The fashion industry is responsible for between 8% and 10% of global CO2 emissions and is one of the largest consumers of water (The Environmental Price of Fast Fashion). Obviously, one of the most critical stages is the production phase of a garment.
But did you know that the use phase of clothing also plays a significant role in these figures? In fact, a recent study by the OCU states that this phase is the second most environmentally impactful stage in a garment’s life cycle, accounting for up to 34% of the total impact. A more conservative estimate from Mistra Future Fashion, which analyzed textile consumption in Sweden, concluded that the use phase could contribute up to 14% of the total climate impact of clothing consumption.
Regardless of the exact percentage, this figure could be significantly reduced if clothing were designed with greater optimization of the use phase in mind—and, of course, if consumers had enough textile knowledge to interact more sustainably with garments from the moment they consider purchasing them. As early as 2015, denim brand LS&Co. published a study stating that the climate impact of their jeans could be reduced by up to 75% in the use phase simply by washing them less frequently.
Precisely for this reason, at So Good So Cute, and in collaboration with Girbau LAB’s collaborative innovation space, we have decided to conduct a series of interviews with industry professionals to shed light on key aspects of circularity in the textile sector. And, naturally, we begin this series by speaking with the director of , Clara Guasch.
– Clara, why has chosen to focus on conversations about the impact of textiles in the use phase?
At , we are committed to collaborating and sharing knowledge to develop joint solutions that enable true textile circularity. However, we have noticed that, in general, there is a strong emphasis on projects focused on the production and recycling phases—the “beginning” and the “end” of a garment’s life cycle. And while that’s important, if we truly want circularity, there’s more to consider.
The production phase has been under scrutiny for a long time due to well-known issues such as the high energy, water, and chemical consumption of textile manufacturing. The textile industry is highly resilient and innovative, constantly adapting and reinventing itself, and has been transitioning towards a new production model for some time. Of course, there is still a long way to go, especially in influencing change through product design, which directly impacts the use phase.
The recycling phase is also crucial when discussing textile circularity. Significant progress and innovation have been made in this area, but there’s a risk of the Jevons Paradox. This paradox explains that when a technological solution (in this case, recycling) improves efficiency, it can lead to an increase in resource consumption instead of a decrease.
In this context, because we see a solution (recycling) that “eliminates” the problem (waste) and turns it into a new resource, both producers and consumers tend to lower their guard and feel less pressure to change habits. The result is increased production and consumption, creating a cycle that is not necessarily aligned with the principles of a circular economy, which prioritizes maximum efficiency in resource use. Even within circular economy models, losses occur—both in quantity (each recycling cycle requires new energy and inputs, and one kilogram of recycled clothing does not yield one kilogram of new clothing) and in quality.
In short, even if the industry has solutions to manage textile waste, it is not collectively intelligent to wear a garment ten times and send it for recycling. A garment should be used for much longer before reaching the end of its life cycle.
Given all this, we see significant potential in extending the use phase. That’s why is committed to fostering dialogue and creating initiatives that make this possible.
“We see great potential in extending the use phase of a garment.”
– But the reality is that consumers find it quite challenging to extend the lifespan of a garment, whether because it deteriorates quickly or due to fashion trends and consumption habits.
Exactly. And this is where textile culture and its dissemination come into play. To me, there are three key elements here:
The first is the quality of the garment from the start. In this regard, the production phase is especially relevant (what materials, fabrics, finishes, qualities, and functionalities are being used), but so is the buyer’s knowledge in selecting a garment based on their needs and intended use. You wouldn’t look for the same qualities in a technical garment (functionality), a wardrobe staple (quality and timelessness), or a piece for a special occasion (materials, design).
The second is how the garment is used. Each person has different habits, and it is important for brands to communicate and share information about the best ways to use and care for their garments. For example, if a dress lasts twenty years because I’ve only worn it three times, that’s not the point. What matters is that it can be worn frequently to make the most of the resources invested in it—whether due to its versatility, design, or quality, or because of the business model that supports its use.
