FASH455 Exclusive Interview with Avedis Seferian, President & CEO of Worldwide Responsible Accredited Production (WRAP)

About the interview

Social responsibility is a critical topic in apparel sourcing and trade. Gen Z, both as consumers and future professionals in the fashion industry, care deeply about this issue. At the same time, the conversation around social responsibility has become more technical and complex, such as compliance with new regulations like the Uyghur Forced Labor Prevention Act (UFLPA).

In the interview, Avedis Seferian, President & CEO of Worldwide Responsible Accredited Production (WRAP), shared his insights and extensive practical experience about the current landscape and emerging trends in social responsibility related to apparel sourcing, including:

  • What does “social responsibility” truly mean in the context of today’s global apparel industry, and how has that meaning evolved over the past decade?
  • What are the key expectations for fashion companies if they need to achieve socially responsible sourcing?
  • Is social responsibility more of a legal issue or an ethical issue for fashion companies? Where does the line lie between what is required by law and what is expected ethically from apparel brands and factories?
  • How does a typical social compliance audit work on the ground, and why does it involve much more than simply “completing a checklist,” as some people may misunderstand?
  • Does greater supply chain transparency help promote social responsibility? How can fashion companies be encouraged to become more transparent, and what challenges remain?
  • What is the impact on garment factories and their workers when fashion companies suddenly cancel sourcing orders? As fashion companies increasingly expect suppliers to be “flexible,” such as accommodating last-minute changes to sourcing orders, could this expectation further complicate social responsibility efforts?
  • Can AI and technology have some potential applications in promoting social responsibility in the fashion industry?
  • Advice for students and young professionals entering the apparel industry who want to make a meaningful impact in social responsibility and ethical sourcing.

About Avedis Seferian

Avedis Seferian joined WRAP in 2004 and became its President and CEO in 2012. Avedis has extensive knowledge of social responsibility issues within the highly complex worldwide supply chains of the apparel, textile and footwear sectors. A recognized expert in the area of social compliance and responsible sourcing, Avedis was named by Assent Compliance as one of the top 100 corporate social responsibility influence leaders for 2020.

Additionally, Avedis speaks five languages, has lived in four countries and holds three degrees from three continents—a Bachelor’s in Economics from St. Stephen’s College, Delhi University in India; a Master of Business Administration from the American University of Armenia; and a Juris Doctor from the Georgetown University Law Center in the United States.

About Emilie Delaye (moderator)

Emilie Delaye is a master’s student & graduate instructor in Fashion and Apparel Studies at the University of Delaware, with a specific interest in supply chain, global sourcing, and sustainability. Emilie is also a member of the Fair Labor Association (FLA) 2025-2026 Student Committee and the University of Delaware President’s Student Advisory Council.  

Interview with Modaes (Spain) about the Shifting Global Apparel Trade and Sourcing Patterns (November 2025)

Full interview in English HERE ; Spanish version HERE

Below is the interview summary

Q1. Since the pandemic, has the global fashion supply chain changed?

Key point: The pandemic taught fashion companies the importance of flexibility and agility in sourcing. Heavy reliance on China caused major disruptions during lockdowns, prompting companies to diversify their sourcing base and develop stronger supplier relationships to reduce various sourcing risks.

Q2. Is supply security now more important than price in sourcing decisions?

Key point: Security and sourcing are becoming more closely linked. Leading fashion companies understand that sourcing now requires balancing cost with other important factors such as flexibility, regulatory compliance, and risk management. New regulations related to sustainability demand increasingly detailed supply-chain documentation and transparency. Meanwhile, geopolitical tension between the U.S. and China further adds complexity to fashion companies’ sourcing decisions.

Q3. Are companies continuing to reduce the number of suppliers, and why?

Key point: Recent studies show that many fashion companies are diversifying sourcing beyond China, importing more from emerging supplying countries like Vietnam, Bangladesh, Indonesia, Cambodia, Pakistan, Egypt, and more. However, there are two divergent strategies: some brands expand their supplier base to spread risk and enhance capabilities in sustainable fibers, while others consolidate suppliers to strengthen partnerships with large vendors operating across multiple countries, many of which are still based in China.

Q4. Can the value chain function without China?

Key point: Not realistically. While China’s share of finished garment exports is declining, it still dominates in textiles raw materials. Even when apparel is made in other countries (like Vietnam and Cambodia), much of its fabric, investment, or ownership is Chinese. The newly released OECD data also show that about 30% of Southeast Asian apparel exports include Chinese content.

Q5. Which countries could take advantage of China’s declining role?

Key point: China’s dominance comes not only from its low costs but also from its capacity to produce almost any product category at large scale. To replicate this, companies need to use multiple sourcing locations — a “many-country model” instead of relying on just one. Therefore, diversification, rather than substitution, is the most practical approach. Firms seek to avoid over-dependence on any single country, especially given the volatility of tariffs and supply-chain disruptions.

Q6. Does “friendshoring” apply to fashion?

Key point: Politically appealing but impractical for apparel sourcing. The idea of friendshoring — trading only with “like-minded” nations — doesn’t fit with fashion’s global manufacturing system. Europe and the U.S. share values, but Europe lacks large-scale apparel production. Over 70% of U.S. apparel imports still come from Asia, where most countries are not formal U.S. allies. Therefore, political alignment cannot guide sourcing strategy in fashion; cost, capacity, and speed are more important.

Q7. Will geopolitics and the trade war reshape fashion sourcing in Europe or the U.S.?

Key point: Nearshoring remains a popular concept. European companies explore Eastern Europe and the Mediterranean; U.S. firms consider the Western Hemisphere and limited domestic production. Sustainability has emerged as the new opportunity for near-shoring. Fashion companies now aim to use more sustainable fibers in their clothing products. EU sustainability rules could also attract new investment to expand production in the EU. However, in general, small-sized firms need more resources and support to meet these high environmental standards, both to comply with the law and sustain their businesses.

Q8. Is de-globalizing production possible?

