The climate crisis has reached a crescendo. To engage in meaningful conversation regarding humanity, politics, or culture without circling the uncertainty of our future is a steep task. And rightly so. The previously accepted methodology of our lives is in need of revision. The fashion industry is no exception.

The fashion industry produces 8-10% of global emissions. A decade-old estimate places the industry’s output close to 100 billion items per year, and this is prior to the proliferation of “fast fashion” through highly scrutinized but very-cheap brands such as Shein. This is a stain on an industry traditionally formed around a nucleus of creativity and innovation.

Melbourne, Australia is considered a cultural hub in a plethora of artistic streams. The Economist’s Global Livability Index of 2023 ranked the city as the third most livable in the world, and the second most inclusive. It is lively, vibrant, and outrageously neoteric. In the last several years, Melbourne Fashion Week implemented several initiatives to ban fur on its runways and increase inclusivity among their creative staff. Following suit, the sustainable fashion movement in Melbourne is buoyant. Local brands such as Unreal Fur, Life on Mars, and SANS BEAST are considered pioneers of the international movement.

Anneliese Bridgman is the founder of the inclusion and sustainable manufacturing studio Creation Collective Co in Collingwood, Melbourne. She believes in the cogency of the sustainability movement. She is a champion of both the cause and providing support to those at the root of the industry:- the designers themselves. Creation Collective provides information on ethical fashion practices through each stage of the production process, from the choice of fiber content to the bespoke trim outlined in design development. Creation Collective Co nurtures quality over quantity, as well as the environmental impact of its business. It’s a rapidly blossoming value of the Melbourne fashion community, and beyond. Anneliese nods to the unusual circumstances created by the pandemic in accelerating this.

“I would have said from 2020-2023 there was a spike in the sustainability movement. During and after the Covid pandemic, local industry had a boom as freight was suddenly significantly more expensive than it had ever been and international supply chains were significantly disrupted. This meant there was suddenly a demand for products to be made locally. I think this created a greater awareness of where things were produced - not only just in fashion, but across all industries. And with the long pause of lockdowns, I believe there was time and space for us as individuals to think about our values and what's important to us. Authenticity and the need for connection became so important after a great time of uncertainty.”

Some of the labels Creation Collective has worked with include Yaneth, PITRA and Asher + Archer, the latter of which Anneliese nominates as a personal favorite.

“The pieces were inspired by a beautiful couple I met who were after a modern interpretation of the classic tailored suit for their wedding. Where we landed was somewhere unexpected and unique which really inspired me as a designer. The garments were inspired by an individual who identified as a male however we photographed these pieces on an individual who identifies as a female. I am really interested in how a garment can take on a completely different look on different individuals regardless of gender, age or body shape.”

The label pushes the boundaries on ethical norms in fashion production, but also explores expression outside of traditional binaries. The need for boundary-pushing and revolution of practice in the fashion industry is urgent. Overproduction is driving waste, plastic pollution, and even fueling conflict through the oil required to manufacture polyester. Half of the modern clothing produced today utilizes polyester, a material that does not break down nor is recyclable. Anneliese believes it is dire times.

“We are still producing garments at a rate that our world cannot handle. It is said that from the 100 billion garments produced each year, 92 million tons end up in landfill. To understand the scale, this is the equivalent of a rubbish truck full of clothes ending up in landfill sites every second. If the trend continues, the number of fast fashion waste is expected to soar up to 134 million tons a year by the end of the decade. The scary thing is that even with increased awareness, this number is not decreasing. Analysis suggests that fashion brands as a collective are Producing Twice the Amount of Clothes Today than in 2000. To put this bluntly, we have to make changes now.”

However, there are complications in the pursuit of sustainable fashion. The cost-of-living crisis has hit Melbourne particularly hard, and consumers often have no option but to lower their price bracket. The market is also driven by the rise of “micro-trends,” and the obsession with newness that is plaguing social media. Consumers are desperately trying to keep up with style crazes that blast onto the mainstream - and then are quickly forgotten. Algorithm-based fashion is a compelling competitor, and a portentous culprit in creating waste in excess. In Melbourne, the rise of circular sourcing in buy-back schemes is attempted to sculpt a new narrative on fashion waste.

“There needs to be incentives for fashion businesses to create a closed loop supply chain. What this means is that the fashion label will not only be responsible for the production of the garment, but also the disposal of the garment at the end of its life. This could include a buyback system for the company to recycle or include some sort of packaging that you could put your cotton garment in when you no longer want to wear this and put it in the compost to aid the decomposition process. Some businesses are making great inroads here, however there is more to be done.”

Ultimately, it is a question of longevity and accessibility. While the movement grows in progressive cities such as Melbourne, it stagnates globally. It’s estimated in the U.K., consumers have an average of 57 unworn items in their closet, according to Oxfam research. The resurgence of vintage and op-shopping in the youth culture is a hopeful marker of the future of responsible shopping, but it is not nearly enough.

“There is a great awareness of the negative impacts of the stages of creating fashion, but also the opportunities to make different choices. When I think about sustainability, quite a literal interpretation comes to mind. That is to practice in a way where it is feasible to do so over a long period of time, whilst taking accountability for the impact of your actions.”

What is abundantly clear is that in broad terms, we as an industry cannot continue to produce fashion the way we have been.

Times appear bleak, and the majority of our headlines are colored in doom and gloom. However, in progressive hotspots of industry - such as Melbourne - the core objective of moving forward without continuing harmful practice is burgeoning. It is a fresh challenge that is almost inspiration for a new breed of human creativity altogether.

Article by Darcie Humphreys, Contributor, PhotoBook Magazine
Tearsheets by Jung Chou, Graphic Design Intern, PhotoBook Magazine

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