SEASON 22011-2012

introduction 04

concept & design 14

materials & production 22

distribution & acquisition 32

use & waste 40

awareness 46

competition 48

terminology 52

credits 54

CONTENTS

BIODIVERSITY

Biodiversity is life in all of its manifestations. It is the

variety of life on earth, from the smallest fungus to the

largest animal and from the Dutch polder to the

tropical rainforest.

Despite global efforts, biodiversity is being lost at a

dizzying pace. Animal and plant species are dying

between 100 and 1000 times faster than before.

Over one third of all known species are threatened

with extinction. With the loss of a single species an

ecosystem can be completely disrupted, a

phenomenon which directly affects the livelihoods of

humankind and the foundation of our prosperity.

Our current production and consumption culture is the

largest cause of damage to biodiversity. Irresponsible

production is at the expense of the earth’s biodiversity,

including the ecosystems which provide the life

support services we depend on.

FASHION

Most of the produce in the fashion industry is not

produced in a responsible manner. This means that

materials, dyeing and finishing procedures that possess

environmentally damaging characteristics are often part

of clothing production. In addition, overproduction,

waste and excessive transport take place on a large

scale. Water is wasted, natural resources are depleted,

the environment is polluted and natural land is

converted into agricultural land. All of which result

in the loss of biodiversity.

04

GOAL

Amsterdam International Fashion Week (AIFW) initiated

The Green Fashion Competition in collaboration with

the Dutch ministry of Economic Affairs, Agriculture and

Innovation (EL&I) to counteract the harmful effects of

the current production and consumer culture in fashion

and thus conserve biodiversity. The Green Fashion

Competition aims to create awareness and attention

within the fashion industry for biodiversity and how it

can be sustained through Corporate Social Responsibil-

ity (CSR), a process wherein economic value (Profit) is in

harmony with the social issues surrounding a business

(People) and the impact of business on the environment

(Planet).

APPROACH

AIFW has developed a set of 5 ‘focus points’ in

cooperation with CREM, consultancy for sustainable

development, based on the creative process and

supply chain implemented in fashion practices. These

focus points explain the different manners in which

fashion entrepreneurs can sustain biodiversity within

the fashion supply chain and are intended as guidelines

for participants of The Green Fashion Competition.

Each chapter of this manual covers one focus point and

is a step-by-step guide on how to sustain our world’s

biodiversity in each phase of fashion development. 0

5

Focus Points per chapter

1: Concept & Design

2: Materials & Production

3: Distribution and Acquisition

4: Use and Waste

5: Awareness

Within each of these focus points

specific choices can be made that

can have an effect on biodiversity.

These choices are explained with

five key drivers, which you will

recognise in each chapter with

symbols.

The key drivers of biodiversity

loss directly related to the fashion

industry are:

06

LAND

[habitat loss and degradation]

The loss and degradation of habitats (the areas species

live in and depend on) is the principle cause of the loss

of biodiversity. For example, when natural land is

converted into agricultural land, animals, plants and

other organisms which previously habituated the area

may be displaced or killed, reducing the level of bio-

diversity. Similarly, the use of fertilizers and pesticides

in agriculture (e.g. in cotton production) may result in

the pollution of ground water and surface water, leading

to habitat degradation and the loss of biodiversity.

07

WATER

[water stress and desertification]

Many species depend on the availability of fresh water.

Excessive water-use in the production chain of fashion

may highly impact biodiversity, especially in water

scarce areas. In agriculture, long-term irrigation in dry

areas can lead to falling ground water tables and exces-

sive salinity (high salt levels) of the soil, impacting the

vegetation. In the textiles industry, most water is used

for cotton cultivation (2/3 or more of the total volume).

In the usage phase, a lot of water is used for washing

clothing (up to 1/3 of the total volume). In the processing

phase (e.g. the dyeing process), less water used, but

water pollution can be a major problem putting

pressure on the availability of good quality (fresh) water.

The production, usage and disposal of a conventional

pair of jeans take about 3500 litres of fresh water. Not

surprisingly, many of the larger brands in the textile

industry have already identified water use as one of the

key environmental issues that needs to be covered.

08

RECYCLE

[Use of raw materials and over-exploitation of

natural resources]

The production of fabrics used in the fashion industry

requires many inputs, such as raw materials (e.g. cotton

or wool), energy, chemicals and water. The production

also generates unwanted outputs such as waste and

the emission of CO2 and hazardous substances

(e.g. heavy metals in dyes).

Production of the inputs may impact on biodiversity

as a result of land conversion (e.g. for the production

of cotton or sheep farming), habitat degradation (e.g.

resulting for the use of pesticides and fertilizers) and

water use (especially relevant in cotton production).

Moreover, the inputs of raw materials may result in

‘over-exploitation’ when more resources are extracted

from an ecosystem than the system can produce.

In fashion one could think of the use of fur and other

animal or plant products from endangered species.

The unwanted outputs from fashion production may

also impact the biodiversity in a production area, for

example as a result of habitat degradation (e.g. hazardous

substances may pollute the ground water, affecting

vegetation and animals that depend on this vegetation).

By means of reuse and recycling, the need for new

(virgin) inputs will be reduced and less production of

materials is needed, thereby preventing unwanted

outputs to occur. In other words, reuse and recycling

will reduce the impacts on biodiversity resulting for the

fashion industry.

