Clothing Rental Services Promise a Sustainable Alternative to Fast Fashion. Experts Say It Depends

A shopper browses for clothing at a Walmart store in Flagstaff, Arizona, US, October 19, 2022. (Reuters)
A shopper browses for clothing at a Walmart store in Flagstaff, Arizona, US, October 19, 2022. (Reuters)
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Clothing Rental Services Promise a Sustainable Alternative to Fast Fashion. Experts Say It Depends

A shopper browses for clothing at a Walmart store in Flagstaff, Arizona, US, October 19, 2022. (Reuters)
A shopper browses for clothing at a Walmart store in Flagstaff, Arizona, US, October 19, 2022. (Reuters)

For weddings, vacations or other special occasions, more consumers are turning to clothing rental services instead of buying something new.

These subscription-based services, often marketed as a sustainable alternative to fast fashion, ship straight to customers everything from everyday and workwear to dresses, handbags and formalwear. Then, the items are returned for someone else to use.

“I haven’t bought anything for a big occasion since 2019,” said Sasha Eck, a user of clothing rental services.

Along with giving her continuous and affordable access to newer, trendier clothes, she said renting formalwear made more sense than spending the equivalent of a month's rent on a dress she would only wear once. A recent survey from ThredUp suggests others face the same predicament, with the resale platform finding 87% of wedding guests said they had purchased at least one outfit they wore only once.

Clothing rental services appear to be an environmentally ethical alternative: One garment can be worn by multiple people instead of being tethered to a single closet. But fashion and logistics experts say the reality of rental subscriptions is more complicated, especially once shipping, returns and consumer habits are factored in.

The promise (and problem) of rental fashion

Kate Fletcher, a professor of sustainability, design and fashion systems at Manchester Metropolitan University, said rental services can sometimes encourage the same mindset that drives fast fashion.

“In theory, the embodied resources within that garment get a chance to be worked harder by having that many more people wear it. And so that’s the sort of compelling argument of it,” she said.

But Fletcher said many of those environmental benefits can be undermined by repeated shipping, returns and cleaning.

Aja Barber, a sustainability consultant and writer, said people often overlook the footprint of those processes.

“When you think about rental, you don’t think about the packaging that comes every time you get something from rental. You don’t think about the carbon footprint of shipping the item to you. And you certainly don’t think about the carbon footprint of dry cleaning,” said Barber.

Still, both experts said rental services can have advantages in certain situations.

“If you are someone who occasionally has to wear occasion-wear and you don’t want to buy a dress that you’re going to wear just once, I think it can be really impactful,” said Barber.

Fletcher pointed to older, more localized rental models, like with suit or gown rentals, where customers visited a shop, were fitted in person and later returned the item. She said those systems often had a very different environmental profile than modern, app-based rental services that rely on repeated shipping.

Why shipping matters

The rise of online shopping has heightened the environmental affect of “last mile delivery" — the final stage of transporting a package from a fulfillment center to a customer’s home. Transportation is already one of the largest contributors to greenhouse gas emissions, said Johanna Amaya, assistant professor of supply chain management at Pennsylvania State University.

“The more deliveries going to our homes, the more delivery that goes to our preferred location, the more that impact on the environment,” said Amaya.

Rental services can also create an added logistical challenge because the process involves two trips — one to deliver the clothing and another to return it.

Amaya said fast shipping can also make delivery systems less efficient because companies have less time to consolidate packages into fuller routes.

“The longer they can wait to consolidate more orders and use the capacity of the delivery vehicles, the better,” said Amaya.

She added that returning items to centralized locations, like parcel lockers or post offices, may be less environmentally impactful than home pickup services.

So what should consumers do?

Experts say renting can still be a better option in some situations, particularly for special occasion outfits that may otherwise only be worn once. But they also said consumers should think carefully about how often they are ordering, shipping and returning clothing.

Fletcher encouraged people to “look within a wardrobe and yourself before you look without and try and get a new piece.”

Amaya said consumers can reduce the environmental impact by avoiding rush shipping and choosing consolidated or pickup delivery options when possible.

And the broader sustainability challenge in fashion cannot be solved by a single service or product alone, Fletcher said.