Key point: True de-globalization is unlikely. Instead, globalization is shifting toward greater transparency and accountability. Companies now need to track and report where products are made and how workers are treated, including the sourcing of raw materials. This encourages brands to work closely with their suppliers and promote stronger and strategic collaboration.

Q9. Are there enough incentives for production automation in fashion?

Key point: Yes — Automation provides a way to increase efficiency in high-wage countries like the U.S. With labor costs high and factories shrinking, machines and AI are being adopted to boost productivity and customization. Automation can also help cut down on overproduction — one of fashion’s major waste issues — by supporting made-to-order or small-batch manufacturing.

Q10. Why don’t we see full automation yet?

Key point: Cutting, sewing, and material handling today still require human labor, although factories increasingly use automated tools to boost productivity. Asian suppliers are upgrading equipment to handle smaller, faster orders. Automation is bringing back niche manufacturing (e.g., sock production in the U.S.) and supporting recycling efforts, such as sorting used garments. It helps lower minimum order quantities, matching production to uncertain consumer demand.

Q11. How can Europe maintain relevance amid the U.S.–China trade war?

Key point: Europe continues to be a key player in both textile and apparel manufacturing and consumption. Nearly half of the apparel in the EU is produced locally, often in high-wage countries like Italy, Germany, and France. Asian countries are looking for more market access to the EU because of higher tariffs imposed by the US (e.g., trade diversion). Europe also leads in sustainability and regulatory standards. Complying with EU rules often means meeting the highest global standards. Luxury branding (“Made in Italy/France”) remains highly influential, and the EU’s proactive trade agreements might even enable it to export textiles for processing in Asia, expanding supply chain integration.

Q12. Why hasn’t Africa become a viable textile hub yet?

Key point: Africa’s potential greatly relies on trade preferences like the African Growth and Opportunity Act (AGOA), which recently expired. Without duty-free U.S. access, U.S. companies are less likely to source there. However, the EU could help bridge the gap by forging partnerships for recycled textile materials and sustainable production. Regional collaboration could unlock Africa’s place in circular fashion supply chains.

For students in FASH455: Feel free to share your thoughts on any of the interview questions above. You may also challenge and debate any points raised in the interview and present your arguments.

FASH455 Exclusive Interview with Mikayla DuBreuil about Technical Apparel Design and Sourcing

About Mikayla DuBreuil

Hello, my name is Mikayla DuBreuil, and my passion is to bring designers’ creative visions to life. I have a diverse background in apparel design, from intimates and compression wear to dresses and jeans, and everything in between! My resume consists of technical design positions at Under Armour, Marena, Anthropologie (URBN), Lee & Wrangler, and, most recently, SPIRIT HALLOWEEN.

Above all, my joy in apparel design lies in pattern-making. Designers are the artists, and pattern makers are the engineers who bring their designs to life. I love problem-solving to create fantastical designs and reduce physical sampling. Most of my work is in CAD 3D software, specifically CLO 3D. I am also a certified super user in the 3D CAD software, Vstitcher, and experienced in the 2D CAD patterning software, Accumark and Optitex.

Note: Mikayla Dubreuil graduated from the University of Delaware (UD) with a Master of Science in Fashion and Apparel Studies. She also graduated from UD with a Bachelor’s Science in Apparel Design in 2018. She received the International Textiles and Apparel (ITAA) Sara Douglas Fellowship for Professional Promise-Masters in 2019. Mikayla’s master’s thesis Traditional vs. big-data fashion trend forecasting: An examination using WGSN and EDITED was published in the International Journal of Fashion Design, Technology and Education and have been cited by more than 100 other scholarly papers.  

Sheng: What are your main responsibilities as a technical designer? Can you walk us through your typical day? Also, what makes you love your job?

Mikayla: A technical designer’s job is to ensure the proper execution of fit and construction of a garment to meet the designer’s & buyers’ expectations whilst keeping cost in mind.

This involves creating detailed tech packs with key measurements, i.e., specs like waist, front neck drop, across shoulder, sweep, and front length from high point shoulder, measuring garments, conducting fittings on a live fit model, and submitting fit comments. A common technical design goal is to approve a design with as few physical samples as possible.

Some technical designers’ responsibilities are more rooted in construction and creating tech packs, whilst others focus on fit.

However, in my opinion, the best technical designers have a strong pattern-making and construction background. By having a strong pattern-making and construction background, technical designers (TDs) can communicate to designers what silhouettes and constructions are feasible. In this manner, TDs can find creative solutions to execute the designer’s vision and improve fit.

As an Associate 3D Technical designer, my typical day consists of taking design set-ups/hand-offs, pattern making the designs in CLO 3D, and attending buyer review meetings.

I love my job at Spirit Halloween because I can build garments in 3D, both bringing the designer’s vision to life and improving sustainability by reducing sampling. I also have an incredible manager, which is very important.

Sheng: How does a technical designer collaborate with the sourcing department, and in what ways does your work influence sourcing decisions?

Mikayla: To preface, the sourcing department is responsible for deciding what fabrics and trims will go into the garment.

Technical designers collaborate with the sourcing department or buyers by recommending ideal fabrics to achieve the desired look of a garment. For example, for a bodysuit, technical design would recommend a stretch knit fabrication. TDs affect sourcing decisions by providing knowledge on how the garment will execute in the desired fabric.

Ultimately, it is often sourcing/design/buying’s decision—the call varies from company to company—to choose the fabric. Ultimately, technical design commonly doesn’t make the call on what fabric is used.

This impacts our work because technical designers will base their specs and patterns on the fabric and desired silhouette. For example, a stretch denim pant would have smaller specs than a non-stretch denim pant since the stretch denim has more ease.

Further, the sourcing department affects our TDs’ work because it determines which vendor is making the garment. As a result, this affects our decision on whether to make the pattern internally or externally, based on the vendor’s expertise & capabilities.

Sheng: Our students are particularly interested in fabric sourcing. From your experience, what factors do fashion companies weigh most heavily when selecting fabrics, and how do these influence design and production decisions?

