The State of the Industry

It’s time
for aFashionRevolution
w h i t e pa p e r
d e c e m b e r 20 1 5

AFashion Revolution | IT’S TIME FOR A FASHION REVOLUTION

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Credits

contents

Written by Sarah Ditty with special thanks
for words from Lucy Siegle and researchsupport from Emilie Schultz andCarry Somers. Acknowledgements:
Thanks to Maher Anjum, Sass Brown,
Becky Earley and Mo Tomaney for
their invaluable input and feedback.
Designed by Heather Knight02

Executive Summary04

W hy do we need a fashion revolution?

www.fashionrevolution.org

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W e are the Fashion Revolution

The content of this publication can in no way
be taken to reflect the views of the European
Union, Concord Alliance, C&A Foundation or
any of the funders of Fashion Revolution.

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W ho Made My Clothes? The focus through 2020

21

Our Theory of Change© Fashion Revolution CIC 2015.
All rights reserved. This document is not
to be copied or adapted without permission
from Fashion Revolution CIC.

24	
W hat makes Fashion Revolution unique06	Model: The business of fashion08	Material: People and planet
16	Mindset: Shifting the way we think about fashion22	
W hat Fashion Revolution Does25

A reas for further research & thought

26

final words...

27	appendix
28

references

Fashion Revolution | IT’S TIME FOR A FASHION REVOLUTION

2EXECUTIVE SUMMARY

executive
summary

It has been morethan two years since
the Rana Plaza
factory collapse
killed and injured
thousands ofgarment workers,
people who weremaking clothingfor dozens ofmultinational
brands and retailers.

In the two years since this tragedy, tens of thousands ofpeople have taken to social media, to the streets, to theirschools and to halls of government to uncover the stories
behind the things we wear. We are Fashion Revolution.
We want to understand and demolish exploitation in the
fashion industry.
However, most of the public is still not aware that humanand environmental abuses are endemic across the fashionindustry and that what they’re wearing could have been
made in an exploitative way. We don’t want to wear that story
anymore. We want to see fashion become a force for good.
This white paper is for people who don’t know that muchabout the human rights and environmental issues behindfashion but want to know more. It is for those who may
have participated in the #whomademyclothes hashtag
campaign but want to dig a bit deeper. This paper isintended to be diagnostic, setting out why a fashion
revolution is needed now.
This paper aims to contextualise Fashion Revolution’s
efforts. We hope it helps you better understand what Fashion
Revolution is, our philosophy, what sort of change we expect
to see, and what we’re asking the public, the industry andother stakeholders to do about it.

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Fashion Revolution | IT’S TIME FOR A FASHION REVOLUTION

4

why do we need a fashion revolution?

why do weneed a fashion
revolution?

Fashion Revolution was born on the day thatRana Plaza collapsed. This disaster acted as a
metaphorical call to arms. 1,130 is too many people
to lose from the planet in one factory, on one
terrible day without that standing for something.
We believe that the cost of fashion shouldn’t besomeone’s life. We mustn’t allow tragedies like
Rana Plaza to remain an unfortunate reality ofcontemporary life. Today, both people and theenvironment are still suffering as a result of how
fashion is made, sourced and purchased. We
believe enough is enough.

The Rana Plaza
disaster acted
as a metaphoricalcall to arms.

Though the Rana Plaza disaster is no longer on thefront pages of the news or at the forefront of ourminds, we believe it has opened up a window forsignificant change in the industry. Whilst this tragedy
is a symptom of industry-wide problems, it gives us
an opportunity to set a new agenda to overcome thecauses. The public must be part of setting this newagenda for the fashion industry. However, change
will need to come from multiple angles — business,consumers, governments, academia, NGOs andothers coming together to create a safer, cleaner,more just and fair future for fashion.
Before we set out what changes need to happen,
let us first look broadly at the the way in which ourclothing is made today, how it came to be made inthis manner and what big problems have resulted
from the way the fashion industry works.
We wanted to put a wide lens on the issues below,
so you have an overview of what we’re talking
about when we say we need a fashion revolution.
Though, of course, this doesn’t cover everything.
There are many organisations that have beenworking on these issues for years and have madesome important in-roads into improving conditions
and solving some of the problems that the fashionindustry faces. There is also a long list of multistakeholder groups and government interventions
that have paved the way for Fashion Revolution’s
work, without which it would be impossible tocontextualise the Rana Plaza disaster, many ofwhich you will find listed at the end of this paper.

Photography by Jaber Al Nahian, Asitimes and Sharat Chowdhury

On 24 April 2013, over
1,130 people were killed
when the Rana Plaza factorycomplex collapsed in Dhaka,Bangladesh. 2,500 more were
injured. The people crushed
under those eight floors were
working for familiar fashion
brands in one of the many
negligent accidents that plague
the garment industry.

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Fashion Revolution | IT’S TIME FOR A FASHION REVOLUTION

6

model: the business of fashion

7

Model:The businessof fashion

Fashion is our chosen skin.
On an individual level it
represents how we feel about
ourselves and what we want totell the world about who we are.
On a community level, it tells astory about our history, culture
and social customs.
We have worn clothing pretty much from the
beginning of time, but fashion was not always madeand consumed the way it is now. Mass-produced
clothing has existed since the mid nineteenth century
and working conditions have been a problem forwell over a hundred years. The term “sweatshop’ wascoined as early as the 1850’s. The Triangle Shirtwaist
Factory fire in 1911 was the deadliest industrial
disaster of its time, killing 123 women and 23 men in
Manhattan, New York City. Mill fires in the UK were so
common that mill owners often had their own steam
fire engines.
However, the way fashion is produced and consumed
has been dramatically scaled and sped up in the last
20-30 years and so too we have seen more frequentand deadlier factory disasters.
Clothing in the earliest days would have beenmade-to-order by local tailors and sold throughtrunk shows to aristocratic clients. Later luxury
fashion design would be shown on the catwalk
across a few major urban centres, still produced
locally and on a relatively small scale. Consumer
culture was ushered in around the 1950’s. In 1973
the U.S and other countries set up a quota system
to limit the amount of textile and apparel imports
from specific countries.

