Circular Design For Fashion<\/a>, a book published by the Ellen MacArthur Foundation in 2021 with the aim of deepening this concept. More importantly, it was created as a useful and attractive tool to engage design professionals and other industry players in this fascinating journey toward circular fashion.<\/p>\nThanks to the support of Girbau LAB, So Good So Cute has the opportunity to interview the person behind the edition of this essential book, the strategic designer and circular design expert, Elodie Rousselot.<\/p>\n
\u2013 Elodie, what did coordinating Circular Design For Fashion mean for you?<\/strong><\/p>\nIt was a wonderful opportunity. At the Ellen MacArthur Foundation, we had already developed solid publications and reports, but these were often more technical or business-oriented. From the very beginning, the goal of this book was to bring circular economy concepts closer to a more creative audience.
\nWe started by exploring and identifying the creatives within the fashion industry, visiting different supply chain actors to better understand the reality behind every design decision\u2014the people, methodologies, and systems involved.<\/p>\n
We discovered that circular design education was clearly needed, as well as simple guides to help creatives understand where to start. During our research, we quickly realized that many designers felt overwhelmed by the concept of a circular economy and didn\u2019t know how to approach it. That\u2019s why we decided to make the book practical and accessible, providing answers to these concerns.<\/p>\n
<\/p>\n
“From the beginning, the goal of this book was to bring circular economy concepts closer to a more creative audience.”<\/p><\/blockquote>\n
<\/p>\n
\u2013 A fantastic edition that has won multiple awards.<\/strong><\/p>\nYes, and with very well-researched content. We interviewed more than a hundred people, collectives, and organizations, who became content creators, critics, friends, and ultimately, a community of circular designers.<\/p>\n
\u2013 What is circular design?<\/strong><\/p>\nIt’s just design, nothing more. In fact, it shouldn\u2019t even be called circular\u2014design, to be truly effective, should naturally integrate the three principles of a circular economy.<\/p>\n
\u2013 And what are those three principles?<\/strong><\/p>\nThe first one would be eliminating waste and pollution: As a designer, you need to understand the supply chain and how every decision can generate waste or pollution.<\/p>\n
The second one is keeping products and materials in circulation: This requires rethinking the business model to avoid a linear system and ensure that products have more than one life cycle.<\/p>\n
And finally, the third one is regenerating nature: This involves understanding living systems and how design decisions can enhance biodiversity and ecological resilience.<\/p>\n
<\/p>\n
“Circular design is an explosion of skills for the designer. It is overwhelming and fascinating.”<\/p><\/blockquote>\n
<\/p>\n
\u2013 It sounds like a major challenge for designers, right?<\/strong><\/p>\nAbsolutely. This paradigm shift needs pioneers who will lead the way. Not everyone will adopt it immediately, but the message will spread.<\/p>\n
\u2013 People talk about circular, sustainable, and regenerative design. Are there differences?<\/strong><\/p>\nThese are trends. The essence should remain the same: to never make a design decision without systemically considering its impact on life.<\/p>\n
\u2013 That sounds very utopian.<\/strong><\/p>\nWe have to be realistic. When designing a perfume package that needs to be ready in two weeks, there are constraints. But even within these limitations, there are always opportunities.<\/p>\n
What is clear is that we cannot keep doing things the way we have been. Temperatures have already risen beyond 1.5\u00b0C, and the near future is deeply concerning.<\/p>\n
The next two decades will be difficult, but we still have time to change course.<\/p>\n
<\/p>\n
“We still have time to change course. This change depends on the decisions we make today.”<\/p><\/blockquote>\n
<\/p>\n
\u2013 Was there a particular project in the book that pleasantly surprised you?<\/strong><\/p>\nMany. We wanted to showcase examples at different scales, from big corporations to startups and emerging designers.<\/p>\n
A great example is Bethany Williams, who integrates social impact into her business model. Another is Nkwo Onwuka, from Nigeria, who reuses discarded denim from Europe and the U.S. to create new pieces.<\/p>\n
Another fascinating project is Sojo, an app that connects people needing clothing repairs with local tailors, using sustainable bike-based delivery. A great alternative to fast fashion.<\/p>\n
\u2013 How has the book been received?<\/strong><\/p>\nVery well. We realized that fashion students really needed a resource like Circular Design For Fashion. Even though it\u2019s not meant to be a textbook, it works perfectly as one.<\/p>\n
\u2013 And the big brands? Is there a real commitment to circularity, or is it mostly marketing?<\/strong><\/p>\nI wouldn\u2019t say it\u2019s just marketing. I\u2019ve seen people working on it. If it were only marketing, these teams wouldn\u2019t exist. Additionally, there have been significant investments to promote this work model. That said, every company has its own perspective and identity on the matter. Some choose to create one very circular collection\u2014but only one. Others experiment with circular business models on a small scale. Recently, we\u2019ve seen Zara launch a repair service in Spain, which is promising. I also notice more pleasant surprises when checking labels\u2014more monomaterial garments and better outsourcing practices.<\/p>\n
In fact, many big corporations are doing more than they know how to communicate.<\/p>\n
That being said, there is still a long way to go\u2014and a lot to learn.<\/p>\n
<\/p>\n
“Many big corporations are doing more than they know how to communicate.”<\/p><\/blockquote>\n
<\/p>\n
\u2013 What are the main challenges of circular fashion?<\/strong><\/p>\nThere are challenges throughout the entire supply chain, from fiber production to the economic system on which the fashion industry is based, waste management, and the evident ethical and social issues generated by the linear economy.<\/p>\n