Mikayla: Cost. Cost and fabric drape.

However, designers and technical designers can push back if a lower-cost option is executing poorly. Buyers can make the decision to increase the retail price to meet initial markup goals to accommodate higher fabric costs.

Alternatively, the team may choose to use the low-cost fabric option in a less high-profile area of the garment and spend more on a high-quality fabric in a statement area of the garment.

On a separate note, if there is liability fabric, i.e., extra fabric that is not being used, buyers often reallocate the fabric to a different or new silhouette.

Sustainability is also at the forefront of mind, especially at denim brands. There is a shift to move towards recycled cotton.

Sheng: Many fashion companies are incorporating “preferred sustainable fibers” such as recycled, organic, or regenerative materials. From your perspective, what are the opportunities and challenges in integrating these fibers into apparel?

Mikayla:Cost and fit are both challenges in integrating these fibers into apparel. For example, many consumers want stretch in denim jeans, but it can be difficult to achieve that effect when switching to certain “preferred sustainable fibers”.

Additionally, it’s difficult to source a “sustainable” faux fur for a teddy bear costume. The plush material is so specific, resulting in a lack of sustainable choices.

One opportunity is using fabrics that are composed of a single fiber. Fabrics with fiber blends are much more difficult to recycle. A lot of opportunities are available to the consumer! Buy fewer and higher-quality items. Wear clothes more than once before washing.

Sheng: Looking ahead, what industry trends will you be keeping a close eye on in the next 1-2 years, and why?

Mikayla: Tariffs!! Tariffs impact our ability to source and distribute our garments. Also, pop culture matters, since many want to dress up as the latest phenoms!

Sheng: Reflecting on your time at UD and in FASH, what experiences helped prepare you for your career? What advice would you give to current students as they plan their career paths?

Mikayla:Think about what you want and your goals. I am so glad that I attended the FASH Grad program, which gave me exposure to CLO 3D and ultimately led to my current role. While I was at UD, I was proactive by working with professors on projects that gave me industry visibility. For example, I worked on an Optitex project that allowed me to attend a training at the Under Armour HQ, which helped me earn a spot as a technical design intern and catapult my career.

–The End–

Hot Button Apparel Trade and Sourcing Issues: Gen Z’s Perspective (October 2025)

As the fashion industry faces an unprecedented business and trade policy environment, hearing directly from Gen Z fashion majors—the next generation of both consumers and young professionals—has never been more critical.

In a new Just-Style mini series, students from FASH455 and the FASH department at the University of Delaware shared their valuable Gen Z perspectives on several hot-button apparel trade and sourcing issues as well as their vision for the future of the fashion apparel industry. Several findings are noteworthy:

First, like other consumer groups, Gen Z has felt the increasingly noticeable retail price hike driven by higher tariffs, and they are responding by reducing clothing purchases.  Compared to a survey conducted in April, nearly all Gen Z consumers now see higher price tags across a broad range of products, including necessities, outerwear, and footwear in the U.S. retail market. Notably, Gen Z consumers feel most strongly about the price hikes at fast fashion retailers—including Shein. Due to the perceived low quality and use of inexpensive textile materials, it is even more challenging for fast fashion brands to justify price increases. Our students who frequently thrift clothing also noted a price increase in the secondhand clothing market. As a warning sign to fashion companies, many surveyed Gen Z students say they plan to spend less this holiday season, or keep shopping “to a minimum” because of price increases.  For example,

  • Gabriella Krug, Fashion Merchandising and Management senior: As a shopper, I’ve adjusted by buying fewer items overall, checking sales racks more often, and using platforms like Depop and Poshmark to sell and buy trendy pieces. For the holidays, I think these price increases will push me, and most shoppers like me, to focus more on quality rather than quantity. I’ll definitely be taking advantage of Black Friday and Cyber Monday deals this year. Ultimately, tariffs could cause people to make more intentional and selective purchases this holiday season.
  • Cheyenne Weiss, Fashion Design & Product Innovation senior: While the higher tariffs have widespread effects on the fashion industry, I have personally noticed raised prices for outerwear and footwear. I noticed these two categories specifically as they are what I was shopping for going back to school and it is telling of how directly trade policy impacts consumers. The effects of the tariffs are hitting close to home, and I would feel most frustrated to see loungewear and athleisure categories rise in price. While these areas seem to already be feeling the effects of raised tariffs, it would be hard as a consumer to continue purchasing these items if tariffs keep rising, considering these are the fashion categories I buy from the most often. As a shopper, the higher prices discourage me from going out and purchasing new clothing.
  • Skye Johnson, Fashion Merchandising and Management senior: I have noticed that prices are rising among all types of clothing. In particular, I have heard that Fast Fashion retailers like H&M or even Shein have increased their prices significantly. While I personally do not shop at fast fashion retailers like Shein, I’ve seen the impact through school research projects and conversations with friends. This is frustrating because these fast fashion items are made with very cheap materials like polyester and nylon.
  • Julia Brady, Graduate Student studying Fashion and Apparel with a focus on Sustainability: I mainly shop using online resale sites, such as Depop, and just enjoy browsing higher-end online consignment stores, like Vestaire and theRealReal, for secondhand designer deals. I have seen fewer deals on the site and more high-priced secondhand designer items… Even on Depop, international listings are higher than normal. The category I would be most frustrated to see prices rise in would be footwear… I also expect to buy holiday gifts from local artisans and local stores, due to higher quality and (hopefully) decreased tariff impact.
  • Nadia Grosso, Fashion Merchandising and Management senior: I’ve noticed myself becoming even more price-sensitive when shopping because of the rising prices, so I’m always looking to find the best deal to stretch my budget as much as I can. Overall, I think shoppers are trying to limit their spending as much as possible, and being more cognizant of prices when choosing what to purchase and who to purchase from. As a result, come holiday shopping time, I might be more inclined to shop at discount retailers or even decrease how much I purchase compared to previous years.