However, it drove up domestic manufacturing costs
and production began moving abroad. By the mid
1970’s many brands, some of which are now the world’s
biggest retailers, began rapidly copying catwalk styles,
producing them for much less and having them on
shopping rails within weeks. “Fast fashion” gained
steam throughout the 1980s, and some heralded it as
the “democratisation of fashion.” What once seemed
exclusive to a few was made accessible to most. The
majority of the market moved in this direction.
In 2005, the quota system was eliminated andreplaced by a World Trade Organisation agreementthat effectively opened the floodgates to outsource
abroad. By the mid 2000s, fashion had become ahuge global business with production constantly
moving to countries that offered the lowest wages, theleast regulation and the least protections for workers
and the environment in order to keep up the systemof producing more for less as quickly as possible. Thisis the case not just for the high street but for luxury
fashion too.

Fashion is now one of the most labour intensive
industries, directly employing at least 60 million
people (ILO 2015) and likely more than double thatindirectly dependent on the sector — an estimated
80 million in China alone (ODI, 2008). Handicraftartisan production is attributed as the second
largest employer across developing countries,
counting some 34 million handicraft artisans
just in India. (Alliance for Artisan Enterprise, 2014;
Business of Fashion, 2014). Women represent theoverwhelming majority of today’s garment workers
and artisans.
There are also millions of farmers, dyers,knitters, weavers, and myriad others involvedin the production and sale of clothing. Fairtrade
Foundation estimates that as many as 100 million
households are directly engaged in cotton
production and that 300 million people work in
the cotton sector in total (when you count family
labour, farm labour and workers in related services
such as transportation, ginning, baling and storage).

Fast forward to today and the fashion industry is now
one of the most influential sectors, both in termsof financial power and how it shapes wider trends,
beliefs, attitudes, behaviours, identity and culture.
The global fashion industry (which includes clothing,textiles, footwear and luxury goods) is worth anestimated $3 trillion (Companies & Markets, 2013),
and according to McKinsey (2015) has “outperformed
the overall market and every other sector acrossgeographies for more than a decade” — more
profitable than even high-growth sectors like
technology and telecommunications.

For the past decade, apparel companies have seen
rising costs, driven by rising labour, raw material andenergy prices. Yet despite the higher cost of making
clothing, the price consumers pay is cheaper thanever before. This is why production is regularly
shifted to lower cost countries (McKinsey 2015).
World Trade Organisation statistics (2014) tell us that
China is now the biggest textile and apparel exporter
followed by European Union countries then India,
Turkey, Bangladesh, United States, Vietnam, Korea,
Pakistan and Indonesia respectively.

As a result of fashion’s growing importance tothe global economy, garment manufacturing
has become the world’s third-biggest industrial
industry — behind only automotive and electronics
manufacturing (Financial Post, June 2014).

We now face a system of fashion businessthat is broken. It fundamentally operates in anunsustainable way and cannot carry on businessas usual. We cannot keep chasing the cheapest
labour and exploiting natural resources forever.
Eventually, they will run out.

However, writer and radio journalist Kurt Anderson
writes about the history of fashion in Vanity Fair:“I’ve been a big believer in historical pendulum
swings—American sociopolitical cycles tend to last,according to historians, about 30 years.” So maybe
the time for a fashion revolution really is now. We’ve
seen thirty years of rapid development and now it
may be time for a different model.

The fashion industry
fundamentally
operates in anunsustainable way
and cannot carry on
business as usual.

Fashion Revolution | IT’S TIME FOR A FASHION REVOLUTION

8material: people and planet

9

Material:
People andplanetHuman rights andworking conditions
Despite a number of international standards,
certifications and government legislation to tackle
human rights, working conditions are not up to
scratch in many of the places where clothing,accessories and footwear is made. Systematic
exploitation remains rife. Human rights violations
include cross cutting issues such as forced andchild labour, repression and discrimination, andunsafe, dirty and unfair working conditions.
Producers and garment workers might face
excessive hours, forced overtime, lack of job
security, denial of trade union rights, poor health,exhaustion, sexual harassment, discriminationand denial of other basic human rights when on
the job. These problems exist not just in places like
Bangladesh but also in developed countries like theUnited Kingdom and the United States.
Thanks to the pioneering work of internationalNGOs and unions like Better Work, CARE, Clean
Clothes Campaign, Fair Wear Foundation, Fairtrade
International, IndustriALL, Labour Behind the Label,Oxfam, TRAID, Traidcraft, War on Want and manyothers dedicated to improving the garment industry,human rights issues are more visible and better
understood than ever before. These organisations
have made significant in-roads into improving
conditions for many of the world’s producers.
However, the harsh reality remains that basic
healthy and safety measures do not exist for huge
numbers of people working in fashion’s supply
chains. The Rana Plaza factory collapse is the mostextreme and familiar example. Since Rana Plaza,
the Bangladesh Accord, set up to improve factory

conditions, has inspected over 1200 factories forsafety hazards and as a result has closed 41 andhelped to upgrade many others. But this is just one
country where our clothing is made.
There are many other human rights abuses atplay in fashion’s supply chains. For example,
Labour Behind the Label has found that massfainting of garment workers in Cambodia is due tomalnutrition. The International Labor Organisation(ILO) finds that women are most often, but not
exclusively, the target of sexual harassment. Better
Work data shows that men are three times more
likely than women to be supervisors. Women areless likely to be promoted, receive training or
become a union leader.

36 million people
are living in modern
slavery today, manyof who are working inthe supply chains ofWestern brands.
According to the ILO, there are 215 million children
working throughout the world, many full-time. Of
these, 115 million are exposed to hazardous formsof child labour. In Maplecroft’s Child Labour Index,
India ranked 1st with over 14 million children inwork, mainly in textiles. Their research underlines
the fact that the issue of child labour is often
symptomatic of a range of underlying structuralproblems in a country, including poverty and a lackof access to education.