09

ENERGY

[Energy use, greenhouse gasses and climate change]

Climate change is an important driver of the loss of

biodiversity. Many processes in nature are linked to

temperature and many species can only survive in a

certain climate. A well-known example is the polar bear

which may become extinct when temperatures keep

rising. Projected changes in climate by 2050 could lead

to the extinction of many species living. By the end of

the century, climate change and its impacts may

become the main direct driver of overall biodiversity

loss. The emission of greenhouse gasses (such as CO2)

contributes to climate change and energy use is one of

the major sources of greenhouse gas emissions. Energy

is used in all parts of the textile supply chain, including

transport, the wet processing (heating of water and

running machinery for pre-treatment and dyeing of

fabrics) and the usage phase (cleaning, drying and ironing

of the product). Moreover, synthetic fibres based on oil

may also contribute to the carbon footprint of fashion

(when burned in the disposal phase). Reducing the

carbon footprint of fashion (either by reducing energy

consumption or by using green energy) will contribute

to a reduction of the climate impact on biodiversity.

10

CHEMICALS

[pollution of ecosystems due to chemicals used in

agriculture and manufacturing]

Excessive levels of hazardous substances / chemicals in

soil and water constitute important threats to eco-

systems and biodiversity. An example from the past is

the use of the hazardous pesticide DDT in agriculture

which ended up in birds of prey eating the mice that

ate the grain sprayed with the toxic pesticide.

As a result the number of birds of prey significantly

dropped. This pesticide is now banned, although it is

still used in a number of developing countries. Another

positive example is the reappearance of the salmon in

the Rhine as a result of the higher water quality due to

measures preventing hazardous substances from

various industries to end up in the water.

The salmon in the Rhine had become extinct in 1957.

Apart from the pesticides and fertilizers used in

cotton production, chemicals in the textiles industry

are especially used in in bleaching, dyeing, printing

and finishing. Many special features of textiles depend

on the treatment of fibres and fabric with chemicals in

the wet-processing. Decisions on colour, prints, shine,

feel and performance (like shrink-free, fire resistant,

easy iron etc.) have impacts on chemicals to be used.

Some chemicals have already been banned by law (for

example the Azo-dyes), while many of the larger brands

have strict policies on the use of chemicals, both from

an environmental and a (human) safety point of view.

For more information on the environmental issues in the

complex supply chain of the fashion industry download

the CSR Planetfactsheets

http://www.modint.nl/index.cfm/33,4042,126

html developed by Modint and CREM

11

MANUAL

This manual is meant as a tool with which participants

of The Green Fashion Competition can acquire an

understanding of the effects of their fashion business

on the world’s biodiversity. Sustaining biodiversity is

one of the main criteria of the competition. The manual

will create understanding to ‘what biodiversity is’ and

illustrate a few of the many ways wherein biodiversity

can be sustained through sustainable entrepreneurship.

Each chapter of this manual briefly explains a focus

point and provides examples and useful sources.

The manual concludes with an explanation of the

judging criteria, the terminology and contact details.

To illustrate how fashion and biodiversity can success-

fully go hand in hand, the manual features images from

The Green Fashion Shoot - a shoot that features only

biodiversity-friendly clothing with the competition

ambassador (international top model) Lonneke Engel.

Please see page 54 for the shoot credits.

For up-to-date information on The Green

Fashion Competition, please visit

www.thegreenfashioncompetition.com

(original) photo:

Lonneke Engel

by Jouke Bos12

13

photo:

Menno Vermeulen14

FASHION CAN BE DESCRIBED AS A TEMPORARY STYLE OF DRESS

WHICH IS LINKED TO A PERIOD OF TIME. IT HAS A FUNCTIONAL

PURPOSE; PROTECTION FROM THE ELEMENTS AND CULTURAL

PURPOSE; SOCIAL IDENTIFICATION, ADORNMENT, EXPRESSION OF

PERSONAL TASTE AND STYLE. EACH SEASON THE FASHION CHANGES

AND DESIGNERS AND BRANDS SHOWCASE WHAT THE STYLE OF

DRESS SHOULD BE FOR THE FOLLOWING SEASON. WHAT IS ‘IN’ ONE

MONTH CAN THEREFORE BE ‘OUT’ THE NEXT.

1.1 BIODIVERSITY IN CONCEPT

Sustaining biodiversity can be achieved by facilitating

new or different concepts of fashion. In the words of

Albert Einstein: “Imagination is more important than

knowledge!”

Slow fashion is an example of a new concept that

was developed by sustainable fashion pioneer Kate

Fletcher. Within slow fashion, designs have a prolonged

longevity and more attention is paid to the quality of

individual garments and how they were produced.

In slow fashion, garments do not necessarily go ‘out‘

of fashion after a certain season. By producing less,

over-production and waste is combatted, which can

contribute to conserving certain species and eco-

systems by reducing environmental harm and the

usage of raw materials.

More information about Slow Fashion can be found on

Fletchers’ website: www.katefletcher.com

1.2 BIODIVERSITY IN DESIGN

Fashion designs are generally created by designers with

a functional and aesthetic value, attractive to consumers

whom identify themselves with the designer or brand

and their garments. Biodiversity can be sustained by

approaching the existing design process in an innovative

manner. Ways to do so are through Product design,

Material innovation and Innovative production systems.