Second, Gen Z fashion majors view globalization and international trade as generally beneficial for the fashion industry. At the same time, they emphasize the need to enhance sustainability and social responsibility in the global apparel trade. For example, while most survey respondents supported leveraging apparel trade to promote economic development in developing countries, they also stressed that trade volume alone should not define success. Instead, many highlighted the importance of ensuring that garment workers in developing countries directly benefit from trade and Western fashion brands and retailers have a responsibility to help make this happen. For example,

  • Emilie Delaye, Master’s student in fashion and apparel studies: I believe that it is almost virtually impossible to move manufacturing fully back into the US. Nearshoring could really help sustainability (as fewer emissions would be released), but nearshoring would require investment and savvy trade deals to ensure that many different kinds of products can be produced there. I don’t really think it is that important that the US maintains a “strong” textile and apparel sector. As we know from the innovation or economic development timeline, the textile and apparel sector is an entry point for less developed economies. It could actually be perceived as a positive that we aren’t largely in this market. I think that there are other more critical sectors to focus on for the US. Plus, we simply do not have the skilled labor or machinery needed to do this. I support the leveraging of the clothing trade to support economic development in the countries that need it. I believe that if done sustainably and socially responsibly, the apparel sector could help millions of individuals in these countries.
  • Abigail Loth, Fashion Merchandising and Management senior: As a consistent consumer in the US fashion industry, I believe that globalization and international trade is vital for our success. Not only does it keep trends fresh, globalization and international trade encourage styles to remain diverse and costs to be cheap… Maintaining a strong domestic textiles and apparel sector in the US is also extremely important. This is because it provides an abundance of jobs/opportunities, innovation and sustainability practices. So, in order to leverage the clothing trade and support workers in developing countries as ethical sourcing and fair labor practices help ensure that globalization benefits more than just corporations.
  • Ekaterina Forakis, Fashion and apparel studies 4+1 graduate student: Globalization and international trade are crucial aspects of the U.S. fashion industry. It is these that keep the U.S. fashion industry running. Trade theory explains why globalization benefits countries like the U.S. and allows them to focus on textile manufacturing, one of the country’s strong suits. Higher tariffs and import restrictions are not necessary to maintain U.S. manufacturing because the U.S. is already a top textile exporting country and does not specialize in apparel production. The country’s capacity for automation is what makes it reliable in the textile sector. Automation allows for more standardized production of textiles which are necessary for developing countries to produce apparel.
  • Emma Lombardi, Fashion Design and Product Innovation senior: I view globalization and international trade as a double edged sword for the U.S. fashion industry, because on the one hand, while it doesn’t benefit the creation of jobs in rural areas that many covet, it also shifts the emphasis towards more sophisticated industries in technology development and innovation both in mechanical and textile sectors.
  • Julia Brady, Graduate Student studying Fashion and Apparel with a focus on Sustainability: I think tariffs and import restrictions are necessary, but not just to protect U.S. domestic manufacturing. Tariffs could help regulate the amount of toxic chemicals along the textile manufacturing value chain. An alternative route for the U.S. to take would be to scale up flax for fibers to be used in domestic textile manufacturing. Perhaps tariffs will force companies and the federal government to invest in agricultural advances in this field…I would never want to advocate taking away work in developing countries; however, for the sake of our environment, we may need to shift the way the fashion supply chain currently operates. It is important to me that the U.S. maintains a strong textiles and apparel sector because we are a big part of the problem. We must take control over the way we consume and dispose of textiles. There could be so many opportunities for economic growth if we shift toward domestic manufacturing, prioritizing the use of materials we already have.

Third, associated with the debate on the future of textiles and apparel “Made in the USA,” most Gen Z fashion majors show little interest in factory jobs. On the one hand, unlike most developing countries, today’s U.S. fashion industry provides Gen Z fashion majors with many exciting and promising non-manufacturing job opportunities, ranging from apparel design, product development, sourcing, trade compliance, and merchandising to marketing. By contrast, factory jobs are often perceived as “low paid,” “repetitive,” and “poor working conditions.”  Our Gen Z fashion majors particularly emphasized that their preferred employers should provide both financial and career progress opportunities, and they want to see keywords such as “innovation,” “sustainability,” “room to grow,” and “inclusiveness” associated with their future jobs. In other words, to attract more Gen Z workers to factory jobs, companies need to do more than just offer competitive pay. For example,

  • Gabriella Krug, Fashion Merchandising and Management senior: At this point in my career, I have not pursued an interest in textile or apparel manufacturing or factory-related jobs. My internships have exposed me to different sides of the industry…That said, I think my generation could see these roles as more appealing if companies focused on innovation, sustainability, and clear opportunities for growth. For example, if factories showcased their role in a circular fashion and created a more modern, flexible work environment, I think more Gen Z talent would be drawn in since we’re motivated by making a positive impact. Personally, I’m most interested in jobs that mix creativity with business—like sales, buying, or trend forecasting. When it comes to an employer, I value opportunities to learn and grow, strong mentorship, and a culture built on collaboration and inclusivity.
  • Cheyenne Weiss, Fashion Design & Product Innovation senior: I am not personally interested in pursuing a career in textile or apparel manufacturing as I see myself in a more creativity-based position. I feel as though my skills in fashion would be better suited for a role where I’m working directly with design and developing the fit and aesthetics of garments. Factory-related jobs in fashion could become more appealing to my generation if more rising fashion professionals knew about the opportunities that are available… When considering the qualities of an employer that I would want to work for, an important factor for me is a growth mindset. I value being able to learn and adapt as the industry evolves and I would want my employer to share my same persistence to always be learning and bettering the quality of work I can produce.
  • Skye Johnson, Fashion Merchandising and Management senior: I am not interested in pursuing careers in textile and apparel manufacturing or factory related jobs. However, I completely respect the importance of these roles in our fashion industry. I feel that my skills or career goals do not align with these jobs, but there could definitely be ways to make it more appealing to Gen Z. For example, offering safer working conditions, competitive pay, clear paths for professional growth, etc… When considering an employer, I value a workplace that aligns with my values, offers an inclusive environment, open communication, creative freedom, and room to grow in the company. I want to feel like I belong and am making an actual impact where I work.
  • Abigail Loth, Fashion Merchandising and Management senior: I personally do not have any interest in pursuing a career in textile or apparel manufacturing and factory-related jobs. These jobs consist of heavy hands on labor, limited creativity and repetitive daily tasks. The job is very cookie-cutter and has limitations for growth and opportunity. In order to make these types of factory jobs more appealing to our generation, the employers should provide safer working conditions, more money, and a sense of change/development in the everyday job. If factory jobs allowed more flexibility for creative thinking and alterations, they would appeal more to Gen Z.
  • Julia Brady, Graduate Student studying Fashion and Apparel with a focus on Sustainability: I am interested in pursuing a career related to textile and apparel manufacturing. Specifically, I would love to work towards a more socially responsible fashion industry. I could see myself working for a textile recycling plant in the U.S.; I expect more to be popping up over the next decade. If the factories were focused on green engineering and diverting textile waste, this might be another attractive core value of a potential future employer. I would be more inclined to work a factory job if the conditions in the factory were regulated and protective of the workers’ health. Additionally, if the employer was prioritizing the use of natural materials combined with textile recycling outputs, this would be very appealing to me as a prospective employee.

