equitability practices, there's little accountability among the best-known brands.
The group gave Shein, whose online marketplace groups about 6,000 Chinese clothing factories under its label, just 6 out of a possible 150 points. Temu scored zero.
Also getting zero were US label SKIMS, co-founded by Kim Kardashian, and low-price brand Fashion Nova. US retailer Everlane was the highest-scorer at 40 points, with only half of those for sustainability practices.
China’s domestic policy doesn’t help.
Cotton recycled from used clothing is banned from being used to make new garments inside China. This rule was initially aimed at stamping out fly-by-night Chinese operations recycling dirty or otherwise contaminated material.
But now it means the huge spools of tightly woven rope-like cotton yarn produced at the Wenzhou Tiancheng factory from used clothing can only be sold for export, mostly to Europe.
Making matters worse, many Chinese consumers are unwilling to buy used items anyway, something the Wenzhou factory sales director, Kowen Tang, attributes to increasing household incomes.
“They want to buy new clothes, the new stuff,” he said of the stigma associated with buying used.
Still, among younger Chinese, a growing awareness of sustainability has contributed to the emergence of fledgling “remade” clothing businesses.
Thirty-year-old designer Da Bao founded Times Remake in 2019, a Shanghai-based brand that takes secondhand clothes and refashions them into new garments. At the company's work room in Shanghai, tailors work with secondhand denims and sweatshirts, stitching them into funky new fashions.
The venture, which began with Da Bao and his father-in-law posting their one-off designs online, now has a flagship store in Shanghai’s trendy Jing’an District that stocks their remade garments alongside vintage items, such as Levi’s and Carhartt jackets.
The designs are “a combination of the past style and current fashion aesthetic to create something unique,” Bao said.
Zhang Na has a fashion label, Reclothing Bank, that sells clothes, bags and other accessories made from materials such as plastic bottles, fishing nets and flour sacks.
The items' labels have QR codes that show their composition, how they were made and the provenance of the materials. Zhang draws on well-established production methods, such as textile fibers made from pineapple leaf, a centuries-old tradition originating in the Philippines.
“We can basically develop thousands of new fabrics and new materials,” she said.
Reclothing Bank began in 2010 to give “new life to old things,” Zhang said of her store in a historic Shanghai alley with a mix of Western and Chinese architecture. A large used clothes deposit box sat outside the entrance.
“Old items actually carry a lot of people’s memories and emotions,” she said.
Zhang said she has seen sustainability consciousness grow since she opened her store, with core customers in their 20s and 30s.
Bao Yang, a college student who dropped by the store on a visit to Shanghai, said she was surprised at the feel of the clothes.
“I think it’s amazing, because when I first entered the door, I heard that many of the clothes were actually made of shells or corn (husks), but when I touched the clothes in detail, I had absolutely no idea that they would have this very comfortable feel,” she said.
Still, she conceded that buying sustainable clothing is a hard sell. “People of my age are more addicted to fast fashion, or they do not think about the sustainability of clothes," she said.
Recycled garments sold at stores like Reclothing Bank have a much higher price tag than fast-fashion brands due to their costly production methods.
And therein lies the real problem, said Sheng Lu, professor of fashion and apparel studies at the University of Delaware.
“Studies repeatedly show consumers are not willing to pay higher for clothing made from recycled materials, and instead they actually expect a lower price because they see such clothing as made of secondhand stuff,” he said.
With higher costs in acquiring, sorting and processing used garments, he doesn't see sustainable fashion succeeding on a wide scale in China, where clothes are so cheap to make.
“Companies do not have the financial incentive,” he said.
For real change there needs to be “more clear signals from the very top," he added, referring to government targets like the ones that propelled China's EV industry.
Still, in China "government can be a friend to any sector,” Lu said, so if China's communist leaders see economic potential, it could trigger a policy shift that drives new investment in sustainable fashion.
But for now, the plastic-wrapped cones of tightly-wound cotton being loaded onto trucks outside the Wenzhou Tiancheng factory were all headed to overseas markets, far from where their recycling journey began.
“Fast fashion definitely is not out of fashion” in China, Lu said.



Paris Mourns Valentino, the Last Titan of Couture’s Golden Age

An Italian flag hangs at half-mast outside the Valentino Creative Headquarters, following the death of the fashion designer Valentino Garavani at the age of 93 on Monday, in Rome, Italy, January 20, 2026. (Reuters)
An Italian flag hangs at half-mast outside the Valentino Creative Headquarters, following the death of the fashion designer Valentino Garavani at the age of 93 on Monday, in Rome, Italy, January 20, 2026. (Reuters)
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Paris Mourns Valentino, the Last Titan of Couture’s Golden Age

An Italian flag hangs at half-mast outside the Valentino Creative Headquarters, following the death of the fashion designer Valentino Garavani at the age of 93 on Monday, in Rome, Italy, January 20, 2026. (Reuters)
An Italian flag hangs at half-mast outside the Valentino Creative Headquarters, following the death of the fashion designer Valentino Garavani at the age of 93 on Monday, in Rome, Italy, January 20, 2026. (Reuters)

Valentino Garavani’s death cast a long shadow over the opening day of Paris Fashion Week menswear Tuesday, with front-row guests and industry figures mourning the passing of one of the last towering names of 20th-century couture — an Italian designer whose working life was closely entwined with the Paris runways.

