The production process of clothing consists of the following stages: the creation of models, development of designs and technical documentation, preparation of materials, cutting and sewing products, final finishing, quality control, storage and storage of finished products The sequence of the production process is determined by the technical preparation of production. The system includes the development of technological and technical documentation for the entire manufacturing process of articles and preparation of means of technological equipment.
Modeling and design of clothing is carried out in the Model Centers and in the experimental shops of the enterprises. Modeling in the clothing industry means creating a model of a garment. For manufacturing in mass production for each model is developed design. Each product that comes out of the clothing shop should be an exact copy of the model. Modeling and design of a garment are the first, most responsible stages of clothes production, as exactly at these stages the quality of final production is predetermined, rational use of raw material is laid down, increase of labour productivity is provided, material costs for production of a product are determined, technology of its production and organization of production, level of mechanization and automation are determined (Cross, 2001).
In accordance with the production task, the designer represents his idea in the form of a sketch or in the form of a three-dimensional composition by piecing tissue on a mannequin. After approval at the art council, the sketch together with a sample of material is passed on to the designer. A product design is presented as a set of drawings and then molds all product details, according to which a sample model in material is made, which is also considered and approved by the art council.
The process of modeling is inseparably linked to the process of garment design, because there is one common task – creation of a high quality fashionable and technological model. The modern level of industry development provides for automation of design work with the use of technical means (computers, displays, graphing machines), which increases the effectiveness and improves the quality of design work (Wheatley, 2014).
In order to meet consumer demand, it is possible to manufacture products in mass production according to orders, taking into account individual customer requirements. The experience of a number of companies has shown that at industrial enterprises it is possible to produce products according to individual orders in accordance with the selected models and fabric for figures of different body shapes using computer-aided design of clothes (Tammaro, 2017).
The process innovation viewpoint with the comparison of the traditional and virtual garment manufacturing processes.
In traditional production mass-produced clothing is made according to the measurements of standard (typical) figures of a limited number of sizes, defined in accordance with state dimensional standards. The system of dimensional standards ensures sufficiently high satisfaction of the population with commensurate products. However, a certain percentage of the population has figures with dimensional features that significantly deviate from the standard ones. This group of consumers, which is large enough in number, prefers to use the services of making clothes according to individual orders, which can be done both in sewing ateliers, and at enterprises of mass production of clothing.
In order to successfully solve the problem of providing the population with satisfied, proportional clothing, it is necessary to know the individual peculiarities of the external shape of person’s body; to know the types of deviation from the typical figures; to determine the dimensional characteristics of figures in relation to making clothing for individual orders; to know the stages of designing and methods of designing clothes for a particular figure (Almond, 2010).
At the current stage of global development of the clothing industry a reduction in the industrial cycle of the product from the sketch to retail trade and the use of high technology and the results of scientific research about clothing materials are required.
The main aspects of the new approach to garment design become:
1) the apparel manufacturer’s ability to present products to the widest possible range of customers, to perceive and accumulate the demands of its potential consumers for prompt embodiment in an industrial collection, to find the ability to manufacture in mass production conditions products on personal pre-paid orders; to provide interactive online presentation of products more suitable for specific consumers to activate online product sales;
2) The company’s ability to perform design of new products and all design and technological documentation in digital form and, if possible, in automated mode, to use innovative technologies and materials, to use the means of virtual computer simulation and objective quality control of design solutions and manufactured products.
At the current stage of apparel industry development, complex technological solutions are at the basis of all stages of clothing design, providing transition of design documentation to electronic format, digitization and 3D visualization of the external form of design objects, virtual design and modeling of products, export of digital information of the design process to production departments, including remote locations (Townsend & Mills, 2013).
The process of designing new garments is a complex dynamic system consisting of interconnected stages of information transformation, carried out by both traditional and innovative methods. The implementation of the stages of the clothing design process can occur sequentially or in parallel, in one or different divisions of the enterprise, centrally or in different regions, countries or enterprises.