Fourth, Gen Z fashion majors show a high awareness of AI and are open to increasing its use in the fashion industry. Specifically, our Gen Z students believe that AI can be a powerful tool widely adopted by fashion companies, such as supporting apparel sourcing decisions, generating designs, and conducting data analysis and forecasting. Many also envision bold, creative applications of AI, such as optimizing secondhand clothing use or dynamically altering garments’ colors and textures based on weather conditions or consumers’ moods. These findings underscore the growing importance of deliberately integrating AI into fashion education and strengthening collaborations between industry and academia. For example,

  • Emilie Delaye, Master’s student in fashion and apparel studies: I think that AI could help understand and simplify the complex supply chains we have. Perhaps by incorporating AI into sourcing decisions, it could help determine the most efficient and eco-friendly path for the garment.
  • Gabriella Krug, Fashion Merchandising and Management senior: If there were no limits in terms of technology or resources, I would love to see AI used to create a truly circular fashion system. Garments would be designed with little to no waste from the very beginning with AI predicting the most sustainable production methods. Also, I think AI should account for each garment’s end-of-life by tracking how items can be reused, recycled, or repurposed.
  • Skye Johnson, Fashion Merchandising and Management senior: I still feel that AI will not be able to completely take over in the fashion industry, we still need that human touch. That human aspect is what makes the industry go round, especially when it comes to designers…If I could pick a bold AI-driven innovation to see in the fashion industry, I would love to see garments that change color or texture based on your mood or the weather. The AI technology could read your personal style and predict what looks best on you. That would definitely take years to make, but it would further blur the lines between fashion, technology and art.
  • Abigail Loth, Fashion Merchandising and Management senior: I would love to see AI-driven innovation that would be able to make custom designs depending on preferred colors, style, size, or shape and deliver it based on preferences of style and sustainability.
  • Nadia Grosso, Fashion Merchandising and Management senior: AI can be a helpful tool to analyze data and make recommendations on how to apply its findings to real-world situations. Especially with the uncertainty surrounding changing prices and geopolitics, AI could be implemented to help fashion companies navigate difficult sourcing decisions and manage their complex supply chains. I would also love to see AI be implemented more to drive sustainability initiatives such as reducing waste within production or even assisting with the discovery and development of more sustainable materials. However, I don’t think AI can fully replace human intelligence and creativity, so it’s important for it to be used as a tool and not as a replacement.

Additionally, the results show that Gen Z fashion majors overwhelmingly support the increased use of recycled textile materials in clothing and view it as an important opportunity to address the textile waste problem. However, as consumers, they still expect such products to remain financially affordable, match the quality of non-sustainable options, and look stylish. Additionally, with greater knowledge and awareness of sustainability, Gen Z consumers expect fashion companies to provide more transparency regarding their recycling practices and price structures (i.e., what they are actually paying for). This requires fashion companies to continue to improve their supply chain mapping and traceability in the era of textile recycling. For example,

  • Emilie Delaye, Master’s student in fashion and apparel studies: The (recycled) garments currently on the market are very expensive and do not appeal to my personal style…And it is very important for fashion companies to provide clear sustainability information. I think providing information on the cost breakdown would be valuable to see and ensure that the money is distributed more evenly.
  • Gabriella Krug, Fashion Merchandising and Management senior: Yes, I do care about clothing made from recycled textile materials because it feels like a step in the right direction and it makes me feel like I am making a more thoughtful choice as a consumer…What makes these products most appealing to me is the mix of style and transparency. Especially with Gen Z, the culture is shifting more and more toward eco-conscious consumers, now with the help of Depop, ThredUp, and Poshmark. These platforms give people an easy way to step into the world of sustainable fashion. For me, I want to know that the clothing looks and feels just as high-quality as non-sustainable options, but I also don’t want to feel like I’m overpaying just because it’s labeled as eco-friendly…I want brands to be upfront about what percentage of a garment is actually recycled and how it was made
  •  Skye Johnson, Fashion Merchandising and Management senior: For me, the appeal of recycled or sustainable fashion products comes from a combination of style, price, and brand transparency. I believe it is very important that fashion companies provide clear sustainability information and have the efforts and data to back it up… Obviously, no brand is perfect, but when I see a brand putting in the work to do better, I respect them a ton more.
  • Nadia Grosso, Fashion Merchandising and Management senior: Fashion brands need to do more to educate their consumers and highlight the importance of sustainability, while also incorporating it as a value into all of their business practices. I think that we can make sustainable and recycled products more appealing to consumers by being transparent and educating them on their importance. Fashion brands are becoming increasingly aware that providing clear sustainability and sourcing information to their consumers is necessary to gain their trust and loyalty, especially as a growing number of consumers are considering these practices as influencing factors to make purchases.