15

Product Design

Starting the design process with an ecological mindset,

can help to sustain biodiversity. By for example

developing a pattern that excludes waste material or

designing a garment that has many different functions

or that is adaptable by the consumer, a design in itself

can become more sustainable. If a consumer can for

example redesign a product that he/she has already

bought, the lifespan of the product could be extended,

or even become infinite. An example of innovative

product design is the Cradle to Cradle approach. This

means designing products with their end-of-life phase

in mind. The Cradle to Cradle principal is based around

the concept that ‘waste is food’, which basically means

that all used materials should be usefully implemented

as a different product after their lives as another product.

Quality loss should not be an issue in a real Cradle to

Cradle concept and all residuals should be reusable or

environmentally neutral. The Cradle to Cradle approach

sustains biodiversity as the use of raw materials and

water-use is minimised.

For more information concerning Cradle to Cradle

design, please visit www.cradletocradle.nl (Dutch) or

http://mbdc.com/ (English)

16

Another example how bio-

diversity can be sustained

through fashion design is by

applying the ‘Eco design’

concept. Eco design is

comparable to the Cradle

to Cradle approach as it is

a design principle where

the environmental impact

of a products’ total lifespan

is taken into consideration

while the product is being

designed. During the pro-

duction phase, attention is

focused on the raw materials

used and the emission of

harmful substances.

In the usage phase (when

the consumer owns the

product) attention should be

paid towards the amount of

energy, water and other

elements used and the

impact on air quality (for

example washing the

garment). In the disposal

phase it is important to

make a product as easily

recyclable as possible.

For more information

concerning Eco design,

please visit:

http://www.ecodesign.nl/

(Dutch)

(original) photo:

Lonneke Engel by Jouke Bos

17

material Innovation

By designing with, or developing innovative

and/or new (natural) materials, it could become

possible to sustain our world’s biodiversity.

There are many technological developments

that have the ability to change what we currently

perceive to be fashion, how we use materials

and how consumers dress and live. It could be

worth exploring Nano-Technology (manipulating

matter on an atomic and molecular scale) or the

use of luminous materials, which for example

contain LED-lighting. Another option could be

to research BioCouture, textiles that actually

grow themselves due to the use of microbial-

cellulose. Textiles which include antimicrobial

additives such as silver and are already available

and in use. Augmented reality, wearable

technology, such as ‘tweeting coats’ shape

memory alloys, soft circuits, embedded displays,

adaptive contours and kinetic outfits are mere

examples of what is currently being tried and

tested. Furthermore, milk yarn and Tencel

(created by wood cellulose) are more widely

implemented textiles that are already available.

For more information about hallmarks such as the EU Eco-label,

please read chapter 3 and 5.

For more information on sustainable, innovative and fair-trade

materials, please visit: www.allesduurzaam.nl/thema/kledingverzorging

or read the book “Eco Textile Labelling”.

The book (and blog) Fashioning Technology by Syuzi Pakhchyan is a

great introduction to combining technology and craft.

18

Innovative Production Systems

By applying completely new production

techniques, all of the harmful environmental

impacts linked to current fashion production

could be discarded. Examples to do so are by

facilitating a shortened production process,

localizing all production and for example recycling.

Shortening a production process can contribute

to sustaining biodiversity by for example saving

energy expenditures on transportation and

salvaging materials that would otherwise be

wasted. Another example of innovative

production is vertical integration, which means

that a company owns all parts of the supply

chain, from production to sales. By integrating

all aspects of production and avoiding outsourcing,

it becomes possible to achieve a fast turn-

around time from design concept to finished

product. It is also able to monitor each facet of

the production process, therefore guaranteeing

high social standards for workers and controlling

the impact on biodiversity.

19

SUSTAINING BIODIVERSITY THROUGH CONCEPT AND DESIGN

Leave room in your

design for low water-use

choices in fibre, fabric

and processing

Leave room in your

design for sustainable

and certified fibre and

fabric choices

Be aware of the

significance of chemicals

used in the selection of

fabrics and suppliers.

Designers choose which

materials to work with

based on specific require-

ments (look, feel, colour,

print) for fabric and final

garment. Each choice for

a specific fabric features,

such as shrink-proof,

wrinkle-free, fire-resistant,

easy-iron, water-repellent,

stain-resistant, requires

more chemical treatments.

This also counts for feel

and shine and colour.

20

LESS IS MORE

The use of less natural resources through innovative

design, materials and production systems will lead to:

less pressure on natural recourses therefore less

natural land will need to be converted into

agricultural land.

less energy and water use

less materials wasted

less chemicals used and less pollution of ecosystems

This will lead to more biodiversity and healthy

ecosystems.

Explore the availability and

applicability of recycled

fibres.

Address the relationship

between design and

energy consumption and

greenhouse gas emissions.

21

THE MATERIALS USED TO CREATE A FASHION GARMENT AND THE

PRODUCTION PROCESSES APPLIED, HAVE THE LARGEST INFLUENCE

ON BIODIVERSITY. THE SUSTAINABILITY OF A PRODUCT IS DEPENDENT

ON THE AVAILABILITY AND SOURCE OF THE RAW FIBRE, THE PROCESS

OF HOW THAT FIBRE IS TURNED INTO A TEXTILE, THE WORKING CON-

DITIONS OF THE PEOPLE PRODUCING THE MATERIALS AND ITS TOTAL

ECOLOGICAL FOOTPRINT. THE PATH FROM A RAW MATERIAL TO AN

END PRODUCT IS A LONG ONE AND THERE ARE MANY LINKS IN THE

CHAIN WHICH AFFECT THE WORLD’S BIODIVERSITY.