In fact, the Global Slavery Index estimates that 36
million people are living in modern slavery today,
many of who are working in the supply chainsof Western brands. According to Maplecroft’s
tenth annual Human Rights Risk Atlas, 49
countries are characterised as ‘extreme risk’ in
the Forced Labour Index, which features manyof the world’s emerging (and textile/garment
producing) economies. These include China, India,
Mexico, Thailand, Indonesia, Colombia, Vietnam,
Bangladesh and the Philippines. There have been
diverse forms of bonded labour and deliberately
hidden subcontracting (where conditions are
unregulated) for a decades. These things areendemic across the industry, but certainly more
visible today than in previous decades.
“Companies cannot rely on robust governanceand remedy structures in these markets, whichmeans the onus is on them directly to implement
appropriate levels of due diligence and mitigating
action,” said Lizabeth Campbell, head of societal
risk and human rights at Maplecroft.
However, the Behind the Barcode report (April2015) found that of 219 brands surveyed, 91%
didn’t have full knowledge of where their cotton
is coming from, 75% do not know the source of
all their fabrics and inputs and only half actually
trace where their products are cut and sewn. Of
51 leading brands in the UK, 71% believe there is alikelihood of modern slavery occurring at somestage of their supply chains (Ashridge, Hult andEthical Trading Initiative, 2015).
If companies don’t know how and where theirclothes are made, then there is no way for themto ensure that human rights are protected in their
supply chains.

In Guangdong in China young women face 150 hours ofovertime each month. 60% have no contract, 90% noaccess to social insurance.

Fashion Revolution believes that transparency anddue diligence go hand-in-hand when tackling thehuman rights issues that hide behind our clothing. If
we can’t see it or refuse to look at it, we can’t fix it.
These are just a few illustrative examples of thehuman rights abuses prevalent across the fashionindustry. We suggest looking at the organisations
mentioned above and linked to at the end of thisreport for further research and more detailed
information about what’s already being done totackle these issues and what more you can do to
get involved.

Fashion Revolution | IT’S TIME FOR A FASHION REVOLUTION

10material: people and planet

Wages

Waste

The legal minimum wage in most garmentproducing countries is rarely enough for a worker
to live on. It is estimated that the current minimum
wage in Bangladesh still only covers 60% of thecost of living in a slum. In Cambodia and China theminimum wage would need to be at least twice ashigh to cover the basic cost of living.

Waste is going to be one of the next biggest
problems for the fashion and textiles industry.
Last year the worldwide consumption of textiles
reached about 73 million tonnes and is expected
to grow at nearly 4% annually through 2025 (APIC
2014), yet only 20% of textiles are recycled eachyear around the world (Soex presentation at Textile
Exchange conference 2014).

According to the Clean Clothes Campaign, in the
Cambodian garment industry over 80% of workers
are women, aged 18-35. In India, Bangladesh andacross Asia, most garment workers are women.
Many of these women have children and families
to provide for and no other income earners in thefamily to contribute. One worker’s salary typicallysupports at least three people in a family. Not only
do low wages keep garment workers in a cycle ofpoverty, but they also add to the pressure to work
long overtime hours which impacts on health andsafety, as well as on productivity.
In the Labour Behind the Label report Tailored Wages(March 2014) just four of 40 leading international
clothing brands were able to demonstrate work they
were doing towards paying a living wage (whichis enough to maintain a normal standard of living
wherever it is you are located.) Brands who are doing
little or no work towards a living wage included: Aldi,
Debenhams, Esprit, Gucci, Mango, Matalan, Pentland(incl. Speedo, Hunter), VF Corporation (incl. Lee,
Wrangler, The North Face, Timberland) and Versace.
At Fashion Question Time, organised by Fashion
Revolution in the Houses of Parliament on 26
February 2015, Jenny Holdcroft, Policy Director atIndustriALL Global Union said: “I think it’s clear thatthe brands that have driven this sort of sourcing
model have not paid any attention to wages… The
factory owners who also want to make a profit out of
this want to see where they can squeeze. Often they
can’t squeeze the materials because the brand canspecify what the materials are and where they comefrom, they can’t squeeze on overhead costs like
rent, electricity, taxes. So where does the squeeze
come? There’s really only two areas: their own profit
margin or workers’ wages. And this is not somethingthat the brands have ever really unpacked.”11

Textile waste is generally categorised into two
different types:
Pre-consumer; the leftover materials from theproduction of clothing; and2) Post-consumer; what is discarded byconsumers after use.
1)
A survey of 91 fashion brands found that only 12% could
demonstrate any action at all towards paying wages togarment workers above the legal minimum.

The Behind the Barcode report (April 2015) foundthat just 12% of 219 popular fashion brands
surveyed could demonstrate any action at all
towards paying wages above the legal minimum
and, even then, only for part of their supply chain.
Some brands are putting the microscope on
the price they pay for a garment, but very few.
Patagonia, for example, tracks the minimum,
average and living wage rates for all of its garment
factories to ensure that in its costing formula thecost of labour is close to or meets the living wage.
Plus, there’s evidence that paying a living wage isgood for business. A 2014 KPMG survey found that
40% of consumers would switch their loyalty toanother company if their favourite brand didn’t pay
a living wage. This is why transparency is essential.
People can only make an informed decision as
to where they want to shop if information about
which brands and retailers are paying a living wage
is out in the open. A fashion revolution is needed
because the brands, even the best of the brands
that are working most proactively towards a living
wage, cannot change the system alone.
.

It is estimated that a single textile mill can produce
from 5% up to 25% of pre-consumer textile waste
on its total yearly production. Over-production runs
and liability stock from manufacturers and mills
are often absorbed by the local market or sold via
third parties. Damaged clothing and discarded
rolls of branded and/or recognisable fabrics are
regularly slashed, landfilled and incinerated toprotect intellectual property and brand image.
This reality is hidden. Investigative reporters have
tried and failed to find out what really happens
with pre-consumer waste.
In the UK, roughly two million tonnes of clothing
and textiles are thrown away every year and only
16% of that waste is ever reused. That’s roughly£140 million worth of waste. Meanwhile, 80% of
textile waste going to landfills can actually bereused (WRAP, 2015). Of the clothing donated tocharity in the UK, only 10-30% is actually re-sold;the rest is exported overseas. In Uganda, some
81% of all clothes sold today are cast-offs from thewest. It has been widely reported that this influxof second hand clothing to developing countries
is destroying local textile and tailoring economies(BBC News, 2015).

It is estimated that we make 400 billion m2 of textiles
annually. 60 billion m2 is cutting room floor waste.