Valentino, 93, died at his Rome residence, the Valentino Garavani and Giancarlo Giammetti Foundation said in a statement announcing his death. While he built his house in Rome, he spent decades presenting collections in France.

He “was one of the last big couturiers who really embodied what was fashion in the 20th century,” said Pierre Groppo, fashion editor-in-chief at Vanity Fair France.

On a day meant to sell the future, many guests said they were thinking about what fashion has lost: the couturier as a living institution.

Groppo pointed to the codes that made Valentino instantly legible — “the dots, the ruffles, the knots” — and to a generation of designers who, he said, “in a way, invented what is celebrity culture.”

Valentino’s vision was built on a simple idea: make women look luminous, then make the moment unforgettable.

He dressed Jacqueline Kennedy Onassis and Elizabeth Taylor, among others, fixed his signature “Valentino red” in the public imagination, and — through his decades-long partnership with Giancarlo Giammetti — helped turn the designer himself into part of the spectacle, as recognizable as the clients in his front row.

The end of a fashion era

Prominent fashion writer Luke Leitch framed the loss in similarly outsized terms, calling Valentino “the last of the fashion ‘leviathans of that generation’,” and saying it was “absolutely” the end of a certain class of designer: figures whose names could carry a global house, and whose authority came not from viral speed but from permanence.

Trained in Paris before founding his maison in Rome, Valentino became a rare bridge figure: Italian by origin, but fluent in the rituals that made Paris couture an institution. His career moved between those two capitals of elegance, bringing Roman grandeur into a system that still treats fashion not only as commerce, but as ceremony.

Even as he aged, the house’s founder kept turning up at its couture and ready-to-wear shows, as observed by one Associated Press journalist — until he eventually retreated from public life, all the while radiating quiet grandeur from his front-row seat.

For some in Paris on Tuesday, the loss felt personal precisely because Valentino’s world was never only Italian.

Groppo recalled the designer as “very much more than a fashion brand,” adding: “It was a lifestyle.”

That lifestyle — couture polish, social glamour, and the conviction that elegance could be a form of power — remains a reference point even as fashion accelerates toward louder branding and faster cycles.

“It’s quite sad as he’s so important to the fashion industry, and he contributed a lot and I cannot forget the stunning red he created,” said Lolo Zhang, a Chinese fashion influencer attending Louis Vuitton ’s show in Paris.

“He always celebrated pure beauty, and architecture for the silhouette, and how he used color. The old era just passed by.”

Other guests described a delayed realization — the kind that arrives only when a figure who seemed permanent is suddenly gone.

YSL, Chanel and Valentino

“There are some people who want to be Yves Saint Laurent, Chanel. ... There are also people who are spontaneously Valentino,” said Guy-Claude Agboton, deputy editor of Ideat magazine. “It’s a question of identity.”

For Paris fashion observer Benedict Epinay, the grief was bound up with memory. And with the emotional charge of Valentino’s final bow.

“It was such a great moment. I was lucky enough to attend the last show he gave,” Epinay said. “It was so moving because we knew at that time it was the last show.”

Fashion observer Arfan Ghani pointed to what Valentino represented to younger designers: a “classy” standard of restraint in an era that often rewards noise.

“Because it was very classical materials," Ghani said. "It wasn’t as loud as a lot of other of these brands are with branding.”

Paris-based sculptor Ranti Bam described Valentino in the language of form: less trend than structure, less look than line.

“As a sculptor I saw Valentino as an artist,” Bam said. “He transcended fashion into sculpture.”

“He didn’t follow trends, he pursued form,” she added. “That’s why his work doesn’t date, it endures.”

The fashion house Valentino has for years continued under a new generation of leadership and design — still showcased in Paris.