Photo:

Menno Vermeulen

Besides natural and manufactured fibres, recycled fibres are also attainable

for use in fashion. Recycled fibres are materials that have been retrieved

after being discarded by the consumer. Certain retrieved garments can be

cleaned and reused as a complete product (second-hand clothing).

Other retrieved clothing is processed into rags that can then be reused.

An example of a project that facilitates such a method is Patagonia’s

‘Common Threads Recycling Program’. Please read Modint’s Factsheet on

recycled fibres for more information. Reclaimed plant fibres can be

processed into ‘new’ materials. Examples of which are: Viscose, Modal,

Cupro, Lyocelll, Acetate and Triacetate. By reusing materials, raw materials

are saved and no adverse effects are made on the environment.

Materials used in fashion can consist of natural fibres, manufactured fibres,

and recycled fibres. The choice for a certain material significantly affects

the impact on the environment. Natural fibres are renewable materials

that can be categorized into two groups, plant fibres (cellulose fibres) and

animal fibres (protein fibres). The most widely used plant fibre in fashion is

cotton. Other plant fibres include: Jute, Flax, Hemp, Ramie, Bamboo, Soy,

Corn, Banana and Pineapple. Animal fibres are: Wool, Silk, Hair, Angora,

Camel, Alpaca, Lama, Cashmere and Mohair.

Manufactured fibres are man-made or synthetic materials, which have been

extracted from raw oil. Examples of manufactured fibres are: Nylon,

Polyester, Acrylic, Modacrylic, Elastane, Polypropylene and Polyurethane.

photo:

Lonneke Engel

by Jouke Bos24

25

2.1 BIODIVERSITY IN MATERIALS

Biodiversity can be sustained by choosing fibres that

are the most environmentally friendly option. Although

natural fibres might automatically seem like the most

planet-friendly alternative, there are advantages and

disadvantages to all fabrics usable in fashion. Cotton

for example occupies vast spaces of fertile soil as a

‘monoculture’ crop, therefore significantly reducing the

variety and amount of different species able to live in

such an area. The cultivation of cotton often goes hand-

in-hand with the use of insecticides and pesticides and

demands large quantities of water for optimal growth.

Such water usage puts pressure on water resources

and causes soil erosion. In total you can conclude that

contemporary cotton cultivation has a negative effect

on biodiversity.

Manufactured fibres also significantly affect the

environment, as harmful substances are often emitted

into the air and the water. During the production of

for example polyester, volatile organic substances and

hazardous chemicals are emitted which are classified as

being carcinogenic. Furthermore, some of the synthetic

fibres are based on oil, a non -renewable natural

resource, making them a less sustainable option in

general. Benefits of synthetic fibres are that they do

not require much land use (as opposed to natural

fibres) and they produce less waste water than natural

fibres.

Reuse and recycling both provide environmental

benefits, which can contribute to sustaining bio-

diversity. These benefits can be summarized as:

• By reusing and recycling textiles, the need for landfill

space is reduced. Biodiversity is sustained as textiles

present particular problems in landfills; manufactured

products will not decompose, while for example woollen

garments do decompose and produce methane, which

contributes to global warming.

• Reuse and recycling also reduces pressure on raw

materials and non-renewable resources.

• And reuse and recycling minimizes pollution and

saves energy, as materials do not have to be produced

again and do not for example have to be transported

from abroad. Nevertheless reuse and recycling do have

downsides, as the designers’ material-choice is limited

and some materials can be less pure after recycling. In

rare cases energy is not saved as it costs more energy

to recycle a material than it would have done to

dispose of the product, making the ecological footprint

larger than necessary. An example would be if a truck

would have to travel for miles to collect a small amount

of material to be recycled.

26

For a helpful overview of the different kinds of textiles that are available

and what environmental (and societal) effects they have on our world,

please download ‘Guidelines’ from www.thegreenfashioncompetition.com/

academy. Guidelines is an excellent handbook on the environment for the

textile and fashion industry, created by the Danish ministry of Environment

and Energy. For a greater understanding of cotton production and help in

choosing the most suitable kind of cotton, please download ‘Sustainable

cotton on the shelves’ by CREM, also on www.thegreenfashioncompeti-

tion.com/academy.

Using materials that help to conserve biodiversity and ecosystems

Local communities will be more inclined to preserve their flora and fauna,

if they can see economic benefits from using their natural resources in a

sustainable manner. The sale of sustainably harvested natural plant and

animal materials can clearly add value to ecosystems such as forests.

A good example of this practice is Treetap®. A plant-based leather from

the Amazon. Tapped by native Indians directly from the trees, the rubber

is purified and spread onto a canvas of organic cotton. Through a unique

hand-crafted process it becomes a fabric used in fashion accessories and

interior design products.

The U.N. Conference on Trade and Development says eco-fashion brings in

between $150 million and $200 million a year. Use of sustainably harvested

natural materials in eco-fashion can be an important source of income for

local communities. This way sustainable and certified management of for

example forests can offer an acceptable alternative to clearing the forest

and stripping it of its biodiversity. This could be an important step in stop-

ping deforestation. Sustainable forest management using FSC principles

and criteria is one of the tools to accomplish this.

For more information and example, on protecting biodiversity by using

sustainably harvested natural products

visit http://amazonyourbusiness.com/

27

2.2 BIODIVERSITY IN PRODUCTION

Many production processes in fashion have a negative impact on biodiversity.