Meanwhile, every ton of discarded textiles
reused saves 20 tonnes of CO2 from entering theatmosphere and every 1,000 tonnes of used textiles
collected is said to create about 7 full time jobs
and 15 indirect jobs.
Textile landfill bans may come into play in Europe
in the near future (Oakdene Collins 2013). In
France, companies are now responsible by law
for managing the recycling of their products at
the end of their usage. Plus, we’re already seeing
many big brands like H&M and Marks & Spencer
putting clothing collection points in-store.
We need to better understand the implicationsof producing and consuming so much, andwhat effect this waste has on the environment,
communities and the economy.

Fashion Revolution | IT’S TIME FOR A FASHION REVOLUTION

12Water, Chemicals
and Carbon
Fashion is also a thirsty business. Cotton accounts
for 90% of all natural fibres used in the textile
industry and is used in 40% of apparel produced
globally. Growing it requires a lot of water. One cotton
shirt uses about 2,700 litres of water (WWF, 2013). The
Aral Sea has shrunk to just 10% of its former volume,due in part to conventional cotton farming.
17-20% of industrial water pollution comes fromtextile dyeing and treatment and an estimated8,000 synthetic chemicals are used throughout theworld to turn raw materials into textiles, many ofwhich will be released into freshwater sources. (The
Guardian, 2012).
Even if wastewater has been treated, residual
chemicals from the dyeing process can continue tobe present in water supplies. These residues can be
carcinogenic, toxic, mutagenic and have detrimental
effects upon human reproductive systems. A hugeamount of water is also used in the wet processingof clothes, such as dyeing and washing.
Washing detergents can contain phosphates, which
lower the water quality and lead to increased algae
growth. The European Union has therefore begun
to ban phosphates used in detergents. However,the substances that are regulated or banned in
the EU and U.S. still find their way into stores via
outsourcing to developing economies where
production and use of some potentially dangerous
substances are less likely to be regulated.
The chemicals used in pesticides are anothersource of concern. According to the Pesticide
Action Network, non-organic cotton uses 22.5% of
the world’s insecticides and 10% of all pesticides,
on 2.5% of the world’s agricultural land. 1-3% ofagricultural workers worldwide suffer from acutepesticide poisoning with at least one million
requiring hospitalisation each year, according to the
FAO, UNEP and WHO.

It takes 2,720 litres of water to make a t-shirt. That’s how
much we normally drink over a 3 year period.

The Carbon Trust reports that clothing accounts foraround 3% of global production of CO2 emissions,this includes both production and use phases.
Around half of these emissions occur whilst
clothing is being worn, washed, tumble-dried,
ironed and used, and mostly by North American,
European and Japanese consumers. Thoughmany brands and retailers are already addressing
their carbon footprint, the world is still on track to
comfortably exceed 2°C temperature target andmore needs be done to reverse global emissions.
We still need more public understanding of
fashion’s footprint and what goes into the products
we wear.

material: people and planet

13

Loss of culture and skills

Overconsumption

Artisanal, heritage craft industries have been eroded,
due in large part to mass manufacturing and also as aresult of second-hand clothes flooding local markets.
We risk losing ancient techniques that have been
passed down through generations in communities
around the world.

Not only has production moved mass-market but theway we consume clothing has changed a lot over the
past 20-30 years too. We buy more clothes than weused to and spend less on them. A century ago, we
spent more than half our money on food and clothes,
today we spend less than a fifth. (The Atlantic, 2012).

Millions of people in the developing world, mainly
women, depend on the handicraft trade. Behind
agriculture, artisan activity is the second largest
employer in the developing world and accounts for
56% of the market for heritage craft (Alliance for Artisan
Enterprise 2015). It is almost impossible to measureexactly how many artisans make a living through theircraft because of a lack of reliable data and problems in
defining what makes craft an occupation.

Yet as a society we purchase 400% more clothing today
than we did just 20 years ago (Forbes, 2014). Today over 80
billion garments are produced each year (Greenpeace).
The average American buys 64 items of clothing a year.
In the UK alone 2.15 million tonnes of clothing and shoes
are bought every year (University of Cambridge, 2006)
yet UK citizens have an estimated £30 billion worth ofunused clothing sitting in their closets (WRAP, 2012).

But right now, artisan trade faces an uncertain future.
In the 1950s, Italy was home to four million tailors.
Today, this figure has plummeted to 700,000. A defining
part of Italy’s artistic heritage risks extinction (DW.com,
June 2013). Pascal Bourdariat, the director of Frenchhigh-end jeweller Chaumet, estimates the numberof craftspeople making luxury jewellery in Paris has
halved over the past two decades. A few hundred years
ago, thousands of people were making traditional
kimonos – but today, there are only three families left
in Japan who can do this work. In the United Kingdom,
there is only one denim maker and one clog makerleft (Heritage Crafts Association 2014).
We need to put great value on these dying crafts anddo more to utilise and celebrate these time honoured
traditions and unique techniques.

Today, the seasonal calendar has been dramaticallysped up. For decades, fashion collections were
produced twice a year: Spring/Summer and Autumn/
Winter. Now we have resort or cruise collections andpre-collections aiming to cash in on a growing global
wealthy class. On the high street, new collections now
hit the shelves every week or two.
We’ve come to a point where the fashion industry
works on a relentless drive for speed and with it comes
mounting waste and overconsumption. Clothing
typically stays on the racks fewer than 12 weeks before
being marked down on clearance. Designer Carrie
Parry tells The Guardian: “Shoppers have become so
accustomed to these markdowns that it’s creating a
vicious cycle of overconsumption, paired with lower
margins for both brands and retailers as they findthemselves saddled with overstock and forced to
discount slow-selling merchandise.”Yet none of this reflects the true cost of fashion.
Countless reports have indicated that the cost of labour
is now rising in China, the world’s biggest apparel andtextiles producer. Cotton prices are also on the rise. The
costs of fertilisers and farm machinery are rising too.
The chemicals used in dyes and other treatments used
for fashion products are getting more expensive too.
Yet what we pay for clothing is still cheaper than ever. It
begs us to ask why. Who is getting squeezed?

