France Plans Fashion Revolution with Climate-impact Labels

File Photo: A model presents a creation from the Fall/Winter 2022/23 Haute Couture collection by French designer Virginie Viard for Chanel fashion house during the Paris Fashion Week, in Paris, France, 05 July 2022. (EPA)
File Photo: A model presents a creation from the Fall/Winter 2022/23 Haute Couture collection by French designer Virginie Viard for Chanel fashion house during the Paris Fashion Week, in Paris, France, 05 July 2022. (EPA)
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France Plans Fashion Revolution with Climate-impact Labels

File Photo: A model presents a creation from the Fall/Winter 2022/23 Haute Couture collection by French designer Virginie Viard for Chanel fashion house during the Paris Fashion Week, in Paris, France, 05 July 2022. (EPA)
File Photo: A model presents a creation from the Fall/Winter 2022/23 Haute Couture collection by French designer Virginie Viard for Chanel fashion house during the Paris Fashion Week, in Paris, France, 05 July 2022. (EPA)

Is it better for the environment if you buy a brand-new cotton T-shirt or a recycled one?

Well, it depends.

Recycling has obvious benefits, but the process shortens cotton fibers and so usually has to be mixed with some oil-based material to keep it from falling apart.

Such trade-offs make it tricky to figure out the real sustainability rating of clothes -- but brands in Europe will soon have no choice, AFP said.

By next year, every item of clothing sold in France will require a label detailing its precise climate impact -- with a similar rule expected for the rest of the European Union by 2026.

That means juggling many different and conflicting data points: Where and how were its raw materials grown? What was used to color it? How far did it travel? Was the factory powered with solar energy or coal?

The French Agency for Ecological Transition (Ademe) is currently testing 11 proposals for how to collect and compare data -- and what the resulting label might look like to consumers -- using 500 real-life items of clothing.

"The message of the law is clear -- it will become obligatory, so brands need to prepare, to make their products traceable, to organize the automatic collection of data," Erwan Autret, one of the coordinators at Ademe, told AFP.

"Some say the models are too simple, some say they're too complicated, but it's a sign of the maturity of the debate that no one questions the need for these calculations anymore."

- 'Transparent and informed' -
The need for change in fashion is urgent.

Statistics are notoriously hard to verify, but the UN says the industry is responsible for 10 percent of global carbon emissions, as well as a significant portion of water consumption and waste.

Labels can be a key part of the solution, say campaigners.

"It will force brands to be more transparent and informed... to collect data and create long-term relationships with their suppliers -- all things they're not used to doing," said Victoire Sotto, of The Good Goods, a fashion and sustainability consultancy.

"Right now it seems infinitely complex," she added. "But we've seen it applied in other industries such as medical supplies."

Seeing how the winds are blowing, the textile industry has been racing to come up with technical solutions.

A recent presentation by Premiere Vision, a Paris-based textiles conference, highlighted many new processes including non-toxic leather tanning, dyes drawn from fruits and waste -- and even biodegradable underwear that can be thrown on the compost.

But the key to sustainability is using the right fabric for the right garment, said Ariane Bigot, Premiere Vision's deputy head of fashion.

That means synthetic and oil-based fabrics will still have a place, she said: "A strong synthetic with a very long lifespan might be right for some uses, such as an over-garment that needs little washing."

Capturing all these trade-offs in one simple label on an item of clothing is therefore tricky.

"It's very complicated," said Bigot. "But we need to get the machine started."

- Sustainable options -
The French agency is due to collate the results of its testing phase by next spring before handing the results to lawmakers.

While many welcome the labels, activists say this should only be part of a wider crackdown on the fashion industry.

"It's really good to put an emphasis on life-cycle analysis but we need to do something about it beyond just labels," said Valeria Botta, of the Environmental Coalition on Standards.

"The focus should be on setting clear rules on product design to ban the worst products from the market, ban the destruction of returned and unsold goods, and set production limits," she told AFP.

"Consumers should not have to fight to find a sustainable option -- that should be the default."



