From one fashion system to several: concrete steps for fashion companies

Traditionally, fashion companies design and sell their clothes in their own country, but produce them in low -wage countries such as Bangladesh, Cambodia or Myanmar. This way of working has existed since the 1960s and became particularly popular in the 1990s. The goal: to produce as cost -effective as possible. The collapse of the Rana Plaza building in Bangladesh on April 24, 2013, which is considered the most deadliest disaster in the fashion industry, made it clear that outsourcing has not only to do with cost efficiency. This way of working also relocates problems – such as poor working conditions.

The industrial fashion system is based on outsourcing with overproduction as the standard. In 2020, during Corona pandemic, this seemed to change briefly. Designers: Inside and managers in the industry signed an open letter to change this way of working; The fashion industry seemed to be fundamentally questioning the fashion system. However, this phase, which was characterized by longer seasons and less superfluous production, was only short -lived.

Nevertheless, a system change is possible, according to the Dutch cultural scientist Daniëlle Bruggeman. Fashionunited spoke to Bruggeman about responsible fashion entrepreneurship. On March 20, 2025, she held her inaugural lecture at the Radboud University Nijmegen entitled “Stitch of Care: Practising Solidarity Through Fashion” after she was appointed professor of fashion and sustainability in April 2024. Together with the Artez Hotschool Voor de Kunsten and the Radboud University, she is now researching the possibilities of looking at fashion and sustainability from both an artistic and scientific perspective. According to Bruggeman, fashion entrepreneurs can contribute to a more sustainable fashion system at short notice.

What do you hope that fashion entrepreneurs: take with you from your inaugural lecture “Stitches of Care – Practising Solidarity Through Fashion”?

I advocate not to consider fashion more than a dominant system, but as several fashion systems existing side by side. This multi -sectoring refers to the variety of ways to produce and wear clothing. In the West, especially in the Netherlands, we consider fashion primarily as an industry of production and consumption. But fashion and clothing is much more: it is social and cultural.

Fashion is also a system of symbolic production – it creates meanings, values ​​and ideals of beauty. Every day we are confronted with advertising, trends and commercial stimuli. This influences how we look and what is considered beautiful.

The dominant fashion system is also closely interwoven with financial interests. There is an enormous amount of money in production and consumption of clothing. This also affects how we think about sustainability. When we talk about sustainability, it is often about optimizing the existing system. I try to show that there are other options.

A “use -oriented approach” instead of “consumer -oriented” would be more sustainable. What do you mean?

People are often referred to as “consumers: inside”. This gives you upright a system in which fashion is about buying. I prefer to speak of “carrier: inside” or “user: inside”. This opens up space for other manners with clothing – such as borrowing, swapping or repairing. Sustainability is often still about selling new products. But entrepreneurs: inside should also think about what happens after the sale. What do the carriers do: on the inside with a piece of clothing? Can you have it repaired with you? This phase after purchase is just as important. It requires a different business model in which the focus is on care.

How can entrepreneurs: inside the traditional fashion system practically start a more responsible approach with this change?

You don’t have to turn everything off immediately. Start small. For example, participate in initiatives that explore other forms of business. Deep in materials and look at your production. Which fabrics do you use? Where are you from? Are the manufacturers paid fairly? We move towards an expanded responsibility of the manufacturers. As a brand, you have to consider the entire chain: from raw material to waste.

According to the cultural scientist, fashion entrepreneurs can contribute to a more various and more sustainable fashion system at short notice.

Are there inspiring examples of fashion companies that are responsible for operating (he)?

The Dutch fashion designer Joline Jolink works and produces, for example, locally and is involved in the entire process – from seeds to the garment. Annemieke Koster, founder of Enschede Textielstad, also produces locally, needs -oriented and sustainable. With Raddis Cotton, Sanne van den dungen focuses on a fair development of regenerative cotton cultivation in close cooperation with small -scale families in India.

There are also initiatives such as Repair Society that show that there are certainly alternatives to the traditional linear fashion system. Fibershed is also inspiring: You build networks of farmers: inside, processing and designers: inside to establish natural, local textile chains. These types of initiatives show that you can consciously choose materials and production methods that have a positive effect on the environment and habitat.

You speak of a cultural change that is necessary for a new, more sustainable fashion system. What do you think is the most urgent change that we have to achieve in the industry within five years?

Culture change remains a challenge. But I think change begins with cooperation. We (Artez University for the Arts, Note D.Red.) Are co -founders: Inside the consortium Newtexeco (New Textile Ecosystems), in which companies, universities and universities work together on practice -oriented research. Topics include transparency, circular economy, material innovation, users: internal behavior, new narrative and recycling. It is important that companies bring their questions so that we develop knowledge together that is directly applicable.

Do you work on other such initiatives?

Yes, we also start a new project on the subject of Care & Repair, together with Clicknl and among others Milieucentraal, the Van Amsterdam University of Applied Sciences, Designer: Inside and retailers: Inside. In it we examine what the care and repair of clothing for all actors: inside the chain – from the manufacturers to the consumers: inside – can mean. This type of cooperation is promising. You can see that companies are ready to take steps, albeit sometimes only with small groups. But that can spread quickly.

In your new role as a professor, you have the opportunity to combine art and science with sustainable fashion. What scientific questions do you employ?

I am fascinated by the daily handling of clothing. Not only how people buy clothes, but above all how they wear them, keep them and separate them from it. We call it ‘Wardrobe Studies’. What does your wardrobe look like? What often do you wear, what remains? Why do you keep it for a little ten years while you throw something else away after a season? The ‘National Kledingkast Audit’, an initiative by Mirella Soyer from the Rotterdam Hoatschool, is a good example that helps to illustrate this.

For a long time it was thought that the emotional value of clothing was important for sustainability. The theory was: If you have an emotional bond with clothing, it is better to maintain it and don’t throw it away so quickly. But studies, for example Irene Maldini, show that people who attach great emotional value to clothing often also have larger wardrobes – and thus have more clothing. Then the question arises: What is really sustainable behavior?

What does that mean for companies?

It means that we not only have to focus on alternative business models, but also on behavioral changes. How can we consumers: support inside with more sustainable decisions? Rent, borrow, repair – these are all good options. But we also have to critically consider the effects on the overall behavior. This is complex, and therefore design, science and industry really have to work together.