At the same time, the existing technological level of the clothing industry makes it possible to provide a unified information design environment for the formation of a new industrial life cycle of the product, distinguished by the introduction of high-tech methods of product design and organization of online presentation of clothing (Townsend & Goulding, 2011).
Modern scientific, innovative and technological factors of the external environment determine the necessity of expanding the traditional industrial cycle of apparel products to the organization of online sales due to the possibility of visualization of the industrial collection in a unified digital format in the form of 2D or 3D models of the designed products.
Computer technology is of great importance for design activities. Computer technologies in costume design are used primarily in systems for computer-aided design of clothing designs. Modern programs allow designing a basic design based on dimensional features; constructive modeling of the drawing; pattern design of product details; pattern grading of garment details; creation of pattern layouts of details; design and technological documentation; calculation of material consumption. Most of the modern programs enable design of technical and design drawings, selection of color model solutions, etc. Even with the help of standard graphic programs Corel Draw, Illustrator and Photoshop, the designer can draw designs of clothing styles, technical model design, construction and grading of patterns for clothing, layout of patterns on fabric for economical cutting. In addition, you can create an archive of specific patterns and shapes for each type and style of garment.
When designing a new clothing model, several interpretations of its image are created to avoid misunderstanding between designers, constructors and technologists: creative design; technical drawing.
Creative sketch of a garment is an image of the models of the collection with a detailed drawing not only of the general form of the garment, but also of its individual elements, but in contrast to the technical drawing of the model in this sketch the image of the costume is important (Almond, 2010).
Technical drawing is one of the most important types of illustrations used in the process of model development for visual representation of a product. It accurately conveys the silhouette, proportions, design and details and is a clear, neatly drawn lines that carry a unified meaning. Technical drawings are a form of visual communication between the designer and the manufacturer. A technical drawing is a representation of a garment on a plane without the model figure, emphasizing the construction, showing the lines of division and the presence of decorative stitching, bars or other details. It must be completely accurate and have a schematic character, can be made by hand or with the help of graphic editors. Various line widths may be used in the development of a technical drawing.
The assortment line is also presented in the form of technical drawings in order to create a correct idea of the design and color solution of the whole clothing line within the seasonal collection.
Lookbooks and price lists can also contain technical drawings and runway illustrations to show the customer an accurate interpretation of the garment. Technical drawings or photographs are added to the price list as a visual representation of the garment model.
The technical description, a document of the design documentation of the model, includes a specification and a technical drawing of the model (front view and back view). If necessary, the product view from the wrong side, inside pockets, waders, patches and other elements are presented. On the technical drawing you can specify the dimensions of the product parts, necessary for the production of clothes and control measurements (length, width, distance). In the confection card, along with used textile materials, finishes, accessories, fasteners, also presents a technical drawing of the model.
Technical drawings are often posted in trendbooks with trends for the future period and on the websites of clothing manufacturers. Visual merchandisers can use technical drawings to develop an in-store product presentation plan.
Fashion magazines with pattern books usually use technical drawings with a front view and a back view so that information about the design, details of the model are clear to every shopper. They are often accompanied by the color scheme used in the model. There may be an enlargement of small parts and view of the product from the side (Almond, 2010).
Thus, technical drawing is a kind of graphic presentation of a suit, which must be mastered by a suit designer and which accompanies designing and manufacturing of clothing in mass production, in studios, workshops, design studios, stores, fashion magazines, and everywhere else, where it is a question of fashion and clothing.
In addition to creating sketches of costume of various kinds (creative, technical), computer technology is used in the development of lookbook, brandbook. The development of technological progress, introduction of computer technology and new information technologies in all spheres of life and production determines the demand for specialists corresponding to the level of information society development, including in the field of design. Like all designers, costume designers need knowledge of computer technologies and methods of analytical information processing, which promotes active creativity and adaptation of the specialist in changing conditions. Computer technologies in costume design are universal means at all stages of design activity, from creation of artistic and technical sketch, construction of model design to development of brand symbols and advertisement of the brand.