Fashion Revolution | IT’S TIME FOR A FASHION REVOLUTION

Transparency & Traceability
So much is hidden within the fashion industry, largely
because of its scale and complexity. The public does
not have a clear picture of how it all really works, fromfibre through to final product and what happens to ourclothes when we get rid of them.
In its biennial “Behind the Barcode” report, Baptist
World Aid Australia analysed the practices of 219
fashion brands selling clothing to the Australianmarket and discovered that only 20% publicly
disclose their direct, first tier suppliers. First-tiermeans the factories that do the cutting, making andtrimming (CMT).
Only half of the brands keep track of all their CMT
suppliers. Even when companies have a direct
relationship with its CMT suppliers, they are often lessclear about whether these suppliers are contracting
production out to other factories.
Only 25% of these brands know where their other
inputs are coming from - fabric, zippers, thread (thesecond tier). And only 9% bother tracing their products
right down to the raw material.
The brands that neither publish the name of their
suppliers or their country of origin included: Lacosteand Quicksilver. Companies that publish or partiallypublish the countries where their suppliers are based
but no company names included: Abercombie &Fitch, Zara and Gap. Companies that both provide
public lists of countries and the names of their firsttier CMT suppliers include: H&M, Adidas, Levi Strauss
and Patagonia.
The Feel Good Fashion Report from Rank a Brand(2014) analysed another 350 of the most popular
fashion brands in the German and Dutch markets
and found that only 7% published a list of their
CMT suppliers.
We did some further investigating to see what
information brands share publicly. The shortanswer: not much! Amongst the ten largest apparelcompanies in the world, only three (Nike, Adidasand H&M) publish a full list of their direct suppliers
and only Adidas and H&M publish their known
subcontractors. Uniqlo provides a partial listing

14of their CMT suppliers and Zara (owned by Inditex)
provides information on the location of its suppliers
but no factory names. The rest do not provide any
further information about their suppliers.
When we looked at other well-known brands,
very few are disclosing a list of their suppliers.
However there are a few commendable exceptions.
In addition to name and country, Levi’s gives theaddress along with name to its long list of factory
partners. Nike discloses the address, number ofworkers, percentage of female workers and migrant
workers and in some cases contact details to the
supplier. Adidas has published special factory lists
for major sporting events, such as the 2014 FIFA
World Cup in Brazil, where trade union representation
and Collective Bargaining Agreements are displayed.
Patagonia discloses brief information on each ofits suppliers, including number of workers, gendermix, when the company started working withwhich factory, and efforts for improving social andenvironmental responsibility. G Star publishes amanufacturing map, which includes the name of
their first tier factories, address, number of workers,
products they make for G Star, when G Star started
working with the factory, the gender balance ofworkers and a small photo of the facility.
Most fashion companies now monitor and audit
the factories they work with. However, very few
publish the results of that monitoring and auditing,information that would provide an insight into whatfashion’s factories really look like. H&M publishes
a list of the average compliance level among all
audited and approved first tier factories they workwith in each region. Nike and Adidas gives somestatistics on their auditing results, available in theirannual sustainability report. Lululemon discloses
the company’s environmental footprints (carbon,
water, materials, transportation, waste). Gap provides
an impressive amount of information publicly about
their supply chain auditing results, including themethodology, factory ratings comparisons, noncompliances by region and carbon reporting results
but it doesn’t seem to be updated regularly.
Among the top ten apparel companies, five (Nike,
H&M, Uniqlo, Adidas, and Hugo Boss) publish anannual sustainability/CSR report; however, most ofthem reveal little on the social and environmental
impact further down the tiers of the supply chain.

material: people and planet

We need moretransparency fromthe fashion industry.
Transparency
involves openness,
communication
and accountability.
H&M is working to expand reporting to their second tiersuppliers. Outside the top ten list, a few companies(e.g. C&A, Topshop, Calvin Klein) publish annual
sustainability/CSR reports, but the lion’s share of themarket does not publish reports or communicate anyother relevant information about the company’s socialand environmental impact.
There are thousands of brands and other fashioncompanies selling clothing worldwide that do not
face the same public scrutiny for their social andenvironmental records. The low or non-existentlevel of visibility across the supply chain highlights
the problematic and complex nature of the fashionindustry. A few brands have received a lot of publicpressure to publish information about their suppliers
and some have responded by disclosing parts of it. Yet,the rest of the industry remains very opaque.
None of the largest luxury brands (e.g. brands like
Chanel, Stella McCartney, Louis Vuitton and Dior), of
which many are grouped under the same owner (e.g.
Kering, LVMH, Gucci), disclose the name or location of
their suppliers.
It’s not just brands. It’s the myriad other companies
along the supply chain too. Private labels (suppliers
selling finished products to other brands) are virtuallyinvisible to consumers. Your common shopper has noknowledge that this part of the supply chain exists and this is a very important and profitable part of theindustry. These companies are responsible for a hugeamount of what we buy on the high street – Li & Fungis a £13 billion global sourcing firm that supplies 40%of all apparel sold in the U.S.

15

We looked at seven prominent private label
companies working in textiles and garments (Li& Fung, The Supply System, Zegna, HRX, FreeCultr,
Zovi, La Isla Fashion Group) and not one of thempublishes a list of their suppliers or vendors, nor
do any of them publish social and environmental
sustainability related reports.
Taking on more responsibility and moreaccountability is the only way to ensure that acompany - in whatever part of the industry it works- is having a positive social and environmental
impact. This strengthens the call for regulating
the fashion industry. We cannot simply rely on
voluntary Corporate Social Responsibility policy as adriver of change. We will talk more about the role ofpolicymakers later in this report.
We need more transparency from the fashionindustry. Transparency involves openness,
communication and accountability. Transparency
means operating in such a way that it is easy
for others to see what actions are performed.
Transparency is a means of holding people andbusinesses to account. It is an approach to doing
business and a professional behaviour. Transparency
is a means to a better industry, not an end itself.
This is what Fashion Revolution means when we talkabout transparency for the fashion industry.

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16

Mindset:Shifting the way wethink about fashion

Public trust in brands is incrisis at the moment. This has
been spurred on by major events
like the 2008 financial crisis
and its subsequent ripple effects,
the Rana Plaza factory collapse,
the angora fur scandal, thehorse meat scandal, FIFA
corruption - to name a few.