The length of the production chain and for example transportation and

storage in between each link also contribute to this negative impact.

The production chain for cotton illustrates the lengthiness of textile

production systems and consists out of cotton growing, harvesting,

cleaning - spinning fibre - weaving and knitting yarn - wet treatment

(desizing, prewashing, bleaching, dying, printing, after treatment) -sewing,

transport and sales.

Manners wherein the production chain can become more sustainable and

preserve biodiversity are:

• By choosing local production – saving transportation, water and energy.

• By taking the range of the season and seasonal produce into account

- look for example at the availability of certain textiles in your region in

certain seasons.

• By facilitating natural farming practices–such as natural pest control and

thus reducing the use of fertilizer and pesticides.

• By facilitating energy and water efficient production

To share your views, idea’s and experiences with fellow ‘green fashion

entrepreneurs’ visit the British Ethical Fashion Forum:

www.ethicalfashionforum.com

(original) photo:

Lonneke Engel

by Jouke Bos

28

DID YOU KNOW THAT CONVENTIONALLY GROWN COTTON IS THE MOST CHEMI-CAL-INTENSIVE CROP IN THE WORLD? IT DEMANDS APPROXIMATELY 25% OF THE WORLDS INSECTICIDES AND MORE THAN 10% OF THE WORLDS PESTICIDES.

29

SUSTAINING BIODIVERSITY THROUGH MATERIAL AND PRODUCTION CHOICES

The very general rule is:

Cotton is the most water

consuming fibre.

For more specific fabric

properties take into

account that the more

wet-treatment steps that

are needed, which equals

more water consumption

and pollution.

Manage the environmen-

tal impact by choosing

a fabric that does not

require a lot of land for

production or make a

specific choice for cotton

and wool with a reduced

environmental impact.

The focus in the textile

chain lies on the

production and treat-

ment of yarns and fabric.

Chemicals are largely used

in wet-processing, dyeing,

printing and finishing.

But also in earlier

production steps such as

mercerizing, bleaching and

de-sizing cloth or yarn and

the scouring/washing of

the raw natural fibre.

All of these processes

largely contribute to water

pollution due to the use of

harmful chemicals.

30

WATER AND BIODIVERSITY

Drought, salinization and water pollution threaten

biodiversity in many areas; in rivers, lakes, swamps,

oceans and on land. Examples of which are:

• The desiccated Aral Sea caused by irrigation of

Cotton Plantations

• Mortality of freshwater dolphins caused by the

use of pesticides in cotton

Consider using recycled

materials. Reuse and

recycling also reduces pres-

sure on raw materials and

non-renewable resources.

It usually results in less

pollution and energy use

than production from new

raw materials.

You can review where you

can use technically and

economically developed

fabrics from renewable

resources, instead of

mineral oil based synthetic

fibres. This will reduce the

need for (non-renewable)

mineral oil and energy in

the production of the fibre.

31

THE THIRD FOCUS POINT FORSUSTAINING

BIODIVERSITY IS DISTRIBUTION AND ACQUISITION.

WHERE YOU BUY STOCK OR MATERIALS AND THE

MANNER INWHICH YOU SELL YOUR END PRODUCTS

CAN HEAVILY INFLUENCE THE TOLL THEY TAKE

ON THE WORLDSBIODIVERSITY. ACQUISITION

FOCUSES ON WHERE YOU SOURCE ALL OF THE

MATERIALS FROM THAT YOU USE IN YOUR FINAL

PRODUCT. DISTRIBUTION FOCUSES ON THE

CHANNELS AND REGIONS WHERE YOU RETAIL.(original) photo:

Lonneke Engel

by Jouke Bos

32

3.1 BIODIVERSITY IN ACQUISITION

Acquisition is closely related to materials and production. Consider where

you buy your materials. Is it necessary to buy a certain fabric from for

example Hong Kong? Or is there a comparable manufacturer in your home

country? Are you purchasing an ecologically ‘sound’ and certified fabric,

from a supplier who complies with social and ecological standards?

A manner wherein the acquisition of materials (but also the acquisition of

packaging, adornment, accessories etc.) can sustain biodiversity is by

monitoring the production process that takes place to create the materials

that you use. Personal contact with farmers, production companies and

factories can provide a clear insight into the processes that have taken

place and therefore what the environmental advantages and disadvantages

are of one material in comparison to the other.

Such contact demands a high level of involvement, time and transparency

from all links in the production chain and is in many circumstances difficultly

attainable for independent designers. An easy manner to monitor the

sustainability of your acquisitions is by facilitating hallmarks and quality

labels. Certain organic labels for example guarantee that a material is

produced with consideration to the environment and therefore comply

with key criteria in fibre production, processing, quality assurance of the

entire supply chain.

33

GOTS (Global Organic Textile Standard)

www.global-standard.org

A textile product carrying the GOTS label grade

‘organic’ must contain a minimum of 95%certified

organic fibres whereas a product with the label grade

‘made with organic’ must contain a minimum of 70%

certified organic fibres. The GOTS standard also

includes requirements with regard to the other steps

in the supply chain, such as the wet processing phase.

The label is both relevant for wool and cotton.