FASH students who contributed to the series include:

  • Gabriella Krug, Fashion Merchandising and Management senior
  • Emilie Delaye, Master’s student in fashion and apparel studies
  • Cheyenne Weiss, Fashion Design & Product Innovation senior & 4+1 graduate student
  • Skye Johnson, Fashion Merchandising and Management senior
  • Julia Brady, Master’s student in fashion and apparel studies
  • Abigail Loth, Fashion Merchandising and Management senior
  • Nadia Grosso, Fashion Merchandising and Management senior
  • Ekaterina Forakis, Fashion and apparel studies & 4+1 graduate student
  • Emma Lombardi, Fashion Design and Product Innovation senior

Explore more:

FASH455 Exclusive Interview with Nicole Bivens Collinson, Managing Principal and Practice Leader of International Trade and Government Relations, Sandler, Travis & Rosenberg, P.A.

About the interview

When learning about apparel sourcing and trade, our students often notice how much they are affected by trade policies and regulations—from tariffs, and something called “de minimis” to UFLPA. These issues are not only critical for fashion companies but can also be quite technical.

We are fortunate to have Nicole Bivens Collinson, Managing Principal and Practice Leader of International Trade and Government Relations of Sandler, Travis & Rosenberg, P.A. (ST&R), a true expert in trade policy and the legal aspects of trade, join us. In the interview, Nicole clarified key U.S. trade rules and provided valuable insights into their apparel sourcing and trade implications, including:

  • What is a tariff, and why is it a big issue for US fashion brands and retailers?
  • Why have the so-called IEEPA “reciprocal tariffs” imposed by the Trump administration so far this year raised so many concerns?
  • What does the term “transshipment” mean in international trade? And why did this issue emerge in the context of higher tariffs this year?
  • What is the “20% US content” rule and its implications for fashion companies?
  • What is “tariff engineering”? Is it legal or illegal? How have fashion companies used it to mitigate the tariff impacts, potentially?
  • What is de minimis? Why was it created, and then became controversial? Since the “de minimis” rule was officially terminated recently, what impacts could we expect now? 
  • What is the Uyghur Forced Labor Prevention Act (UFLPA) and what does it aim to do? How has the implementation of the UFLPA affected U.S. fashion companies’ apparel sourcing?
  • For fashion students interested in working in trade compliance, trade policy, or the legal aspects of the fashion industry, what steps can they take to get started?

About Nicole Bivens Collinson

Nicole Bivens Collinson is the Managing Principal and Practice Leader of International Trade and Government Relations with Sandler, Travis & Rosenberg, P.A. (ST&R). Nicole is a commentator on trade matters on MSNBC, NPR, and BBC the producer of the Two Minutes in Trade podcast.

Nicole has nearly 40 years of experience in government and public affairs and lobbying. She prepares countries, companies, and associations for negotiations with the United States on free trade agreements, trade and investment agreements, labor disputes, and preferential trade programs.

Prior to joining ST&R, Nicole served as assistant chief negotiator for the Office of the U.S. Trade Representative, responsible for the negotiation of bilateral agreements with Latin America, Eastern Europe, Southeast Asia, the Sub-Continent, and Africa. She also served as a country specialist in the International Trade Administration at the Department of Commerce, where she was responsible for the preparation of negotiations on specific topics between the U.S. and Latin America, Eastern Europe, China, and Hong Kong as well as the administration of complex textile agreements.

Nicole holds a master’s degree in international relations from The George Washington University and a triple bachelor’s degree in political science, European studies, and French from Georgetown College. She also studied at the Université de Caen in France.

Nicole is past chair of the Women in International Trade Charitable Trust, past president of Women in International Trade, an advisory board member of America’s TradePolicy.com, treasurer and board member of the Washington International Trade Association, and a member of the Washington International Trade Association Foundation and Women in Government Relations. She serves on the board of trustees for Georgetown College and is the past executive director for the U.S. Hosiery Manufacturers Coalition, the U.S. Apparel Industry Coalition, and the U.S. Sock Distributors Coalition.

About Katie Yasik (moderator)

Katie Yasik is a master’s student & graduate instructor in Fashion and Apparel Studies (FASH) at the University of Delaware (UD). Katie graduated from UD & FASH with a B.S. in Fashion Design and Product Innovation & Sustainable Apparel minor. Driven by her strong passion for sustainability, she interned with the Worldwide Responsible Accredited Production (WRAP) in Spring 2024.

FASH455 Exclusive Interview with Shannon Brady, Import and Product Operations Manager at LoveShackFancy

About the interview

In this exclusive FASH455 interview, we are thrilled to welcome Shannon Brady, Import and Product Operations Manager at LoveShackFancy and a proud UD & FASH alum, to share her experiences navigating global apparel sourcing for fashion students. Shannon offered first-hand insights into the latest sourcing trends in the fashion apparel industry and reflected on her career journey in sourcing and trade. Specific topics covered in the interview include:

  • Apparel sourcing process in general
  • The current U.S. tariff situation and its impacts on apparel sourcing
  • Why do apparel sourcing orders still mostly go to Asia?
  • Outlook for apparel on-shoring and near-shoring
  • Sustainability and sourcing in practice
  • Career opportunities in apparel sourcing and trade

Note: This interview is for informational purposes only and reflects Shannon’s personal perspectives. What was shared in this interview should not be taken as, and does not constitute, official policy, position or guidance from LoveShackFancy.

About Shannon Brady

Shannon Brady is the Import and Product Operations Manager at LoveShackFancy. With over four years of experience in product development and sourcing, she specializes in driving vendor performance, optimizing supply chains, and leading cross-functional initiatives. Before her current role, she worked for the U.S. Fashion Industry Association in Washington, D.C., and then joined Party City as a Sourcing Operations Manager.

Shannon graduated magna cum laude from the University of Delaware with a B.S. in Fashion Merchandising. She was a 2018 UD summer scholar, and her co-authored case study Managing the used clothing trade  was published in the Bloomsbury Fashion Business Cases.