In fact, the 2012 Edelman Good Purpose reportsurveyed 8,000 consumers in 16 countries andfound that 80% of Chinese respondents and
71% of Indian respondents are willing to pay a
premium for brands with a social or environmental
commitment, compared to just 28% in UK and
40% globally saying they’d be happy to pay more.
But things are beginning to change in the UK andEurope and indeed around the world. In the past
two years, Fashion Revolution has seen hundredsof thousands of people take to the Internet to try to
discover the hidden supply chain behind clothing.

Havas Media’s Meaningful Brands report (2015)
interviewed 300,000 people across 34 countries about
their attitudes and behaviours when it comes to over
1,000 brands in 12 countries. The research showed
one big thing: for the most part, consumers are now
sceptics. People want to know that we’re not getting abad deal, whether it’s value for money, quality, utility or
the ethics of products we buy from brands. Shoppers
want a good price and convenience but we also want
authenticity and provenance.

While the average shopper may not yet beinvested all the detail behind a product, mindsets
are beginning to shift. Even in the luxury world,
shoppers have become more discerning,
appreciating luxury goods for the design andcraftsmanship rather than as ostentatious display todemonstrate status.

People expect that business exists to serve society:on an individual and collective level. People expect
brands to help make our daily routines easier — byhelping us stay healthy, by better connecting us to
our loved ones and by helping us make informed,
smart decisions. But we expect brands to playbigger roles in our communities too - through event
sponsorships or social impact initiatives that help
support our collective wellbeing. Individual value
at the expense of society or the environment isincreasingly seen as an empty trade-off.
According to the annual BrandZ report (2014),
consumers in all regions of the world say that it isimportant that companies act ethically.

We want to trust that what we buy was not madeat the expense of someone’s life or by trashing theenvironment. We want to trust that brands are doing
business in an ethical and sustainable way. We want
to trust too that governments are making sure thatbusiness is accountable, wherever they do business.
However, at present, there is very little transparent,
credible or reliable information available to the
public about what we buy. Fashion Revolution is
rallying people worldwide to demand that there isbetter access to information about how companies
operate and how things are made, where and bywhom. We exist to catalyse the debate around publictrust in the fashion industry and its many players.

mindset: shifting the way we think about fashion

Millennials will
drive change
We believe it is the millennial generation thatis driving this shift in thinking. McKinsey (2013)
estimates that millennials will account for onethird of total global spending by 2020 and alreadyaccount for one quarter of the U.S. population who
together wield about $200 billion buying power.
Although millennials (those age 17-34) will soonbe the largest consumer generation in history(Advertising Age, ) young people have a different
outlook than previous generations. Elite Daily
interviewed 1,300 millennials and 75% said that it’seither fairly or very important that a company gives
back to society instead of just making a profit.

Technology makes
it possible for morevoices to be heard.

17

Jamie Gailewicz wrote in The Next Web (29 March2014): “millennials are children of the ’80s and’90s—most becoming aware of their impact onsociety in the late ’80s through the early ’90s. They
learned about responsibility to the environment,
tolerance and acceptance of others, and that anindividual can make a difference. Millennials are therecycling generation, raised on the idea that sorting
garbage minimizes waste. They learned about
global warming and how dependency on fossil
fuels can have a dire effect on the world. They were
taught to be conscientious of what they consume
and how they live in a way that generations before
them were not.”Millennials are a technology-driven generation.
Social media is an integral part of their everyday
life. Mobile phones and Internet access lets
information travel faster than ever before. The digitalspace allows for people to be more engaged withbrands and governments alike. Technology makes
it possible for more voices to be heard. Fashion
Revolution is tapping into this, using the powerof the Internet to change more mindsets, to ask
questions, to debate the issues, to demand moretransparency about the products we buy.

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18

we are thefashionrevolution

In two years, Fashion Revolution has
grown into a truly global movement.
People across geographies from allwalks of life have come together totry to change the industry. We aredesigners, academics, writers, businessleaders, policymakers, NGOs, brands,
retailers, marketers, producers, makers,
workers, consumers and activists.
Most importantly, we are world citizens.
We are you.
We are fashion lovers and we want the things
we wear to be made in a safe, happy, clean andbeautiful way. Our big aspiration is to ignite a global
revolution to radically change the way fashion issourced, produced and purchased.
We want to see fashion become a force for good.
Our long-term vision is a fashion industry thatvalues people, the environment, creativity andprofit in equal measure. We believe it is everyone’s
responsibility to make that happen.

We believe that we canmake positive change
happen by thinking andspeaking differently
about fashion and by
demanding better.

Fashion Revolution will focus on shifting mindsets.
The narrative needs to change. We are here to
discover and tell a different story about what we
wear. We believe that we can make positive change
happen by thinking and speaking differently aboutfashion and by demanding better.
Olivia Singer wrote in Dazed & Confused magazine
on 24 April 2014 that: “the conversation aroundgarment manufacture is tied to how we look at
fashion, and events like Fashion Revolution Day
promotes change where it needs to happen…
Not only are there faceless multinational buyers
accountable for ensuring basic safety, but so are
we: the people who actually buy the poly-blend
t-shirts and runway rip-offs that have made thesecompanies billions… It might be easy to passoff Fashion Revolution Day as yet another dateon the philanthropic calendar, but campaigning
for revolution shouldn’t be dismissed. Withoutsounding too much like a hemp-wearing anarchist,
it is literally the responses of trend-chasing
consumers (that’s us!) that can change these
problems. It is not just government legislation thatcan change the lives of Bangladeshi women, theirfamilies and children – it is us, the frequent fashion
consumers, that brands are forced to listen to.
(Maybe one of capitalism’s singular pros in a seaof cons.)”“More than ever, it seems urgent to change thenarrative and Fashion Revolution Day did just that,”wrote Marie Claire, South Africa in August 2014.