OE 100 and OE Blended (Organic Exchange100 and

Blended)

www.organicexchange.org

The OE 100 is used for tracking and documenting the

purchase; handling and use of 100% certified organic

cotton in yarns, fabrics and finished goods. The OE

Blended details the steps required for textile mills to

receive organic certification relating to goods which

have only a certain percentage of organic fibre. This

label is only relevant for cotton.

34

IWTO (International Wool Textile Organisation)

http://www.iwto.org/

Modified its definition of organic wool by aligning it to

the GOTS processing standard and also unveiled a new

IWTO standard for ‘Eco-wool’, which is based on the

EU Eco-Label guidelines. The Eco-wool standard is only

relevant for wool.

A great source for hallmarks and quality labels used in

fashion and textiles is the book ‘Eco - Textile Labelling’

and the European Union’s website on Eco Labelling.

35

3.2 BIODIVERSITY IN DISTRIBUTION

Distribution is strongly connected to

your consumer and target market.

When developing your designs, it is

important to consider who the end

user will be, where they are situated

and how you can reach them.

Distribution regions

Where your products are sold geographically can contribute to sustaining

biodiversity. Targeting a global market will have a larger impact on bio-

diversity than for example targeting a local market in consideration to

shipping, which costs energy and causes harmful emissions. By retailing

your produce close to where it is actually produced, biodiversity could

be sustained. Biodiversity can thus be preserved by for example local or

regional distribution in comparison to international distribution.

Other examples of how considering your distribution regions can sustain

biodiversity are:

• To only retail in certain areas during a certain season.

• Connecting your products to the availability of raw materials.

• To only retail to consumers who fulfil your own environmental criteria.

• To retail to consumers who are willing to pay a ‘carbon offset’ tax on

top of their purchase.

Distribution channels

The nature of the distribution channels facilitated for retailing your

garments can also contribute to sustaining biodiversity. Selling strictly

online or only through markets could for example prove to be a more

energy-efficient retail tool than retailing through bricks-and-mortar

shops. Other contemporary retail channels include catalogues, TV, fairs

and door-to-door sales. Saving energy, raw materials and avoiding

emissions all contribute to saving biodiversity.

36

How do you know if your suppliers and distributors are biodiversity friendly?

Begin with checking if your suppliers are certified. In sourcing and buying, keep a

keen eye for suppliers that are already certified by one of the mentioned certificates.

Check the suppliers’ sustainability report and/or ask relevant questions.

• Does the supplier have a policy on water, energy and chemical use?

• Is this policy translated into specific targets on the sustainability of materials?

• Does the company use internationally recognized initiatives and labels, and to

what extent?

• Is the percentage of labelled products monitored and reported on?

Ask for specific information about environmental impact on production methods

and measures. It is important that this information can be considered reliable

(‘there is no easy way-out to serious questions’!).

38

WHETHER THE RESPONSIBILITY OF A DESIGNER ENDS AFTER A

GARMENT IS PURCHASED IS A HIGHLY RELEVANT TOPIC WHICH BEARS

MANY HEATED DISCUSSIONS. THE EFFECTS THAT A GARMENT WILL

CONTINUOUSLY HAVE ON THE WORLD’S BIODIVERSITY AFTER SALES

ARE NEVERTHELESS INDISPUTABLE.

The manner in which a garment is used can contribute to sustaining

biodiversity. If product for example demands a consumer’s attention for a

certain topic (e.g. sustaining biodiversity) through the manner in which it is

used, a more conscious lifestyle could be stimulated. The topic ‘awareness’

is more broadly covered in chapter 5.

How a consumer uses a garment, its functionality, the necessary care

(cleaning)involved and the disposal can be influenced by the choices that

designers make and can therefore be made more ‘biodiversity-friendly’.

41

4.1 BIODIVERSITY IN USE

The functionality of a garment can contribute to how

biodiversity-friendly a garment is. If a garment can be

used in more than one way, for example as trousers

and a shirt, or inside-out, the consumer would not have

to buy as many garments as when the garment would

only have one use. This would reduce production rates,

over-consumption and waste. Providing consumers with

the possibility to adapt the garments to their liking

or to for example change them completely could also

extend the lifespan of a product.

4.2 BIODIVERSITY IN CARE

Washing is a major role-player in the usage of a

garment and its continued effects on biodiversity.

The manner in which the end user washes his/her

purchase is highly influential to biodiversity due to the

detergents (chemicals) and water most frequently used.

Dry cleaning for example requires the usage of solvents.

The most commonly used is perchloroethylene (perc),

which is a central nervous system depressant, and is

listed as a hazardous air pollutant.

But even regular detergents contain bountiful

chemicals, which can be both harmful to humans

as the environment. To name just two:

• Phosphates found in clothing detergent stimulate the

growth of certain marine plants, unbalancing ecosystems.

• Artificial fragrances (often made from petroleum) are

not degradable and have been linked to toxifying fish

and mammals, and causing allergies and skin and eye

irritation on humans.

Examples to sustain biodiversity through care

are therefore:

• To promote the usage of environmentally friendly

washing alternatives

• To facilitate / develop materials that do not require

(frequent) washing.

• To find washing alternatives that reduce the amount

of water, energy and chemicals are used.

42

4.3 BIODIVERSITY IN WASTE

The amount of clothing wasted and the manner in

which textiles are disposed have a significant impact on

the environment. As mentioned before in this manual,

a tremendous amount of clothing is discarded each day.

The most common way that clothing is disposed of is

though landfills (namely in the USA) and burning.