Dolce & Gabbana Debut in Paris, Showing Italian Artistry on French Soil

The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann
The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann
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Dolce & Gabbana Debut in Paris, Showing Italian Artistry on French Soil

The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann
The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann

For the first time in their 40-year history, the Italian design duo Dolce & Gabbana are showcasing their work in the French fashion capital. Paris, the birthplace of haute couture, now finds itself hosting a powerful Italian counterpoint to French luxury fashion.
The message, as curator Florence Müller puts it, is direct: “Yes, Italy does it too.”
The landmark exhibition, Du Coeur a la Main (From the Heart to the Hand) running from Jan. 10 to March 31, is not only a love letter to Italian craftsmanship, but to the interconnectedness of fashion. “The story of couture is global,” Müller explained. “Embroidery, lace, brocade — they existed long before Parisian couture, in Italy, in India, and beyond.”
Spread across 1,200 square meters (1,400 square yards) of the newly refurbished Grand Palais, the exhibit showcases over 200 looks from the company's Alta Moda and Alta Sartoria collections and 300 handmade accessories, as well as objects like Sicilian ceramics. It includes 10 themed rooms that delve into the artistic roots of Dolce & Gabbana’s work.
Baroque grandeur defines the collection, unapologetically maximalist and layered with embellishments. Among the highlights is a gown inspired by Venice's Murano glass, encrusted with glass mosaics from Orsoni Venezia 1888, the glassmakers behind the golden mosaics of St. Mark's Basilica. Müller described it as “a sculpture on textile — pure craftsmanship elevated to art.”
Opera takes center stage. A black velvet gown softened by gold embellishments captures the drama of Bellini’s Norma, while a romantic blue dress for Verdi’s La Traviata flows like an aria, its tulle layers whispering love and loss. Meanwhile, icons of the brand, such as Sophia Loren and Naomi Campbell, are immortalized in giant paintings. Classical Italian opera and traditional Sicilian folk melodies provide the soundtrack, adding layers of drama.
But Du Coeur a la Main is not just about finished pieces. Five real seamstresses from Dolce & Gabbana’s Milan atelier work live during the exhibition, crafting bodices, bustiers and corsets before visitors’ eyes. “This seamstress is sewing lace to form a dress, while another is draping fabric by hand,” Müller said. “It’s extraordinary. This is not just fashion — it’s art.”
Sicily, Domenico Dolce’s birthplace, lies at the heart of the collection. Traditional Sicilian hand-painted carts, ceramics and lace-making techniques are woven into couture. Yet the exhibit also underscores fashion's often-ignored global influences.
“Luxury goods and artisans traveled more than we think,” Müller said. “The silk and brocades used at Versailles Palace came from India, and Italian artisans were hired to craft the Hall of Mirrors ... (Fashion) is constant exchanges and inspirations — this exhibit reveals what time forgot.”
Italian and French fashion have long been framed as rivals, with French conglomerates such as LVMH and Kering and Paris Fashion Week sometimes viewed as the pinnacle of the industry. But this exhibition challenges that hierarchy, showing that the two traditions are more interconnected than they are opposed. Both rely on les petites mains — "the little hands" — the artisans whose precision and passion elevate couture to art.
“The techniques may differ — Sicily’s lace traditions versus Paris’s tailoring — but the soul of couture remains the same: the human touch,” Müller said. The exhibit reveals the shared ingenuity of French and Italian ateliers, whether in a Sicilian workshop or a Parisian salon.
Even beyond couture, the exhibit highlights the breadth of “Made in Italy.” Everyday items like Smeg refrigerators and coffee presses given a D&G reworking reflect the ethos of Italian craftsmanship, transforming functional objects into canvases for artistry.
“Fashion is art. It’s meant to inspire, to dazzle, to make us dream. Whether you wear it once or never, its value is in its beauty, not its practicality,” Müller said.
When asked about hyperbole of the dazzling gowns — many of which seem impossible to wear on the street — she replies with a smile: “So what?”