For consumers trying to shop more sustainably overall, experts said some of the simple options may still be the most effective, like re-wearing clothing, repairing items, swapping with friends, buying secondhand or donating pieces so they continue to be used.

“The best thing we can do is engage with fashion as a practice. So, a lived experience of what it is to be dressed — full of capabilities of who I can be in the world — and not as something to buy,” Fletcher said. “Fashion as shopping, that sort of idea of it, is something that industry has encouraged us to believe is the only way of engaging with fashion. And fundamentally, that’s only going to lead to more climate impacts.”



French Parliament Adopts Bill to Regulate Fast Fashion

This photograph shows the logo of Asian e-commerce giant Shein in its stall at the Bazar de l'Hotel de Ville (BHV) department store in Paris on November 4, 2025, on the eve of the opening of its first physical store at BHV in Paris. (AFP)
This photograph shows the logo of Asian e-commerce giant Shein in its stall at the Bazar de l'Hotel de Ville (BHV) department store in Paris on November 4, 2025, on the eve of the opening of its first physical store at BHV in Paris. (AFP)
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French Parliament Adopts Bill to Regulate Fast Fashion

This photograph shows the logo of Asian e-commerce giant Shein in its stall at the Bazar de l'Hotel de Ville (BHV) department store in Paris on November 4, 2025, on the eve of the opening of its first physical store at BHV in Paris. (AFP)
This photograph shows the logo of Asian e-commerce giant Shein in its stall at the Bazar de l'Hotel de Ville (BHV) department store in Paris on November 4, 2025, on the eve of the opening of its first physical store at BHV in Paris. (AFP)

The French parliament on Monday passed a bill aimed at curbing the rise of fast fashion, targeting major Asian e-commerce platforms, such as Shein and Temu.

The legislation, first tabled two-and-a-half years ago, seeks to regulate so-called "ultra-fast fashion" companies, known for selling large volumes of lower quality clothing at rock-bottom price.

Easy to order and replace, fast fashion items contribute to pollution from the textile industry, which accounts for nearly 10 percent of global greenhouse gas emissions.

The Senate passed the bill Monday after the lower house National Assembly did last week.

It imposes a per-item fee for producing textile en masse that will increase over time, and a ban on advertising for ultra-fast fashion brands, including by social media influencers.

Lawmakers hope to rein in Asian e-commerce companies that have exploded in popularity in France in recent years.

Trade Minister Serge Papin last week said the bill would target the main players, including three companies, which he said are driving the surge in ultra-fast fashion.

"Their names, which were still unknown three years ago... are now on everyone's lips in France: Temu, Shein and AliExpress," he said at the time.

But some have criticized the legislation for sparing European and French companies, such as Zara and Kiabi, with some leftist lawmakers in both chambers abstaining during the vote.

Green Party lawmaker Charles Fournier said last week the original bill had been "considerably scaled back", arguing that brands, such as Zara and H&M "have not become models of sustainable fashion".

Stop Fast Fashion, a coalition of organizations, also criticized what it called as a "greatly watered-down" version compared to the one originally put forward.

- Advertising ban doubts -

Anne-Cecile Violland, the center-right member of parliament who proposed the bill, said they needed legislation that could be passed "very quickly and be operational".

"We're coming down very hard on Shein, and that's the first step," she told AFP, adding she understood the disappointment.

The legislation targets ultra-fast fashion based on two criteria: the volume of clothing placed on the market and the cost of repairing garments relative to their purchase price.

The per-item fee will vary on a set scale according to how each brand scores on both these standards.

The levy could reach up to 20 euros ($23) per item by 2030, though the cap remains at 50 percent of the product's pre-tax price.

Part of these penalties will go towards collection and recycling infrastructure.

The legislation also requires ultra-fast fashion companies to display messages on their websites promoting more moderate consumption, including reusing and repairing clothing.

A ban on advertising, including by influencers, is a central plank of the bill, though questions remain over how it could be enforced.