The specifics of the fashion industry require manufacturers to respond instantly to market demand. One of the promising trends that can save time and materials in the development and production of new products are digital technologies of three-dimensional design of clothing. The relevance of these technologies was first formulated half a century ago. But in spite of a great amount of research work and considerable success in the field of three-dimensional clothing design, the problem of optimization of virtual modeling of clothing has not been solved yet.
There is still no consensus about the ultimate goals and tasks of three-dimensional machine design of clothes, about the content of its stages. Nowadays, three-dimensional design is considered to be any computer design in which a three-dimensional image of clothes is generated on the screen of a monitor using natural dimensions. With the help of three-dimensional design technologies solve problems from design and confection of materials to create virtual characters of computer games and defile.
Depending on the nature of the use of images can be divided into two types of three-dimensional clothing design technology. According to the first type of technology, a virtual three-dimensional form of clothing is created on a virtual human figure. On the basis of the volumetric shape of the garment, its flat parts are obtained as a reamer of that shape. The volumetric surface of the product is the primary product and the flat parts are the secondary product. The garment shape is created in order to obtain flat reamings from it. Such a technology may be conventionally called a reamer technology.
According to the second type of technology volumetric shape of the product is not the original, but a derivative product. First, using traditional methods of plane design develop flat patterns for clothing patterns. Three-dimensional design program performs a virtual assembly of parts into a single product and puts on a virtual human figure. This process is associated with a fitting. Therefore, the second type of technology is conventionally called fitting technology.
Each of the presented technologies of three-dimensional design has its own characteristics and scope of application.
Fitting technology
The design sequence consists of several stages:
The formation of a virtual 3D-mannequin.
For designing, you can use both the database of standard mannequins of male and female figures, and create your own 3D-mannequins by adjusting the parameters already included in the base mannequins. The range of corrected parameters of mannequins is not limited, which makes it possible to get mannequins of non-typical figures, such as pregnant women, athletes, figures with deformations and asymmetries.
Shaping the shape of the product and the lines of the internal members on the surface of the virtual mannequin.
In different programs, the approach to this stage is somewhat different. In some programs by setting the projection allowances and values of air gaps between the figure and clothing form a three-dimensional silhouette shape of clothes fitting or semi-fitting silhouettes. In other programs it is possible to create only tight-fitting clothing shapes, such as lingerie, sportswear, corsets and others by drawing the product lines and design partition lines on the mannequin surface.
Setting the properties of the materials from which the product will be made.
In the programs set the thickness and extensibility of materials that will be taken into account when creating flat patterns foldouts (Townsend, 2003).
Obtaining the exploded patterns for the garment.
Execution of the algorithms included in the program allows obtaining exploded versions of three-dimensional clothing patterns, taking into account the given shape of the clothing, the lines of internal constructions and material properties.
The advantages of the reamer technology include the following points:
- The designer is not required to have any knowledge of garment design. The design process completely excludes the traditional stages of plane design of clothes.
- The programs are easy to learn and provide fast design results – flat patterns.
- Clothing details shape can be changed depending on the properties of materials of which the product will be made.
- The possibility of superimposing various prints (both monoprints and plein-item images) on the product three-dimensional form and obtaining exploded patterns with placement of prints on them.
The disadvantages of three-dimensional design programs of the first type are:
Narrow scope of application for obtaining exploded drawings only for tight-fitting and semi-fitting products.
- Impossibility to project a large volume, as well as with draperies and pleats.
- necessity of pattern contours modification: dynamic addition of additions, modification of pattern shapes according to manufacturing techniques.
- Three-dimensional clothing design: new possibilities for the fashion industry.
Try-on technology
The sequence of three-dimensional design for clothes using virtual fitting technology contains several steps:
Construction of flat garment details.
First, by means of planar construction methods, the patterns for the designed clothing model are constructed. Pattern design can be performed either directly in 3D design program (for example, CLO 3D), in a separate subprogram of plane design (for example, in CAD Assyst) or exported from other programs.
Setting the input data.
The input data for three-dimensional design includes a virtual mannequin (avatar) and type of material for the product. Designing is possible both for the human figure, and for any three-dimensional forms: animal figures, furniture, furnishings, bags, etc. The designer can use both the avatars of standard shapes, and create their own by adjusting the parameters of avatars of standard female, male or child figures, or import into the program 3D shapes created in other programs or obtained by 3D-scanning (Townsend, 2003).
