Big Fashion Companies Lag behind on Green Targets

FILE PHOTO: People stand next to the window of a fashion boutique in a shopping district in Tokyo, Japan, May 30, 2016. REUTERS/Thomas Peter/File Photo
FILE PHOTO: People stand next to the window of a fashion boutique in a shopping district in Tokyo, Japan, May 30, 2016. REUTERS/Thomas Peter/File Photo
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Big Fashion Companies Lag behind on Green Targets

FILE PHOTO: People stand next to the window of a fashion boutique in a shopping district in Tokyo, Japan, May 30, 2016. REUTERS/Thomas Peter/File Photo
FILE PHOTO: People stand next to the window of a fashion boutique in a shopping district in Tokyo, Japan, May 30, 2016. REUTERS/Thomas Peter/File Photo

The 15 largest listed fashion companies are lagging behind when it comes to meeting the social and environmental targets of the Paris climate agreement and UN Sustainable Development Goals, a new report by the Business of Fashion said on Monday.

The Business of Fashion, an online publication about the fashion industry, analysed in its report publicly disclosed information from the five biggest companies by revenue in three categories - luxury, sportswear, and high street fashion, including Kering, Adidas, H&M and others.

The fashion industry is under increasing pressure from consumers and governments to clean up its act. Statistics cited by the World Economic Forum show that the industry is responsible for at least 4% of global greenhouse gas emissions.

The Business of Fashion’s report scored companies out of 100 in their progress towards meeting sixteen targets which would align their performance with the UN Sustainable Development Goals and Paris Agreement on emissions, waste, workers’ rights, water, and materials.

It also ranked the companies on transparency, or how much information about a company’s practices was currently available, Reuters reported.

Kering ranked top with 49 points and Under Armour ranked lowest at 9 points. The average score for the companies was 36 points.

The report found the companies were more likely to disclose information on targets than concrete actions towards fulfilling them.

“Opaque working practices and fuzzy definitions of what constitutes ‘good’ progress complicate matters further, creating a woolly picture of where the industry is at and what steps are required for it to clean up its act,” the report said.

Kering and Nike performed best on transparency, while PVH Corp, Levi Strauss, and VF Corp ranked highest on their efforts to reduce emissions.

Under Armour scored lowest on all rankings except workers’ rights, where LVMH ranked one point lower.

Scores for Hermes, LVMH and Richemont averaged lower than high street fashion companies H&M, Inditex, Gap and Levi Strauss across the six categories - emissions, waste, workers’ rights, materials and transparency.

On average overall, the companies performed worst on waste and workers’ rights. Uniqlo owner Fast Retailing, Under Armour and Richemont reported the lowest average score across the six targets.

Kering sustainability chief Marie-Claire Daveu said the company was proud of the recognition given by Business of Fashion. Asked about the fact that the report highlighted all companies were falling short of targets, she recognized that sustainability was a “long, never-ending journey.”

Adidas said it was working closely with its partners to achieve climate neutrality in its operations by 2025 and throughout its supply chains by 2050.

Other companies cited did not immediately respond to a request for comment.

A panel of twelve sustainability experts advised on the methodology for the Business of Fashion’s report.



Kamali's Sophomore Show for Chloé in Paris Dazzled with Lightness

Models present creations by Chloe for the Women Ready-to-wear Spring-Summer 2025 collection as part of the Paris Fashion Week, in Paris on September 26, 2024. (Photo by Bertrand GUAY / AFP)
Models present creations by Chloe for the Women Ready-to-wear Spring-Summer 2025 collection as part of the Paris Fashion Week, in Paris on September 26, 2024. (Photo by Bertrand GUAY / AFP)
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Kamali's Sophomore Show for Chloé in Paris Dazzled with Lightness

Models present creations by Chloe for the Women Ready-to-wear Spring-Summer 2025 collection as part of the Paris Fashion Week, in Paris on September 26, 2024. (Photo by Bertrand GUAY / AFP)
Models present creations by Chloe for the Women Ready-to-wear Spring-Summer 2025 collection as part of the Paris Fashion Week, in Paris on September 26, 2024. (Photo by Bertrand GUAY / AFP)