Osaka Makes Spectacular Wimbledon Arrival in Kimono-Inspired Dress

Japan's Naomi Osaka arrives to play against France's Elsa Jacquemot during their women's singles first round tennis match on the first day of the 2026 Wimbledon Championships at The All England Lawn Tennis and Croquet Club in Wimbledon, southwest London, on June 29, 2026. (AFP)
Japan's Naomi Osaka arrives to play against France's Elsa Jacquemot during their women's singles first round tennis match on the first day of the 2026 Wimbledon Championships at The All England Lawn Tennis and Croquet Club in Wimbledon, southwest London, on June 29, 2026. (AFP)
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Osaka Makes Spectacular Wimbledon Arrival in Kimono-Inspired Dress

Japan's Naomi Osaka arrives to play against France's Elsa Jacquemot during their women's singles first round tennis match on the first day of the 2026 Wimbledon Championships at The All England Lawn Tennis and Croquet Club in Wimbledon, southwest London, on June 29, 2026. (AFP)
Japan's Naomi Osaka arrives to play against France's Elsa Jacquemot during their women's singles first round tennis match on the first day of the 2026 Wimbledon Championships at The All England Lawn Tennis and Croquet Club in Wimbledon, southwest London, on June 29, 2026. (AFP)

Japan's Naomi Osaka made a spectacular entrance at Wimbledon on Monday as she arrived on court in a kimono-inspired dress.

Osaka has become known for wearing flamboyant outfits before starting her matches and the four-time Grand Slam champion's Wimbledon costume was eagerly-awaited.

With fans and photographers crowded around Court Three prior to her Wimbledon first-round match against France's Elsa Jacquemot, Osaka didn't disappoint.

To match the All England Club's strict all-white dress code, the 28-year-old wore a kimono-style ceremonial dress decorated with embroidered cranes and cherry blossom.

She paired the white outfit with a traditional kanzashi hair ornament featuring white flowers before removing both to reveal a white Nike dress.

While much more conventional, the dress is inspired by kirigami, the Japanese art of paper cutting.

Osaka has worked with a range of fashion designers on her outfits, going for a jellyfish-modelled look at the Australian Open dedicated to her daughter Shai and a gold dress inspired by the Eiffel Tower at the French Open.

For Wimbledon, the former world number one collaborated with Japanese designer Hana Yagi, posting a video accompanied by the caption: "Culture".

Speaking to British Vogue, Osaka said: "I like to use fashion as a medium for storytelling.

"Every walk-out is an opportunity to bring people into my creative world. The fact that people care about it and are excited to see what's next is also pretty cool.

"Obviously, the outfit has to be white, but, aside from that, you can play with a lot of different design elements. In some ways, not having to think about the color allows you to highlight other cool features like fabrics and textures."

Osaka's longtime creative director Marty Harper said Wimbledon's traditions played a key role in the design of the outfit.

"It's one of the few places in sport where ceremony still feels inseparable from competition. We wanted to acknowledge that while creating a dialogue with Japanese ceremonial dress," he said.

"The starting point was the idea of evolving ceremony. The garment is constructed from vintage shiromuku, ceremonial garments originally created to mark important moments in people's lives."


Heat Catches Europe’s Fashion Industry Unprepared as Models Face the Sun in Fur and Wool

 A model presents a creation for Dior for the Menswear Spring/Summer 2027 collection fashion show as part of the Paris Fashion Week, in Paris on June 24, 2026. (AFP)
A model presents a creation for Dior for the Menswear Spring/Summer 2027 collection fashion show as part of the Paris Fashion Week, in Paris on June 24, 2026. (AFP)
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Heat Catches Europe’s Fashion Industry Unprepared as Models Face the Sun in Fur and Wool

 A model presents a creation for Dior for the Menswear Spring/Summer 2027 collection fashion show as part of the Paris Fashion Week, in Paris on June 24, 2026. (AFP)
A model presents a creation for Dior for the Menswear Spring/Summer 2027 collection fashion show as part of the Paris Fashion Week, in Paris on June 24, 2026. (AFP)

The most coveted accessory at the Paris Fashion Week shows this week was not a bag, a sneaker or a watch. It was an ice pack.

As a historic heat wave gripped the French capital, fashion houses fought to keep guests cool with mist machines, chilled towels, parasols and iced Evian on silver platters.

It wasn’t enough. Historic venues sweltered, guests were packed in tight, air conditioning was absent or inadequate and water ran short — at one house, organizers weighed serving none at all, having found only plastic bottles to hand out.