About Emilie Delaye (moderator)

Emilie Delaye is a master’s student & graduate instructor in Fashion and Apparel Studies at the University of Delaware, with a specific interest in supply chain, global sourcing, and sustainability. 

FASH455 Exclusive Interview with Karin De León, Investment and Promotion Director, Apparel and Textiles Association of Guatemala (VESTEX)

About Karin De León

Karin De León has been working in the textile and apparel sector in Guatemala for more than 25 years, promoting the development of the industrial cluster, participating in the creation of strategies, supporting the strengthening of the supply chain, and attracting investment.

As part of her role at the Apparel and Textile Association of Guatemala (VESTEX), for 10 years she held the position of Executive Director of CECATEC-RD (Central American and Dominican Council of Clothing and Textiles), the entity that integrates textile & apparel industry associations of Central America and the Dominican Republic and which is responsible for coordinating the inter-institutional relationship with public and private entities of the United States of America, Mexico and Colombia mainly.

From 2020 to the beginning of 2022, she served as Chief of Staff of the Ministry of Economy of Guatemala and later became General Coordinator of the National Competitiveness Program (PRONACOM), a government entity responsible for promoting the country and attracting investment.

Karin is currently VESTEX’s investment and promotion director, and representative of Guatemala in CECATEC-RD. She coordinates the inter-institutional relationship with government entities of the United States (such as the United States Trade Representative and the Department of Commerce) as well as private institutions mainly related to the United States, Mexico, and Colombia.

Sheng: Can you provide a brief introduction to VESTEX and a general overview of your member companies?

Karin: VESTEX is the Apparel and Textile Association of Guatemala, a private association representing the Guatemalan textile and apparel export sector. It focuses on promoting the industry’s exports through strategic alliances with public and private institutions at the national and international levels.  Its strategic axes are Sectoral Resilience, which seeks to position the industry as a generator of investment and formal employment in the country; Sectoral Sustainability, through the promotion of sustainability as a long-term strategy for industry continuity and compliance, providing companies in the sector with tools that facilitate compliance with the obligations established in the laws and regulations.

VESTEX partners comprise companies that integrate the entire supply chain of the apparel and textile sector, encompassing yarn and fabric manufacturers, apparel producers, as well as firms providing specialized services and accessories to the industry.

Sheng: Studies show that there is consistent interest among U.S. fashion companies in expanding nearshoring from the Western Hemisphere, including Guatemala. What is your observation? What makes Guatemala an attractive destination for apparel sourcing today? What are the unique advantages of sourcing from the country?

Karin:Guatemala has become an increasingly attractive destination for apparel sourcing due to its unique combination of industrial integration, geographic advantages, and strong compliance standards. The country offers a highly integrated apparel cluster that encompasses every stage of the supply chain—from spinning yarn and weaving fabrics to apparel manufacturing, printing, finishing, and packaging. This full-package model not only streamlines operations and enhances traceability but also allows for greater flexibility and product diversity, raising the added value of garments and positioning Guatemala as a competitive supplier for niche and complex products requiring skilled labor and high-quality materials.

Another key differentiator is Guatemala’s strategic location. With access to ports on both the Atlantic and Pacific coasts—separated by only 249 miles—the country can efficiently serve both the East and West coasts of the United States. Guatemala manages the second-largest maritime cargo operation in Central America (after Panama), which is critical for companies seeking to balance and mitigate geopolitical and logistical risks. In addition, proximity to the U.S. substantially reduces environmental impact: sourcing from Guatemala lowers CO₂ emissions from maritime transport by approximately 84% compared to sourcing from Asia. Transit times are also highly competitive, with shipments reaching Miami in as little as three days, enabling U.S. buyers to manage inventories more effectively and respond to market demands with agility.

Equally important, Guatemalan apparel companies operate under a strong framework of labor and environmental compliance. Companies demonstrate a full-spectrum commitment to input traceability, adherence to strict rules of origin, and continuous process improvement to reduce resource consumption. Investments in monitoring and ESG systems underscore their transparency and alignment with global sustainability standards.

Taken together, this integration of cluster capabilities, geographic proximity, and compliance with international norms positions Guatemala as a reliable, sustainable, and strategically advantageous sourcing partner for U.S. fashion companies.

Sheng: How important is the Dominican Republic-Central America Free Trade Agreement (CAFTA-DR) in supporting Guatemala’s apparel exports to the U.S. market? What impact do CAFTA-DR’s apparel-specific rules of origin have on garment exporters’ supply chains and export strategies in Guatemala?

Karin:CAFTA-DR has provided certainty by encouraging long-term investments in textile infrastructure and capabilities. CAFTA-DR has been the basis for the development of Guatemala’s apparel industry.  The yarn-forward rule established under the agreement has not only fostered integration with the U.S. supply chain but also promoted stronger collaboration among Central American countries. By allowing the accumulation of inputs and processes within the region, CAFTA-DR has significantly strengthened intraregional trade.

This integration has facilitated the specialization of each Central American country. In Guatemala’s case, it has enabled the use of specific yarns and fabrics produced in other countries and manufactured locally, fostering a greater diversification of production.

According to OTEXA figures, in the year ending June 2025, 89.17% of Guatemala’s total apparel exports to the U.S. entered under the Free Trade Agreement preferences. Of this total, 79.69% qualified under the yarn-forward rule—that is, garments made with yarn from the U.S. or yarn produced within one of the Central American countries. CAFTA-DR, and particularly its rules of origin, have been the basis of Guatemala’s strategy in recent years, not only to attract foreign direct investment but also to encourage significant reinvestments.

Sheng: Data shows that an increasing share of yarns and fabrics used by Guatemala garment factories are now locally made in Guatemala and other Central American countries. Could you discuss the recent trends in textile manufacturing capacity building in Guatemala, as well as the industry’s current priorities in building a more vertically integrated regional supply chain?