The appearance of the material can be selected from an electronic database of materials or uploaded by the user. In most programs it is possible to set not only the appearance, but also the physical and mechanical material properties (thickness, surface density, elasticity, flexibility, etc.).
Setting of conditions for forming the virtual image of the garment model.
For this purpose, on the screen of the monitor there is indicated a sequence of connection of cut parts in the process of virtual assembling of the product. As a result of virtual stitching, on the screen there is formed a three-dimensional form of the model, worn on the figure.
Specifying the types of seams, fittings, placement of logos, prints and other elements of the product.
After completing all the steps, the program forms a finished 3D image of the product, which can be used to evaluate the product both statically and dynamically. The avatar can move according to both the program’s own algorithms for movement and the user’s own variants of dynamic movements and poses. With this kind of capability, three-dimensional design technology began to be used to create virtual fashion shows and simulations of real fashion shows (Cross, 2001).
A screen-generated virtual product sample can be used to:
- evaluating the harmony of a model’s design solution, the consistency of its shape and proportions;
- selection of materials for a product with various physical and mechanical properties;
- overlay of drawings, prints, logotypes on the product details; these features allow you to create patterns for digital printing with the pattern printed on them;
- assessment of the product fit both in basic and derivative sizes and heights.
The advantages of virtual fitting technology include:
- reduction of costs for development of new clothes models due to reduction of the number of model elaborations in the material, connected with specification of designer’s solution. The program enables interactive correction of details’ shape with instant display of changes made on three-dimensional visualization;
- Realism and clarity of 3D images of models. Clothing manufacturers often use 3D visualizations instead of sketches, technical drawings and photos of models to present their ideas or products before they are manufactured, such as Adidas;
- Compatibility with other 3D design and animation programs.
The disadvantages of virtual fitting technology are:
- Insufficiently reliable simulation of the physical and mechanical properties of materials both in statics and dynamics. Three-dimensional doubles do not guarantee absolutely adequate simulation of real clothes tectonics;
- Programs have a limited set of typical avatar figures, as well as a limited range of variation of their parameters. Especially great inconsistency of virtual avatars with real twins occurs when forming figures of large sizes. It is possible to obtain avatars of all sizes either by importing into the program 3D mannequins generated in other programs or by scanning;
- the programs do not guarantee an absolutely adequate assessment of the proportion and balance of the clothes on the figure, that is why it is necessary to check the quality of fit in the real garments;
- the programs require high speed computer equipment for their functioning.
The technological viewpoint involves with the overview on the 3D technologies such as software and printing.
At the stages of idea development and its modern presentation (creation of a graphic concept, development of creative sketches, elaboration of technical sketches details, creation of a portfolio, catalogs and bows), a modern costume designer requires mastery of computer graphics and its free connection to manual graphics. It is a complicated multi-stage process requiring special cognitive strain, and approbation of results at all stages of design, from experimental techniques in materials to making clothing prototypes, which requires considerable time (Almond, 2010).
At the same time, fashion is a substance that is in constant motion. It constantly demands the necessary appropriate design. Only anticipating consumer demands, adapting skillfully to new markets, new technologies can and should keep up with the times, ensuring itself a steady growth rate in the fashion industry system (Townsend & Goulding, 2011).
This is why fast creative design is needed today, and therefore knowledge and understanding of additive technologies for fashion design, thanks to which, firstly, the designer can coordinate and control several work processes at once in real time, secondly, he is able to test his digital proposals even before they start to be cut, thirdly, working with several projects simultaneously and online, he can make changes at the design stage and eliminate errors (Briggs-Goode and others, 2010).
Above all, having online-tools at hand, the designer earns his own working base of online-templates, which, no doubt, will facilitate his work in the future, eventually leading to a reduction in costs and will contribute to increased productivity of design work (Townsend & Mills, 2013).