Each has a negative effect on biodiversity. Landfills

waste valuable land, pollute the soil and groundwater

and burning clothing causes harmful air emissions.

Reuse and recycling provide environmental benefits as

they reduce the need for landfill space (also applicable

to incineration). It reduces pressure on raw materials

and non-renewable resources .Reuse and recycling

usually result in less pollution and energy use than the

production of new raw materials.

43

The environmental aspects

of the waste stage of

clothing depend on the

method of disposal.

Clothing is disposed of in

two ways: with the

domestic waste or through

separate collection.

Separate collection leads

to reuse, like second-hand

or recycling as cloth, yarn,

or even as fibre but

clothing still partially ends

up in landfills, leading to

land use and potential

emissions of hazardous

substances to soil and

ground water.

Recycling textiles in order

to make ‘new’ high quality

products from existing

material while reducing

waste is a valuable approach

in making the textile

production chain more

sustainable. The textile’s

composition and design will

largely affect its durability

(use-life) and re-use or

recycling potential.

Reclaiming fibre avoids

many of the polluting and

energy intensive processes

which are needed to make

textiles from raw materials.

All recycled fibres score

highest on environmental

performance.

Manners wherein a product’s disposal can become

more environmentally friendly are for example:

• Use recycled or recyclable fabric/fibre

• Consider the way your product is discarded and

how it is processed

• Encourage the separate collection of textiles for

reuse or recycling:

• Make your products easily recyclable.

• Develop a cradle 2 cradle product.

• Inform consumers about why, how and

where separate collection of used textile

is organized, or organize a separate

collection point yourself.

• Organise a return system for used clothing.

photo:

Menno Vermeulen44

THE FINAL DOMAIN OF ACTION FOR SUSTAINING BIODIVERSITY

THROUGH FASHION IS ‘AWARENESS’.ALTHOUGH CREATING AWARENESS

THROUGH YOUR FASHION BRAND AND/OR PRODUCTS CANNOT

DIRECTLY BE LINKED TO SUSTAINING BIODIVERSITYBY PRESERVING

CERTAIN SPECIES AND ECOSYSTEMS, IT CAN CONTRIBUTE TO

CHANGING CONSUMERS’ ATTITUDES AND STIMULATING SUSTAINABLE

LIFESTYLES.THE MOST OBVIOUS MANNER WHERE IN AWARENESS

AMONG YOUR TARGET MARKET CAN BE ACHIEVED IS THROUGH

MARKETING AND COMMUNICATION.

How can you raise awareness about biodiversity?

Public awareness of biodiversity loss is increasing, leading to changes in

consumer preferences and purchasing decisions. Consumers are more

concerned about the environment today than they were five years ago.

NGO campaigns, scientific research and media attention are part of the

reason for this change. As a result, more and more consumers are favouring

ecologically-certified goods and services.

Fashion entrepreneurs and businesses can show leadership in this field.

Examples of marketing and communication tools that can create awareness

concerning biodiversity are:

• Communicating the effects that a product has on biodiversity through

visual merchandising.

• Informing your consumer how the world’s biodiversity can be sustained

by using and disposing your garment in a certain manner (e.g. washing

with ecological detergent).

• Creating a transparent brand /company wherein the effects of your

operations on the world’s biodiversity are communicated.

• Channelling your consumers’ focus to specific topics of interest (e.g.

extinction of a species / seasonal production / transport emissions).

• Facilitating Hallmarks: Hallmarks such as for example the blue ‘Made-By’

button are recognisable signs that communicate to your consumer that you

maintain a certain quality level. In Made-By’s case the label communicates a

certain quality level for your production process, but there are many

different internationally and nationally acknowledged labels/hallmarks,

which communicate different things.

• Make the link clear between your design and biodiversity in your product

packaging and marketing.

• Work with NGO’s and civil society to improve your products and to raise

awareness on biodiversity and ecosystem conservation.

47

THE FIVE FOCUS POINTS ELABORATED IN THIS MANUAL ARE MEANT

AS GUIDELINES FOR PARTICIPANTS OF THE GREEN FASHION COMPETITION.

THE COMPETITION QUESTION IS:

“DESIGN THREE OUTFITS AND WRITE A BUSINESS PLAN, WHICH EXPLAINS HOW YOUR FASHION ENTERPRISE CONTRIBUTES TO SUSTAINING BIODIVERSITY.”

photo:

Lonneke Engel

by Jouke Bos

Sustaining biodiversity is one of the

core criteria for the competition.

Reducing energy usage, the amount

of raw materials used, the amount

of water used and harmful emissions

are ideal ways to sustain biodiversity.

Ideally participants will be able to

take the competition a step further

by connecting their fashion enter-

prises to conserving biodiversity

and ecosystems by addressing the

main drivers of biodiversity loss in

the different focus points through-

out the supply chain.

habitat loss and degrada-

tion: natural land is con-

verted into agricultural

land with unsustainable

farming practices

desertification and falling

water tables

over-exploitation of natural

resources, ecosystems and

species

climate change due to en-

ergy use and the emission

of greenhouse gasses

pollution of ecosystems

due to chemicals used

in agriculture and manu-

facturing

50

A representative from the Dutch ministry of Economic Affairs, Agriculture and

Innovation and an expert from CREM will be judging the applications on basis

of biodiversity.

It is a requirement to have one chapter of your business plan dedicated to

sustaining biodiversity.