The third is garment care, which also varies depending on the item. Our wardrobes contain a mix of essentials, special pieces, and technical clothing, each requiring different levels of care. People need to understand and interpret clothing labels to properly wash and maintain garments, preserving their quality, preventing deformation, reducing microfiber and microplastic emissions, etc. This knowledge is part of a textile culture that must be valued and promoted, as it has the greatest impact on reducing environmental damage and increasing garment longevity.
At Girbau, we work with Roser Zapata, an expert in these topics, who shared four tips in a previous interview on how to reduce the environmental impact of our laundry practices.
– The issue of microplastics alone could warrant a separate discussion, but is there any solution to prevent them from reaching the ocean?
This topic is complex and full of nuances. But to keep it brief, microplastics are particles that break off from materials over time, primarily due to two factors: the quality and production process of the material (in the case of synthetics) and the type of garment and how it is used.
Certain manufacturing methods produce more or fewer fibers that shed at different rates during various stages of a garment’s life. Spinning and weaving techniques also play a role in how easily fibers detach. Additionally, aspects such as finishes, colors, prints, textures, and functionalities influence how the garment will behave over time and, consequently, how much microplastic it will shed. Still, all clothing wears down eventually, even high-quality pieces.
A potential solution could be for producers to include specific information on microplastic shedding on clothing labels. This would allow consumers to make more informed choices (opting for materials that release fewer microplastics when specialized functions aren’t required), avoid excessive friction-based wear (which releases microplastics into the air), or wash garments in conditions that minimize microplastic pollution in water.
– You also mentioned that the environmental impact of the use phase depends on the business model associated with garment usage.
Absolutely. Using a garment does not necessarily mean owning it. We are seeing growing trends in rental, swapping, and reuse services, but for these models to work, we return to the importance of garment quality and consumer textile awareness.
– There’s still a cultural barrier when it comes to second-hand clothing.
Yes, I’m not sure whether it’s cultural or personal, but it’s clear that many people are hesitant to wear second-hand clothes. One interesting solution to this challenge could be ensuring industrial sanitization of pre-owned garments, which would likely increase consumer confidence in this business model.
– Will we rent clothes instead of buying them?
I believe both models will coexist. I envision a future where wardrobe staples are owned—these items are used frequently, so they must be high-quality and easy to care for at home. Meanwhile, rental services will be common for specialized garments, such as technical clothing or outfits for special occasions, which require professional cleaning. The challenge is ensuring that garments don’t just sit unused in closets—for that, we already have museums. The key is to maximize the use of existing resources in circulation.
“The challenge is to ensure that garments don’t just sit unused in closets—for that, we already have museums.”
– Another key issue that has come up and must be addressed to extend the use phase of clothing is how to deal with trend culture and garments that go out of fashion.
Absolutely. Reusing clothing also requires reassessing current aesthetic standards to help bridge this gap. Fashion professionals in the 21st century have a crucial role to play in this regard. Designers and, above all, stylists are essential in shaping these changes.
It will also be important to embrace the beauty of aged materials. We already appreciate the look of worn-out denim, but with many other garments, this is not yet widely accepted.
“Reusing clothing also requires reassessing current aesthetic standards […] Designers and, above all, stylists are essential in this regard.”
– Like Adolfo Domínguez’s famous phrase, “Wrinkles are beautiful.”
Exactly. Today, no one minds wrinkled linen because we perceive it as aesthetically pleasing. But the same is not true for cotton. That’s why fostering a stronger textile culture will be so important—it will allow consumers to choose garments based on broader, more informed criteria.
– Clara, to wrap up, is there any project at related to circularity that you can share with us?
We’re involved in various projects focused on optimizing the use phase of garments, but one that I’m especially excited to highlight in this context is our recent commitment to the Circular Fashion Pact. This initiative, promoted by the Government of Catalonia, brings together multiple players in the Catalan textile sector with the goal of advancing circular fashion and reducing textile waste.
080Reborn, the first fashion show at 080 Barcelona Fashion Week featuring 100% second-hand clothing. © Gisela Jané
Thank you, Clara, for your time, and thank you to for promoting shared knowledge to build a more circular textile industry. Thanks to your support, in the next interviews of this series, we’ll be able to delve deeper into some of the key topics that emerged from this conversation.
This interview is part of a discussion space led by and So Good So Cute, aimed at fostering reflection and shedding light on essential aspects of circularity in the textile industry.
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