The State of the Industry

19

Fashion Revolution | IT’S TIME FOR A FASHION REVOLUTION

Who Made
My Clothes?
The focus
through 2020
For the next five years,“Who Made My Clothes?”
will be the question we are
seeking to answer. This
question will form the basis for
all that we do as a platform
and community.
We will be encouraging as many people aspossible to ask this question as often as possible
but particularly on Fashion Revolution Day, whichtakes place on 24 April each year to mark theanniversary of the Rana Plaza factory collapse, toremember the victims, to put the spotlight on the
exploitative issues behind the fashion industry, tocatalyse a global conversation and to celebrate
good practices - both online and off.
We believe this simple question gets people
thinking differently about what they wear. We
need to know that as consumers, our questions,
our voices, our shopping habits can have thepower to help change things for the better.
Consumers want and deserve to know who
makes our clothes and how, so that no one isunintentionally aiding and abetting dubious
practices and contributing to a future that is badfor people and planet.
We believe this simple question also has
the power to push the industry to be moretransparent. If brands and retailers areencouraged to answer this question, they musttake a closer look at their supply chain.

We believe that greater supply chain transparency
will help to uncover human and environmental
abuses and that these exploitative practices willdiminish as a result. However, we do recognisethat transparency is not enough on its own tototally transform the industry. Transparency is the
beginning of the process of revolutionising fashion.
Any information brands, retailers, suppliers,
governments, multi-stakeholder organisations
can share with the public about the waythat fashion is made will be applauded andcelebrated. And we’ll keep pushing for more
and more information right through to the veryseed of materials so that some day we will havecomplete awareness of what we are buying. The“Who Made My Clothes?” question will help us
get there.

Transparency isthe beginning of
the process ofrevolutionisingfashion.
If people become more aware and more active
about the stories behind our clothing, then all thegood work that is already being done across theindustry to improve conditions for producers andfor the environment will have more impact too.
That is our aim.

20

Our theory of change

21

our theoryof change

Our Belief is

We believe in a fashion industry that values people,
the environment, creativity and profit in equal measure

Our Aspiration is

To unite the fashion industry and ignite a revolution to radicallychange the way our clothes are sourced, produced and purchased

Our Motivation
Why we dowhat we do

We can’t bear theopaqueness, exploitationand environmental damageof the industry we love

Our Mission is

To bring everyone together to make that happen

Our leversof change— Millons of fashion lovers worldwide— Fashion Change-makers and influencers— Fashion Brands and Retailers— Producers / Suppliers— Governments / Policy-Makers

Our Impact is

Fashion Industry-wide transparency becomes a normal part of doing businessand contributes towards a safer, cleaner and fairer future for fashion

Which requiresthat— Increased Citizens activism and involvement through ‘Who Made My Clothes?’and other initiatives— Increased Citizen demand for sustainably produced fashion— Fashion change-makers and Influencers support ‘Who Made My Clothes?’
and sustainable fashion— Increase in brands / retailers publishing factory lists and tiers— Increase in fashion ‘revolutionary’ brands / retailers (better business practices)— Improved Producer / supplier visibility (through brand labeling and story-telling)

How we will
work toachieve thisEDUCATEADVOCATE— Build knowledge— Influence consumers— Influence change-makers — Gather evidence—S hare— Influence industry(e.g. Transparency Index— Influence government
policy-makers

Our current
Activities— Fashion Revolution Day: mass activation of millions of consumers— Creation of Media, events, campaigns to build awareness, activism and action— Collaboration and engagement with other ‘revolutionaries’— Policy Advocacy across the Industry and Government

We belive that strong
collaboration from farmer,
to consumers is the only
way to make change

We know that everyone
who loves fashion canreally make a difference

COLLABORATE— Communicate and convene— Build the Fashion
Revolution platform— Events / media

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22

what fashion revolution does

WHAT
FASHION
REVOLUTION
does

VOICE
Mobilise citizens around the world to demanda cleaner, safer, more fair, transparent andaccountable industry;

CONNECT
Rebuild the disconnected relationships along thevalue chain, from producer to consumer so that wedevelop a more meaningful relationship with ourclothing and so that producers become more visible
and empowered;

SUPPORT
Encourage brands and retailers to be moreaccountable for their fashion supply chainsby building evidence that transparency is goodfor business;

CAMPAIGN
Influence policy makers in order to ensure we see
global supply chain transparency and responsibility
in the fashion and textiles industry in practice, notjust principle.

At the policy level, we will be working withgovernments and policy makers to:

These are the kinds of actions we’ll be
encouraging brands, retailers, suppliers,
factories, wholesalers and others to do:— Encourage social dialogue, collaboration andreal tangible action on human rights andenvironmental degradation in the fashion andtextiles industry. We want to see global supply
chain transparency and responsibility on thegovernment’s agenda in every country where
Fashion Revolution has a presence;— Begin to require proper due diligence on humanrights and environmental protection, not justguidance or voluntary standards;  

— Operationalise an ethical code of conduct, makethese social and environmental commitments
clear to the public;
— Monitor, evaluate and report on social andenvironmental impact across the supply chain
and make available to the public;
— Publish supply chain information publicly:
factory lists, supplier and vendor lists acrossthe tiers, name and contact details of suppliers,
compliance, social and environmental audit
results as well as remediation activities andcorrective action plan results;
— A map of the supply chain and tracing products
right through to farmer level, made available tothe public;
— Share photos and stories from across the supply
chain - farmers through to garment workers andother types of makers;
— Report publicly about wages in the supply chain,
where, what factories or how many workers areguaranteed to be paid a living wage;
— Increased cost transparency, help consumers
better understand where their money is going

Photography: (top) Joan Subirats, (centre) Brooke McEver, (bototm) ‘The Social Experiment’ by BBDO Berlin & Unit 9

From now until 2020, Fashion Revolution
will work to:— Press for greater public access to information about
supply chains and the way fashion products are
sourced, produced, consumed and disposed of.

