Sustainability and Innovation: A Fashion Dialogue between the Netherlands and China

The "Sino-Dutch Circular Fashion Dialogue" forum, a joint initiative of the Shenzhen Garment Industry Association, the Consulate General of the Netherlands in Guangzhou, and the Dutch Fashion Industry Association, MODINT, sheds light on the integration of tradition, contemporary design and sustainability within the fashion industry. This forum grew out of initial ideas in collaboration with CreativeNL, Modint and the Dutch Consulate in Guangzhou, which was the basis for the recently published report on the fashion industry. The forum explores the depths of traditional techniques, contemporary designs, sustainability, traceability, production methods and the future of fashion with experts from both countries.

In the double interview below, Nils Adriaans of CreativeNL explores the depths of the fashion industry with Stijntje Jaspers of Fibershed NL and Leontine Wagenaar of Spizes Creative Consultancy. Following the recent release of a report on the fashion sector, they discuss the pressing need for sustainable practices within this industry, often criticized for its detrimental impacts on both the environment and humanity. They explore the subtleties of the collaboration between the Netherlands and China, the artistry of textile crafting, and the potential for innovative and circular solutions in the world of fashion.

Why this event, and so soon after the release of 'your' report? Was it a spontaneous opportunity, or did you feel the urgency (the fashion industry is under scrutiny due to its negative impact on the environment and humanity)?

There was a demand for a white paper on the current Dutch fashion industry, primarily from China, Germany, and the United States. After discussions with the Dutch consulate in Guangzhou, it became clear there was interest in collaboration, especially in South China with Xiamen Fashion Week and Shenzhen Fashion Week. We chose Shenzhen due to its significant role in fashion and design trade.

Shenzhen is China's third most economically and technologically developed city, following Shanghai and Beijing. The city is a Special Economic Zone in China, a tech hub, and a popular travel destination located along the banks of the Pearl River estuary in Guangdong province, neighbouring Hong Kong to the south.

The event was promoted as a dialogue, themed "The Future of Fashion will be about Creative Collaboration and Circularity." What stood out the most during this dialogue? What was striking?

Personally, it essentially confirmed what we already knew: there exists profound knowledge about textiles and the artistry of creation. I also sense that the Chinese have a much deeper connection with the product than we do in the Netherlands. It makes sense; our manufacturing industry has almost completely disappeared and is only slowly making a return or moving closer. However, we lack the sense of centuries-long tradition present in China and other manufacturing countries.

I noticed that Fibershed vision, which is founded on using naturally biobased available materials in as local a value chain as possible, where cultural crafts and traditions play a role, is also being implemented in China.

In every region of the world, textiles and clothing are produced uniquely, utilizing local resources.

A prime example is the Chinese brand Tangy. The designer, Liang Zi, uses gambiered Silk, also known as Liangchou, a fully natural fabric from Guangdong province (gambiered silk and its traditional plant-based dyeing process). This environmentally friendly fabric, a part of Chinese intangible cultural heritage, was rediscovered by them in 1995. They also employ traditional dyeing methods, combining this tradition with contemporary designs for special occasions.

Like Fibershed’s Herb-to-Color project, there were initiatives focused on natural dyeing—critical as chemical dyeing and washing are the most polluting steps in current textile production. An example is the 'waste-free dyeing and circular design project' by Luo Ying, Dean of the ‘College of Fine Art and Design' at Shenzhen University. They are successfully exploring how waste streams from the food and agriculture sector can be used to dye textiles.

What can we offer China as a design nation, specifically and in the short term?

Knowledge exchange is crucial. Together, with Chinese entrepreneurs who understand the need for change, we must shape the transition to a fair, circular, and nature-positive textile industry. This should be linked with Dutch fashion brands and companies, providing advice at a strategic level and hands-on. Another example is teaching local designers how to upcycle denim. A lot of denim is produced in Guangdong; there will be a surplus of material. A workshop focusing on this could be a logical next step.

And what can we, as a creative industry striving for goodness, learn from China in your view?

SJ: By communicating with entrepreneurs and educational institutions in China and exploring how we can support each other, we realize that around the world, including in China, there are people who understand the need for a change. They have ideas about it and are taking action. If we don’t maintain contact with each other, we risk generalizing, with the danger of equating all people in a country to the political preferences and/or direction of the country's government. As the creative industry, we need to see beyond this and collaborate with entrepreneurs willing and able to change. Doing so, we can learn from these Chinese entrepreneurs how to translate ideas into action. Their pragmatic thinking and action are something we in the Netherlands could perhaps embrace more. I see in China a strong drive and an immense work ethic to succeed.

And what can they assist us with?

China can contribute to a reliable, healthy, and transparent textile chain. They can share their knowledge with the Netherlands, including digital innovations and customized clothing solutions.

What were the other main takeaways?

The sharing of knowledge is an ongoing process and needs to be implemented effectively. In China, they are already employing eco-dyeing and other innovative techniques. It’s significant that work is being done in China towards a new textile system. We realize that our thoughts are not so different, and there are more similarities than differences. We need to maintain an open dialogue.

And now, what will – hopefully – be the next step in the dialogue?

There could be various steps. It’s essential that this initial step of sharing knowledge is followed up and results in action:

A Chinese mission to the Netherlands could contribute to an event like Circular Textile Days or set up something similar, such as the recent Best of Bangladesh event in the Gashouder. Organizing such an event yearly is crucial. We still have a long way to go and can learn a lot from each other.

Lastly, are you hopeful about the future?

SJ: Yes, it is hopeful to see China working on a different textile system. Even a small group can make a significant difference. Together, we can effectuate systemic changes globally, and this provides hope and vision for a better future.