The judges will focus on five main points within this chapter, namely:

1. Does the concept convincingly sustain biodiversity in comparison to

prevailing techniques?

2. Is the design / concept innovative when it comes to the ‘advantage’ for

biodiversity? Does it address the main drivers of biodiversity loss and does it

offer alternatives to existing unsustainable practices throughout the supply chain?

3. Does the concept provide expansion possibilities, which could increase the

positive impact on biodiversity?

4. Are other aspects of sustainability in the supply chain, such as social aspects,

taken into consideration?

5. Does the concept contribute to awareness raising on halting the loss of

biodiversity and ecosystems?

Further criteria that will be covered in the competition are: Vision, Profitability,

Feasibility, Market, Positioning, Design and Execution.

These criteria will be elaborated during the workshops (see requirements

business plan on the website) held for the participants of the competition and

on www.thegreenfashioncompetition.com.

For all queries concerning this manual and TGFC, please contact:

Holly Syrett - project manager for The Green Fashion Competition at

Amsterdam International Fashion Week

holly@amsterdamfashionweek.com51

BIODIVERISTY

Biodiversity is life in all of its manifestations.

It is the variety of life on earth, from the

smallest fungus to the largest animal and from

the Dutch polder to the tropical rainforest.

CARBON OFFSET

A carbon offset is a financial Instrument aimed

at a reduction in greenhouse gas emissions.

CRADLE TO CRADLE

Cradle to Cradle is a design principal based

around the concept that ‘waste is food’, which

basically means that all used materials should

be usefully implemented as a different product

after their lives as another product.

CSR (Corporate Social Responsibility)

CSR is a concept wherein companies take

responsibility for the impact of their activities

(manners wherein they aim to gain Profit) on

the environment (Planet) and on humankind

(People).

ECODESIGN

Eco design is a design principle where the

environmental impact of a products’ total

lifespan is taken into consideration while the

product is being designed.

ECOLOGICAL FOOTPRINT

The ecological footprint is a measure of human

demand on the Earth’s ecosystems. It compares

human demand with planet Earth’s ecological

capacity to regenerate. It represents both the

amount of biologically productive land and sea

area needed to regenerate the resources that

a human population consumes as well as the

amount of biologically productive land and sea

area needed to absorb and render harmless

the corresponding waste that comes forth from

that consumption.

ECOSYSTEM

An Ecosystem is all of the organisms in a given

area, along with the non-living (abiotic) factors

with which they interact; a biological community

and its physical environment.

NATURAL FIBRES

Natural fibres are renewable materials that can

be categorized into two groups, plant fibres

(cellulose fibres) and animal fibres (protein

fibres). Manufactured fibres: Manufactured

fibres are man-made fibres which can be made

fromregenerated (reclaimed) plant fibres or

from solely synthetic fibres, which have been

extracted from raw oil.

52

RECYCLED FIBRES

Recycled fibres are made from waste fabric

from clothing factories, which are processed

back into short fibres and spun into new yarn.

REUSED FIBRES

Reused materials are materials that have been

salvaged after being discarded by the consumer.

SLOW FASHION

Slow Fashion is a concept of fashion design

wherein garments are designed to surpass

fashion seasons and more attention is paid on

the quality of a garment and how it is produced.

VERTICAL INTEGRATION

Vertical integration is a style of business

operation wherein all links of a supply chain

are owned by one company.

photo:

Menno Vermeulen

THE GREEN FASHION MANUAL

AIFW: Amsterdam International Fashion Week (AIFW) started in 2004 as an

initiative to put Amsterdam on the map as a sparkling and internationally

oriented destination for fashion. Twice a year, AIFW forms the centre-point

of the Dutch fashion world, with a full schedule of catwalk shows, trade

fairs, presentations, lectures and parties.

AIFW and the Dutch Ministry of EL&I aspire to initiate a change towards a

more sustainable fashion industry with The Green Fashion Competition.

To do so, they provide a complete “prize pack” with which the participants

can really start a fashion business. Besides cash prizes, The Green Fashion

Competition provides workshops on biodiversity, sustainable

entrepreneurship and creativity, a platform during AIFW and

expertise from and connection with the Fashion Week network.

The United Nations Conference on Trade and Development (UNCTAD)

works together with The Green Fashion Competition on supporting

talented entrepreneurs.

AIFW was awarded ‘Best International Fashion Week 2011’ by Sublime

magazine for its innovative and sustainable initiatives in the fashion industry.

CREM: CREM is a specialised bureau for sustainable development projects.

CREM’s strength lies in an interdisciplinary approach and the placing of

ecological, economic and social problems in an international context.

Graphic design: Cezanne Noordhoek

54

THE GREEN FASHION SHOOT

Photography Jouke Bos @ UNIT

Model Lonneke Engel @ Paparazzi

Styling Jordy Huinder @ Eric Elenbaas

Hair & Make-up Judith Neyens for Chanel @ NCL Representation

Fashion Pants : Elsien Gringhuis

Dress + Jacket - Iris van Herpen

Dress vintage - Roberto Cavalli

Jacket - David van der Schraaf

Body - American Apparel

Skirt - Elsien Gringhuis

Shoes - Ilja Visser

Dress + belt vintage Viktor & Rolf

THE GREEN FASHION VIDEO

At http://vimeo.com/26060418 you can find back the scenes footage,

shot during The Green Fashion Shoot.

Video & editing: Bas Zwartepoorte & Cezanne Noorhoek55

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