That mattered because Paris Fashion Week is not a minor cultural event.

It is one of France’s most visible export machines: six fashion seasons a year, global luxury houses, celebrities, editors, buyers and clients moving through an industry worth billions, often inside aging venues built for a cooler age.

This week raised a harder question: whether Paris should keep staging menswear and haute couture in the height of summer at all if climate change keeps bringing more frequent and intense heat waves.

“I honestly thought I was going to pass out,” said Ben Freeman, a London-based fashion critic from Australia.

Paris neared 41 degrees Celsius (106 Fahrenheit) during a heat wave that pushed France into emergency mode. Large parts of the country were under red alert, and hospitals were told to prepare for more heat-related cases.

Like the dusty Louvre, which cut hours and said its historic building “remains vulnerable and is not sufficiently adapted to climate change,” fashion week exposed a Paris problem as much as a fashion one: how to keep prestige institutions running when the weather no longer fits the building, the calendar or the crowd.

“Paris Fashion Week is the canary in the mine,” Freeman said.

The deeper contradiction was on the runway. At a Paris Fashion Week Men’s where the industry paid to imagine next summer could barely survive this one, houses cooled the people watching the shows, then dressed their models in unseasonable leather, neoprene, wool and fur.

“The calendar does not make any sense,” acknowledged Dior’s Jonathan Anderson, blaming fractured delivery cycles and a business that bears no relation to the season outside.

Some in the front row suggested that fashion week in the hottest months be scrapped.

“In Paris we don’t have AC everywhere, it’s quite rare,” said Thomas Levy, 24, a fashion student outside one show. “I don’t know how the models did it this week in some of the leather and knit coats."

The venues couldn’t cope

Pascal Morand, who heads France’s fashion federation, said organizers were following the government’s heat-wave plan.

“We are conscious of the challenges and very attentive to preserving the Fashion Week experience in this context of structural change,” he told The Associated Press.

The cause ran deeper — an industry whose fixed parts, from the buildings to the clothes, were designed for a cooler world and a customer who lives somewhere else.

The response included earlier shows, more water, more mist, more shade.

Fashion had already been warned about heat management. In March, Celine built an okoumé-wood pavilion in the courtyard of the Institut de France for a winter show, packed guests inside and still saw some leave because of the temperature.

Dior shifted its show to 9 a.m. from mid-afternoon, and Rick Owens moved his forward too. Yet inside Dior’s half-renovated mansion, water was scarce, there was no air conditioning, and some guests looked ready to pass out.

The strain had already shown at Milan Fashion Week last week. At Thom Browne’s first show there, giant misting fans ran and black umbrellas went out as guests waited out the midday sun.

Runways out of season

The clothes were made not for summer in Paris but for global markets and customers who pass the hottest months in refrigerated air. For them, a wool coat in June is not a contradiction. It is just a purchase.

Louis Vuitton presented wetsuits in neoprene, as well as coats in cashmere and fur.

At Saint Laurent, Anthony Vaccarello sent models through cooling clouds of vapor from a Fujiko Nakaya fog sculpture, then ran hot and cold at once: featherweight, unlined tailoring stripped down for the heat, against leather briefs, choker scarves and transparent shoes fogging with the wearer’s sweat.

Issey Miyake’s IM Men gave the clearest practical answer, handing out ice packs at the door, then bamboo-thread fabrics and shadowy prints that moved with the air rather than against it.

Rick Owens made the anxiety literal, sending models through mist in garments with fans whirring inside. One critic called it metaphor for climate catastrophe.

France’s uneasy cooling debate

Air conditioning remains culturally suspect in France — blamed for sore throats, dismissed as wasteful or bad for the planet — even as heat waves turn cooling into a question of public safety.

President Emmanuel Macron’s government leans toward shade, insulation and trees; environmentalists warn that mass cooling would only deepen the emissions driving the heat.

Europe is the fastest-warming continent, but its old cities are short on the cooling a hotter climate demands. From sport to tourism to construction, industries built around fixed calendars and outdoor crowds are being forced to adapt to heat that comes earlier, lasts longer and climbs higher.

The question is how much longer an aging 19th century Paris can host a summer spectacle where guests need ice packs to reach the finale.