The question arises, what set of digital tools does a specialist involved in the design and production of clothing need? The first unit to own and the most common programs today are Photoshop and Adobe Illustrator and Adobe InDesign. These are the three most commonly used CAD (Computer-aided design) programs (Cross, 2001).
Photoshop is the undoubted leader in working with bitmap graphics, but more and more in the new versions there are tools for vector and three-dimensional graphics. The advantage of bitmap graphics is that it clearly and subtly convey changes in color, shades, shadows, unlike vectors. Adobe Illustrator is the leader in vector graphics (Wheatley, 2014).
Vector graphics has become a mainstay for designers, due to the demand for images in different sizes, and adaptive web design, which adapts to the format of different devices, it allows you to create clear, scalable images without changing quality, in contrast to raster graphics (Townsend, 2003).
In Design computer layout software is the industry’s best software for creating page layouts for digital media, which allows you to create a presentation design product to promote it further. Since today’s specialist designer is required not only to be able to create a product, but also to be able to present it profitably to the market. The second block of programs necessary for clothes designer is a block of programs for the development of clothes designs and patterns. In this area today is a real revolution. In place of the flat design programs, come programs for 3D modeling (Dieffenbacher,2013).
Because of the complexity of the object (the physical human body, with all of its individual characteristics of structure) on which the suit is designed, as well as the problems of digitizing the variety of materials and their properties, for a long time the light industry has not been able to design a suit in virtual reality and replace the real prototype with a digital one, whereas in other areas of design digitalization has already happened. Today, programs have emerged with capabilities that the market already demands to own. The concept of the “ideal product” has emerged, that is, a product that is born only in digital form (Polanyi, 2009).
From this point of view, the software from Wild Ginger Software is the first to be considered. Wild Ginger Software Cameo6 is a pattern making program. With it you can do everything from tailoring to mass customization and industrial production of clothing (Tammaro, 2017).
A big plus is that it contains photo-video tutorials that explain the features of the program. The Template Design module has tools for dimensioning and scaling, touch screen support, radial copying tools, tools with the ability to adjust colors and their quantity, tools with the ability to store objects for future use, etc (Hallnäs, 2009).
However, despite all the attractive features, at the moment it is a 2D program, about the same functionality as Valentina (2013). The latter, by the way, is a free software application and is used mainly by small designers, individuals, small sewing enterprises (Zielke, 2020).
If we talk about its features, it can be noted that Valentina contains CAD tools and design databases, has the ability to export designs and confection fabrics, fashion illustration functions, design templates, presentation tools. With this functionality the program is quite handy and does not cause any difficulties in the work (Rissanen, 2007).
The next step to familiarity with IT software tools for fashion design tasks, usually called the software Blender. This is free and open source software, which includes a package for creating 3D models. The program is suitable for both individuals and fashion design studios (Schön, 1983).
Designed to create three-dimensional computer graphics, it includes tools for modeling, animation, rendering, including the creation of fashion models. A characteristic feature of the Blender package is its small size (about 50 MB). All information in this software is stored in special “blend” files, which are almost impossible to convert into other formats, but thanks to “very advanced mechanisms” easy to export (James and others, 2016).
The EFI Optitex Pattern Design Software is a comprehensive software solution specifically for clothing design. The application is a working tool not only for design, but also for clothing production. It “aims to create an environmentally friendly workflow.” Full automation makes the creation of fashion clothing with this software simple and efficient. In addition to Pattern Design Software, Browzwear software is a very popular software tool for clothing design and production today, as it contains a complete set of features and capabilities for 3D clothing design. Its three-dimensional design is very realistic (Piper & Townsend, 2015).
This is important for speeding up the process of bringing the finished product to the court of the consumer. In doing so, manufacturers can have minimal iterations and cut costs long before launching their products. This expands the ability to make product designs, one of the most complex and demanding steps in model design (Verhoeven & Missinne, 2017).
Today, leading fashion brands are using Browzwear products to speed up their work. In this regard, we can name such famous companies as Columbia, Adidas, Walmart, Lululemon, Nike and others (Koskinen and others, 2008).