23

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24

WHAT MAKES
FASHION
REVOLUTIONUNIQUE?
Fashion Revolution is a platform, both online
and on the ground. We believe that the powerof the Internet and digital technology will help
us to reach more people, to engage them in newways, to amplify their voices and to ignite therevolution that will change the way fashion issourced, produced and consumed.
On social media, we have already built a large, growing and engaged
audience. The #whomademyclothes hashtag campaign has provenhugely popular. On Fashion Revolution Day 2014 and 2015, the hashtag
trended at number one on Twitter globally. In April 2015 alone the#whomademyclothes was used by 64 million people on Twitterand Instagram reaching 124 million impressions in total. The overall
estimated online media reach was 16.5 billion - that is how manytimes content about Fashion Revolution was seen during April 2015.
Fashion Revolution uses good design, interesting video, beautiful
imagery, clever messaging and creative stunts to engage people with
the issues, especially the tech savvy millennials. We believe this is
the unique strength of Fashion Revolution. Where other campaigns
have made huge in-roads in improving social and environmental
conditions in the industry, much of the public remains disengaged
with the issues.
The digital world will continue to be an important part of our activities.
Social media will continue to be a fundamental tool for discussing,connecting, campaigning and working together. We will continue toorganise events from catwalk shows to film screenings and lectures
to parties and plays. We will constantly be looking for new ways to talkabout the issues, whether that’s online or off.
We will also continually be looking to find out what information
the public wants to know about clothing - so that brands,
governments and organisations can understand what they should
be communicating to their customers and constituents. We will use
social media as one of our key tools to gather this evidence over the
next five years.

areas for further research & thought

25

Areas forfurther
research& thought
For the next five years, Fashion
Revolution will continue to engage
citizens in the following ways:
— Encouraging people to ask “whomade my clothes?” to brands,
retailers, governments and policy
makers and across the supply
chain, from farm level to shop floor
— Encouraging farmers, producers,
makers and workers to step
forward, tell their stories and maketheir voices heard
— By making transparency andsustainability ‘cool’ throughcreative online and offline content,
events and stunts
— By engaging celebrities,
influencers, media and journalists,
fashion icons around the world
— By engaging young people throughschools, social media, shops andother social places

Consumer researchand demand
We would like to look at ways to better gauge what
the public understands about the industry, what
expectations we have about the products theybuy, and what information the public wants toknow about brands and products. We could lookat further ways to catalyse consumer demand forfashion made in a sustainable and ethical manner,
this might involve further tapping into new media,
digital marketing and other creative projects thatreach consumers.

Policy & legislation
Fashion Revolution is already part of stakeholder
groups with the UK government, the European
Union and the G7. Fashion Revolution has gained
support from policy makers in other countries
from Finland to Bangladesh. We might look further
at how citizens can influence policy-making andlegislation on these issues and how we might
engage more support from policy-makers in these
constituencies and in more countries.

The business casefor transparency &sustainability
As Fashion Revolution has already reached somany people, we might look at better ways ofgathering examples of best practice acrossthe industry, helping to show the industry what
transparency might look like in practice and toeducate consumers about what makes a ‘good’fashion company.

How we can better engage
farmers, producers,
workers and makers
the people working in supply chains are the leastvisible. We might look at further ways we canhighlight, celebrate and hear from producers about
their lives and work. We could consider looking
at ways to better connect the people who makefashion with the people who buy it.

Amplifying and supporting
the work of othercampaigns and NGOs
Fashion Revolution does not want to replicate thegood work that many other organisations (eg. Clean
Clothes Campaign, Greenpeace, IndustriALL, Labour
Behind the Label and many others) are doing toraise awareness and improve human rights andenvironmental impacts across the fashion andtextiles industry. In fact, we hope to bring more
public awareness and demand for what they do.
In future, we would like to find ways that we canuse public power to help to achieve the aims andmission of other related campaigns and initiatives.

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26

Final
Words...

From human rights abuses andpoverty level wages to water,
waste, energy, overconsumption
and many other exploitative
practices, the fashion industry
is in desperate need fortransformational,
systemic change.
This is why two years ago, just after the collapseof Rana Plaza, thousands of people in dozens ofcountries got together to turn the fashion industry
inside out, sparking the Fashion Revolution.
The public wants to be able to trust that what
they purchase has made a positive contribution
to society.
Whether you are someone who buys and wears
fashion (that’s pretty much everyone) or you workin the industry along the supply chain somewhereor if you’re a policymaker who can have an impact
on legal requirements, you are accountable for the
impact fashion has on people’s lives and on nature.
Fashion Revolution will continue to work towards a
future where fashion is an industry that values theenvironment, people, profit and creativity in equalmeasure. We hope you will join us, whoever you are.
We will work to support you to be able to make apositive change.

appendix

27

Appendix:
Organisations& Campaigns
to check out
Let’s start by asking the “Who Made My Clothes?”question. Ask yourself. Ask the brands and retailers
you shop from. Ask the NGOs and trade unions. Ask
the factories and suppliers. Ask your government
and policy makers. Ask makers, producers and theworkers themselves. Ask everyone you can.
We hope that by 2020 the public starts gettingsome real answers to this question. We hope to
see thousands of brands and retailers willing andable to tell the public about the people who maketheir products. We hope to see makers, producers
and workers become visible; we hope to see
thousands of their stories told. We hope to start tosee more consumer demand for fashion made ina sustainable, ethical way. We hope that we start tosee real transformative positive change begin totake root.

We hope that we
can start to seereal transformative
positive change.

Alliance for Artisan Enterpriseallianceforartisanenterprise.org

IndustriALL
industriall-union.org

Anti-Slavery International
antislavery.org

International Labor Rights Forumlaborrights.org

Better Workbetterwork.org

Labour Behind the Labellaboutbehindthelabel.org

Centre for Sustainable Fashion
sustainable-fashion.com

MISTRA Future Fashion
mistrafuturefashion.com

Clean Clothes Campaign
cleanclothes.org

Pesticide Action Network UK (PAN)
pan-uk.org

Environmental Justice Foundation
ejfoundation.org

Stop the Traffik
stopthetraffik.org

Ethical Fashion Forumethicalfashionforum.com

Textile Exchange
textileexchange.org

European Year for Development
europa.eu/eyd2015/en

TRAID
traid.org.uk

Fairtrade International
fairtrade.org.uk
fairtrade.net

War on Wantwaronwant.org/LFHS

Global Organic Textile Standards (GOTS)
global-standard.org
Greenpeace Detox
greenpeace.org/detox/

WIEGO
wiego.org
World Fair Trade Organisation (WFTO)
wfto.com

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28

references

29

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