Chemena Kamali’s sophomore collection for Chloé was a luminous exploration of femininity, blending the house’s heritage with a fresh, sensual energy for spring. Set against a backdrop of sun-faded apricots, blushes and soft whites, the Paris collection captured Kamali’s vision of a summer that she surmised as: “when you pause, escape, explore and recharge.” It celebrated Chloé’s free-spirited DNA, infused with a lightness that felt both nostalgic and forward-looking.
According to The Associated Press, here are some highlights of Thursday's shows at Paris Fashion Week, including a French honor for Naomi Campbell:
Kamali's joyful freedom “There’s a liberating expression of total freedom,” Kamali said of her spring display.
This freedom flowed through silk charmeuse gowns, lingerie-inspired crop tops and peek-a-boo designs.
Echoes of Karl Lagerfeld’s '70s Chloé lingered in exaggerated shoulders and standout pieces, like a loose-fitting, vivid blue coat. “Chloé is not a passing moment; it’s an eternal state of mind,” Kamali noted, grounding her collection in the house’s long-standing ethos of optimism and instinct.
Layering played a central role, but Kamali kept it light and intuitive, reflecting what she called a “very personal way of dressing.” Sheer fabrics and sun-worn lace mixed effortlessly with ribbed jerseys, creating looks that felt weightless and spontaneous, a signature of Kamali’s debut collection. “What matters to me is the feeling and intuition,” she said.
A standout moment came in the form of a dramatic trapeze-shaped silk gown, its dynamic silhouette swirling with movement. It epitomized Kamali’s ability to honor Chloé’s romantic roots while infusing a modern sensibility. “The mood is light, weightless, sensual and joyful,” she explained. That joyful freedom was a defining thread from start to finish.
With her second outing, Kamali proved she is the right designer to lead Chloé. She crafted a spring collection that balanced nostalgia and sensuality while pushing the house toward a bright, optimistic future.
Mugler’s Cadwallader takes a bite at fashion

Casey Cadwallader delivered a striking show for Mugler, equal parts theatrical and innovative. The hair, sculpted into harsh fringes like a viper’s fang, set the tone for a collection defined by sharp architectural lines. Curving lapels adorned tight jackets, while tendrils of latticed silk flowed into skirts that bled vibrant yellows, creating a visual spectacle.
The collection boldly embraced femininity, featuring a bust that echoed the form of seashells and a densely packed bustier resembling a diving whale. This daring aesthetic aligns with Cadwallader’s aim to infuse the brand with a fresh energy, moving away from the extravagance that some original Mugler fans long for.
Oversized tubular arms complemented a webbed skirt-coat, while a transparent loose trench evoked the look of a sea medusa, reinforcing Cadwallader’s commitment to pushing boundaries.
Naomi Campbell honored in France amid charity controversy

Iconic British model Naomi Campbell was awarded a prestigious honor in France, being named a knight in the Order of Arts and Letters at the culture ministry for her significant contributions to French culture.
However, this recognition comes as Campbell faces scrutiny back home, having been barred from serving as a charity trustee in England and Wales for five years. This decision follows a three-year investigation into the financial activities of her charity, “Fashion for Relief,” which was found to have been “poorly governed” and lacking in “adequate financial management.”
The Charity Commission, which oversees charities in England and Wales, reported multiple instances of misconduct, revealing that only 8.5% of the charity’s expenditures went to charitable grants over a six-year period from 2016. Notably, the inquiry uncovered that charity funds were misused for Campbell’s luxury hotel stays during events in Cannes, alongside personal expenses such as spa treatments and room service.
In response to a question from the AP, Campbell said, “I’ve just found out today about the findings and I am extremely concerned. We are investigating on our side. I was not in control of my charity; I put the control in the hands of a legal employer. We are investigating to find out what and how, and everything I do and every penny I ever raised goes to charity.”
Alongside Campbell, fellow trustee Bianka Hellmich has been disqualified for nine years after receiving unauthorized payments for consultancy services, while trustee Veronica Chou has been barred for four years. The charity, founded in 2005 to unite the fashion industry in addressing global poverty, was dissolved earlier this year, having raised over $15 million for various causes worldwide.
Despite the controversy, Campbell’s honor in France highlights her lasting impact on the cultural landscape.
Rick Owens enchants with gothic splendor

At Thursday’s show at the Palais de Tokyo, Rick Owens unleashed a captivating spectacle that felt like a dramatic descent into a realm inhabited by gothic aliens. The atmosphere was thick with smoke and suspense as an army of biblical figures marched out in impressive diagonal formations, their asymmetrical knee-high leather boots featuring translucent heels, making each step a statement.
Owens’ trademark angular, alien-like geometric shoulders dominated the runway, capturing the essence of his singular vision—one that merges dark romanticism with avant-garde aesthetics. The collection was a testament to his ability to blend his gothic instincts with a sense of reverent irreverence, reminiscent of the “delicate time” he referenced in previous collections, where beauty and horror coexist.
As the show unfolded, a billowing coven emerged, clad in oversized black priest-like hoods and flowing tulle cloaks that draped elegantly over their forms. Some models donned discreet headscarves, striking a balance between reverence and defiance, perfectly embodying Owens’ commentary on societal norms. This juxtaposition echoes his commitment to inclusivity, presenting a vision of fashion that celebrates diversity while challenging conventional beauty standards.
The intricate craftsmanship used in the collection exemplified Owens’ mastery. Each piece, from the cloaks to the striking silhouettes, invited viewers to appreciate humble fabrics. This aligns with his insistence that he presents “the most excellent aesthetics” possible, recognizing the nuanced interplay between the dark and the light in our world.
While some may find Owens’ aesthetic too avant-garde or even gloomy, this show reaffirmed his position as a provocative force in fashion. The theatricality and elaborate design remind us of his role as one of the last independent designers in Paris, navigating the complexities of the fashion landscape with fierce authenticity.