One of the most accessible, simple, easy to use software is considered SanpFashun. This application is designed specifically for fashion designers. It has gained popularity because it contains thousands of free design bases and sketches that help quickly create industrial design – proposals, according to the principle of family models. The program is linked to six SnapLibraries (women’s, men’s collection, suit collection, children’s, store, bags) (Rissanen2013).
The application is ideal for students and teachers of fashion design, fashion retailers, etc., but due to its templates, it somewhat limits the creative flow of authors. In addition to SanpFashun, another specialized software for clothing design – Edraw Max – has almost the same features. Its subsystems also contain a rich collection of basic design bases of models in addition to various styles and sketches (Tiano & Riminesi, 2017).
Using vector graphics techniques, users can change the coloristic solution of products and their design. Advertising presentations can be prepared with the program’s special functions (Lee & Jirousek, 2015).
In this program even beginners in fashion design can work as the program is based on the use of templates. It does not have 3D capabilities, but you can determine its choice by getting acquainted with the demo-version and studying the video tutorials. Realizing that the scope of this article is limited, we still want to pay some attention to another very interesting IT product for the purpose of clothing design and manufacturing – Clo software (Piper, 2019).
Today, Clo is the way to “smart” design in costume, it’s a kind of revolution in the design of fashion design objects. This software contains internal visualization tools that allow you to create realistic, high-quality images. The developers of the program have concerns that the deterrent for users of this program may be some internal fear of mastering it. Since Clo undoubtedly represents a step into the future of costume design, it will inevitably contain commands not mastered by users. However, the advantages of Clo are obvious. This is unlimited design – the program allows you to design any textile objects other than clothing (hats, bags, purses, lingerie, swimwear, etc., including the fabric itself (Lindqvist, 2015).
A definite plus of the program is its interactivity in real-time mode – any changes in 2D templates, coloristka, sizes, proportions are instantly reflected in 3D analogues; visualization of the projects is made in a few clicks; Clo-visualization precisely conveys the properties of the fabrics and materials offered, allows to detect and eliminate possible fitting defects, choose the modes of goods technological treatment (Marshall & Pengelly, 2006).
And this is in addition to the fact that, skipping the stage of prototyping, the manufacturer not only rationally uses its funds, but also cares about the environment. So, the need for special software in the work of the fashion designer is obvious. It’s time for the fashion industry to keep up with new technology and to be able to respond to future demands. Today, all processes, objects and materials are subject to digitization, i.e. the entire chain from raw materials to the consumer (Stanczak, 2007).
The use of 3D technology opens up new horizons, changing the business model: “design production-sales” to a model: “design-sales-production”. 3D design makes it possible to study the demand, to produce as much as necessary, to meet consumer demand faster and more effectively. In addition to replacing real prototypes with virtual ones for manufacturing, 3D modeling will be in demand in the huge field of “digital twins,” these are digital representations of real objects or systems (Rissanen & McQuillan, 2016).
For example, a digital consumer profile (avatar) can be created for virtual fittings, a digital product profile for implementing a personal design, and a digital product passport for labeling and a transparent product origin story. The ability to create virtual clothing for social media is emerging. Even today, quite a large number of people buy clothes just to take a picture in a new image and “post” the photo to Instagram or some other social account. Virtual models are the future of modeling, in the form of selling Influencer look-alikes for advertising campaigns. A new technology that is already on the doorstep, augmented reality is a major trend of the 21st century. This technology will require specialists in 3D design. And this technology is predicted to change the understanding of reality (McKelvey & Munslow, 2012).
Companies in the fashion industry have also begun to adopt 3D printing of clothing. Many fashion designers are making different kinds of clothes on an SD printer. But for a long time, the use of this technology was mainly limited to the production of exclusive clothing or clothes for shows. Today, thanks to improved technology, SD-printers have become able to reproduce high-quality material, fully repeating the structure of a particular fabric, for example, simulating the modes of weaving threads. Fabrics can be made from liquid polymers such as latex, silicone, polyurethane or Teflon and be attached to textile fibers of natural material (cotton, silk, or others) (McQuillan, 2019).