Pharrell Opens Vuitton’s Monogram Anniversary Year With Cinematic Menswear Show

A model presents a creation from the Fall/Winter 2026/2027 collection by US designer Pharrell Williams for Louis Vuitton during the Paris Fashion Week, in Paris, France, 20 January 2026. (EPA)
A model presents a creation from the Fall/Winter 2026/2027 collection by US designer Pharrell Williams for Louis Vuitton during the Paris Fashion Week, in Paris, France, 20 January 2026. (EPA)
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Pharrell Opens Vuitton’s Monogram Anniversary Year With Cinematic Menswear Show

A model presents a creation from the Fall/Winter 2026/2027 collection by US designer Pharrell Williams for Louis Vuitton during the Paris Fashion Week, in Paris, France, 20 January 2026. (EPA)
A model presents a creation from the Fall/Winter 2026/2027 collection by US designer Pharrell Williams for Louis Vuitton during the Paris Fashion Week, in Paris, France, 20 January 2026. (EPA)

Pharrell Williams opened a celebration year for Louis Vuitton's monogram — marking the house’s 130th anniversary of its most recognizable signature — with a Fall-Winter 2026 men’s show that was equal parts brand pageant and movie set.

Inside the Louis Vuitton Foundation in Paris, the guests encircled the grassy runway. At its center sat a glass-walled, minimalist apartment — part bedroom, part display box — where models kept entering and exiting like characters crossing movie scenes.

It was also a celebrity-heavy room, with a front row mixing music, film and online fame — SZA, Usher, Future, Jackson Wang and others, plus a runway debut to seal the crossover: BamBam of Korean boy band GOT7.

The soundtrack did as much scene-setting as the set. A gospel choir and full orchestra performed live from the balconies, lifting what could have been a straightforward runway lap into something closer to a staged sequence: romantic, controlled, faintly grand.

On the clothes, Williams stayed inside his Vuitton DNA: readable from a distance, richer up close, and always tethered to the idea of travel and the house’s heritage goods.

This season’s lens was 1970s ease spiked with utility. The palette sat firmly in autumn-tonal grays, browns, black, denim, cream — then broke into jolts of bubblegum pink, baby blue and emerald green that kept the mood from turning too polite.

It was Vuitton in full brand mode: monogram year messaging, hero outerwear, high-gloss accessories, and a set built for cameras.

Silhouettes ran long and loose, with baggier trousers that swung into an A-line sweep; suits were often topped with parka coats, a high-low collision that has become one of his signatures.

The details — always his style argument — did the work.

Shirts flashed with glimmering surfaces.

Bows and jabot-style collars delivered the 70s note without going costume.

Utility came through in the hardware language: ties, toggles, belts, zippers; faux-fur collars that read both functional and decorative.

Patent Oxford shoes added a hard, glossy punctuation under the softer shapes.

A monogrammed puffer arrived as the obvious anniversary-era hero item.

Williams also pushed a slightly “undone” finish — wrinkled tops that looked intentionally lived-in rather than sloppy — while widening the fit menu beyond the season’s broader swing toward slimness: skin-tight knits, cleanly fitted suits and oversized tailored shorts.

Then came the Vuitton wink at travel as culture-object: an Art Nouveau travel case in stained glass, rolled through on a trolley — absurd, beautiful, and perfectly on-message for a house that still sells the idea of departure as luxury.


Burberry Beats Holiday Sales Expectations, Attracts More Shoppers in China

A Burberry Check styled shirt with the Burberry label is displayed at the Burberry flagship store in Regent Street, London, Britain, September 8, 2025. (Reuters)
A Burberry Check styled shirt with the Burberry label is displayed at the Burberry flagship store in Regent Street, London, Britain, September 8, 2025. (Reuters)
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Burberry Beats Holiday Sales Expectations, Attracts More Shoppers in China

A Burberry Check styled shirt with the Burberry label is displayed at the Burberry flagship store in Regent Street, London, Britain, September 8, 2025. (Reuters)
A Burberry Check styled shirt with the Burberry label is displayed at the Burberry flagship store in Regent Street, London, Britain, September 8, 2025. (Reuters)

Burberry beat expectations for sales growth in the key holiday quarter as its marketing push featuring British celebrities resonated ‌with shoppers ‌and helped attract more Gen ‌Z ⁠consumers ​in China.

Joshua ‌Schulman, who became CEO in July 2024 as sales were sliding, is leading a turnaround focused on trench coats, scarves and the brand's British heritage, while cutting costs after reducing the workforce by 20% last year.

"Our customers responded to our immersive Timeless ⁠British Luxury campaigns and experiences, while the continued strength in our core ‌outerwear category is now extending ‍into accessories and ready-to-wear," ‍Schulman said in a statement on Wednesday.

Comparable store sales rose 3% in the three months to December 27, beating analysts' expectation of 2% growth, according to a company-compiled consensus.

Sales ​in China rose 6% on a comparable basis, as the brand continued its recovery ⁠in the crucial luxury market. Burberry said the performance was supported by "double-digit" growth in Gen Z customers.

The company said its markdown period was shorter and "shallower" than last year, an encouraging sign for investors looking for signs that customers are increasingly willing to buy Burberry products at full price.

Burberry said it expects full-year adjusted operating profit to be in line with the consensus forecast of 149 million pounds ($200 ‌million).