On a personal level, one of the perspectives I have chosen to focus my work on now is agriculture: the way we produce our food, as well as the fibers we use for our textiles, is one of the main contributors to carbon emissions, biodiversity loss, soil and water pollution, and the fragility of ecological and social systems.<\/p>\n
\u2013 What would be the main challenge regarding natural fibers?<\/strong><\/p>\nProducing fibers regeneratively in the quantities needed to sustain the current fashion industry is an immense challenge. Is it sustainable for everyone on the planet to own a cotton T-shirt? Do we have the capacity to grow that much cotton regeneratively for all those T-shirts? Could we use fibers that already exist naturally in the environment where we live? How can we return to a more local and integrated production system while still making it accessible to everyone?<\/p>\n
An exciting project in this regard is Fibershed, a non-profit organization that supports the development of local fiber-producing communities, including farmers, dyers, and weavers who work with seasonal cycles, ecological restoration, and fair employment, and connects them with brands and designers.<\/p>\n
<\/p>\n
“Is it sustainable for everyone on the planet to own a cotton T-shirt?”<\/p><\/blockquote>\n
<\/p>\n
\u2013 Is wool a good alternative? How does it align with veganism?<\/strong><\/p>\nIf sourced responsibly, I believe so. I am completely against animal cruelty and industrial livestock farming. However, in an ideal world, animals are part of an agroecology system. In this sense, I see nothing wrong with utilizing what animals can provide us within a balanced and respectful relationship. Of course, this model is far removed from industrial agriculture and livestock farming.<\/p>\n
I also believe that the environmental impact of a natural fiber produced with care and without chemical treatments will always be lower than that of a fiber derived from petroleum.<\/p>\n
\u2013 Like the one used to create the so-called “vegan leather.”<\/strong><\/p>\nExactly. And many other new materials that, despite being derived from organic matter, are mixed with petroleum-based components (such as polylactic acid and petroleum-based resin), making them neither biodegradable nor recyclable. In my view, this is not the right path either.<\/p>\n
\u2013 What about recycled plastic?<\/strong><\/p>\nA supposedly circular trend is producing monomaterial garments made exclusively from recycled polyester. If these are technical garments that require only occasional washing, I don\u2019t see a major issue\u2014they are efficient and durable, they allow us to recover existing plastic (instead of producing new plastic), they make recycling easier, and they shed fewer micro- and nano-plastics because they go through the washing machine less frequently.<\/p>\n
However, it’s important to note that polyester cannot be recycled indefinitely. It loses quality with each cycle. And for it to be properly recycled, several steps must be followed: it must be identified as monomaterial (meaning 100% polyester, clearly stated on the label); it must reach a recycling center where someone recognizes it as such; and it must be sent to a facility capable of processing it.<\/p>\n
Moreover, recycling also requires energy, so I wouldn\u2019t consider it a definitive solution either.<\/p>\n
<\/p>\n
“Recycling is not the ‘miracle solution’ of the circular economy.”<\/p><\/blockquote>\n
<\/p>\n
\u2013 So, what can we do as consumers to promote circular fashion?<\/strong><\/p>\nClearly, consume less. I know it\u2019s a radical solution, but it’s the only truly effective one. It\u2019s a delicate issue because it challenges the economic system on which our economy and lifestyle are based. I highly recommend reading Post Growth\u2014Life After Capitalism by Tim Jackson. The donut economy model is also very interesting.<\/p>\n
On a practical level, we can make better use of what we already have and replace the habit of buying with renting or borrowing. Second-hand shopping is another option\u2014it allows you to wear something “new” without actually buying new.<\/p>\n
And perhaps, we should reconnect more deeply with the nature around us. We take better care of what we truly know.<\/p>\n
\u2013 In the short term, beyond reducing consumption, what else should we consider when using our clothing?<\/strong><\/p>\nTake care of the clothes we already have, and wash them less. For example, denim should be washed as little as possible because each wash damages it. If you want to eliminate bacteria and odors, put it in the freezer from time to time. That\u2019s it.<\/p>\n
For wool and other natural fabrics, just air them out\u2014they naturally eliminate bad odors, unlike synthetics.<\/p>\n
For washing technical polyester clothing, you can use a washing machine filter that captures microplastics, though we still need to figure out how to properly dispose of these collected residues.<\/p>\n
\u2013 A lot of this depends on brands providing us with detailed information.<\/strong><\/p>\nExactly. As consumers, it is our duty to demand transparency and traceability.<\/p>\n
\u2013 How do you see the future of fashion?<\/strong><\/p>\nIf I take off my pessimistic hat, I want to believe that everything is still up for transformation. We have a huge but also incredibly powerful challenge ahead of us.<\/p>\n
We can build new economic models in fashion and beyond. That gives me strength and pride because I genuinely feel useful as part of this systemic change. And we all can be.<\/p>\n
Currently, Elodie Rousselot works at OpenSC, a company focused on verifying the sustainable and low-carbon production of food at its origin. Their goal is to help transform global food systems to tackle the climate crisis and protect both people and the planet.<\/p>\n
This interview is part of a discussion series led by Girbau LAB and So Good So Cute, aimed at fostering reflection and shedding light on key aspects of circularity in the textile industry.<\/p>\n","protected":false},"excerpt":{"rendered":"
Photo: Bethany Williams catwalk When talking about circularity in the fashion industry, it is essential to mention the Ellen MacArthur Foundation, a non-profit organization founded in 2015 to accelerate the transition to a circular economy. The foundation has chosen fashion and textiles as one of the main sectors to drive this transformation. A clear example […]<\/p>\n","protected":false},"author":1,"featured_media":2946,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1],"acf":[],"yoast_head":"\n
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