The development of SD printing technology is becoming very dynamic and this trend will undoubtedly affect supply chain management in the fashion industry in the future. Today, it’s hard to imagine the extent to which SD printing technology will affect supply chain management. A survey of business executives suggests that those surveyed believe that SD technology can fundamentally change current logistics business models and have a significant impact on supply chain operations (Runnel and others, 2017).
There is also a perception among academics and researchers that SD printing technology could be a prerequisite for the further development of current supply chain concepts. Specialists have no doubt that the direction of material and information flows may change with the application of this technology. The extent of the changes will depend on specific changes in the technological process of SD-printing technology, on how quickly this technology will be introduced by the largest companies in the world and other factors (McQuillan and others, 2018).
Sustainability of fashion industry.
Each stage of the fashion industry (modeling, sewing, selling, using and others) generates certain problems, and in many cases harms people, animals and the environment. To somehow minimize the negative effects of such an impact of fashion, the Fashion Industry Charter on Climate Change was created in 2018 (updated at the Glasgow Summit in 2021). This document was created in support of the Paris Agreement to help achieve the UN Sustainable Development Goals and contains approaches that will help the fashion industry reduce its impact on the planet and subsequently achieve zero emissions.
So what are the Sustainable Development Goals the fashion industry can achieve?
Goal 1: Eradicate poverty (brands must pay decent wages to everyone in the production chain (from farmers to workers).
Goal 5. Gender equality (women should not be discriminated against and abused in the workplace, as is often the case in sweatshops).
Goal 6. Clean water and sanitation (brands must strictly control production to avoid wastewater discharges with hazardous chemicals into water bodies and use technologies that reduce water consumption when growing raw materials and making products)
Goal 8. Decent work and economic growth (companies should provide all their employees with decent working conditions to eradicate slave labor).
Goal 12. Responsible consumption and production (manufacturers should use resources and energy wisely, creating things of better quality and in smaller quantities, and educating consumers).
Goal 13. Fight climate change (the fashion industry must reduce its carbon footprint).
Goal 14. Preserve marine systems (reduce the amount of synthetic textiles used, as this is a source of microplastics).
Goal 15 Conservation of ecosystems on land. (rational use of natural resources and reduction of production).
The driving force behind the move to “accelerate emission reductions” will be brands and retailers and their partners.
Here’s what’s to come:
Reduce emissions at the upstream level, i.e., decarbonize production, mining, processing and material preparation processes, and reduce production waste. At this level, 61% “accelerated emission reductions” can be achieved. Improving energy efficiency and switching to renewable energy sources, which have the potential to reduce emissions by 1 billion tons, play an important role.
Reducing emissions from brands’ operations. This involves greening the set of materials used, including increasing the share of recycled materials, using “clean” transportation, using environmentally friendly materials for packaging, reducing retail carbon emissions, minimizing returns, and reducing overproduction (only 60% of apparel products are now sold without discounts). Taking these measures would reduce CO2 emissions by 308 million tons by 2030.
Encouraging sustainable consumption. This means changing consumer behavior, making consumers more conscious of their clothing purchases, introducing and promoting rental, resale (resale), repair, and upcycling of clothing, and increasing collection and recycling to reduce landfills. These efforts will result in 347 million tons of emission reductions by 2030.
About 55% of the actions needed to accelerate emission reductions would provide net cost savings across the industry. The rest of the actions would require incentives: consumer demand or legislative regulation.
About 60% of the accelerated abatement actions would require significant upfront capital investment by apparel brands and retailers to support supply chain participants.
About 90% of the accelerated emissions measures could be implemented at a cost below $50 per ton of CO2. In March 2020, before the pandemic, the price per tonne of CO2 in the European Emissions Trading Scheme (EU ETS) was €25. After March 25, the price dropped to €15. Recall that in order to keep average temperature rise within 2°C while maintaining economic growth, the High Level Commission on Carbon Prices, headed by economists Nicholas Stern and Joseph Stiglitz, recommends bringing prices to $40-80 per ton of CO2 in 2020, and to $50-100 by 2030.
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