Karin:Guatemala offers a series of competitive advantages that are reinforcing its role as a regional hub for textile and apparel manufacturing. At the country level, it benefits from a stable macroeconomy, a solid exchange rate, competitive electricity prices within the region, and a reliable energy supply. At the industry level, Guatemala stands out for its robust apparel and textile cluster and highly skilled workforce.

Since the pandemic in 2020, when many global companies accelerated nearshoring strategies, Guatemala has successfully attracted new foreign investment and supported the expansion of companies already established in the country, particularly in the spinning industry. Installed capacity is primarily focused on cotton, although blends are also produced. By the end of 2024, apparel exported to the U.S. consisted of 62.8% cotton, 36.4% synthetics, and 0.8% wool, reflecting the central role of cotton in the country’s production while also showing diversification into other fibers.

Driven by shifting market demand, textile production in Guatemala has been expanding beyond knits, with a modest increase in woven fabrics as well. Investments in innovation and technology have enabled the industry to offer specialized processes, including antimicrobial treatments, absorption, UPF protection, enzymatic washing, softening, and plush finishing, among others. A particularly important advancement has been the investment in elastic knit fabrics, which has opened the door to the production of categories such as sportswear, intimate apparel (seamless), shapewear (technical lingerie and compression fabrics), and medical textiles.

We recognize, however, that there remain challenges and opportunities to broaden the regional textile offering—particularly in the production of yarns and fabrics made from fibers not yet manufactured locally. Expanding capacity in these areas would further strengthen vertical integration and supply chain resilience.

In this context, VESTEX has taken a leading role in supporting and guiding companies interested in exploring these opportunities. In coordination with Guatemala’s foreign direct investment promotion agency, efforts are underway to identify high-demand inputs that are currently unavailable in the region but represent strategic opportunities for local production.

Sheng: Since April 2025, U.S. apparel imports from CAFTA-DR countries, including Guatemala, are subject to a new 10% “reciprocal tariff.” How has this tariff increase and the Trump administration’s trade policy so far impacted Guatemala’s garment industry and exports? 

Karin:The main challenge for Guatemala’s apparel industry under the current U.S. trade policy has been the high degree of uncertainty. Markets and buyers demand stability, yet in recent months orders have slowed significantly as companies await clarity on the tariffs that will ultimately apply to each country. This hesitation has already resulted in lost opportunities: seasonal orders cannot be recovered once the selling window has passed.

Traditionally, Guatemala’s apparel sector grows between 3% and 5% annually; however, 2025 projections have been revised downward, and current expectations suggest growth closer to 1–2%. According to the Central Bank of Guatemala, as of June 2025, exports registered a modest 1.36% increase—well below what was anticipated under normal conditions.

Another major impact has been the need for companies to absorb additional costs to maintain contracts with international brands. This has reduced profit margins, limited reinvestment capacity, and increased pressure on already tight production cycles. Buyers face uncertainty as well: they do not know how much a garment ordered today will cost by the time it is delivered six to nine months later, since tariff rates are subject to abrupt changes. The volatility recalls past episodes in China, where tariffs under former President Trump rose as high as 145% before being reduced to 30%, creating unpredictable supply conditions.

That said, Guatemala continues to hold a relative tariff advantage compared with Asian competitors, where rates now reach 15%, 18%, 25%, or even higher. This gap may ultimately favor Guatemala if U.S. buyers reconfigure sourcing strategies to prioritize suppliers who are both geographically closer and more reliable. Indeed, global sourcing is shifting away from a purely low-cost model toward one that values resilience, speed to market, and compliance.

Sheng: The 2025 US Fashion Industry Association Benchmarking Study indicates that U.S. fashion companies are increasingly seeking sourcing destinations that can provide sustainable apparel products, including those made with preferred fibers such as organic, recycled, regenerative, and biodegradable materials. What strategies or recent initiatives has the Guatemalan textile and apparel industry undertaken to meet this demand for sustainability?

Karin: Guatemalan mills already source recycled polyester yarns, organic or regenerative cotton, and biodegradable materials. Brands are actively demanding these products. In fact, mills have obtained various certifications and adhere to practices focused on circular economy, science-based target initiatives, and other sustainability standards.

Traceability is key for the textile and apparel industry, and Guatemala has managed to implement measures such as data management and continuous improvement as a way to demonstrate this.

  • Adoption of Sustainable Certifications and Standards: Guatemalan manufacturers are obtaining certifications like GOTS (Global Organic Textile Standard), OEKO-TEX, Global Recycled Standard, Recycled Claim Standard, Blue Sign, Higg FEM, among others, ensuring their products meet international sustainability standards.
  • Investment in Technologies: Many mills are upgrading to water and energy-efficient machinery, as well as more sustainable dyeing and finishing processes.
  • Training and Capacity Building: Initiatives to train and certify workers and management on sustainable practices and standards are increasing, promoting a culture of sustainability throughout the industry.
  • Integration of Circular Economy Principles: Some mills are exploring design for recyclability techniques to align with circular economy goals.

These initiatives collectively position the Guatemalan textile and apparel sector as a viable sourcing destination for sustainable fashion, aligning with global market trends and buyer preferences for more sustainable products.

Sheng: In addition to the questions discussed earlier, what are the top business and policy issues facing Guatemala’s textile and apparel industry over the next 1–2 years?

Karin:Over the next 1–2 years, Guatemala’s textile and apparel industry will face several pressing business and policy issues that will shape its competitiveness.

1. Infrastructure and logistics.
A key issue remains the need to strengthen national infrastructure, particularly ports, customs processes, and internal transport routes.

2. Limited availability of regional inputs.
The industry continues to face constraints in the local production of certain yarns, fabrics, and specialized fibers. Inputs such as viscose, spandex, and rayon are not yet manufactured in the region at scale, which limits vertical integration and forces reliance on imports from outside the hemisphere. Expanding textile capacity in these areas is a central issue to ensure resilience and broaden the exportable supply.

3. Market visibility and buyer perception.
Despite its high level of integration, many international buyers remain unaware of Guatemala’s strengths in complex products, compliance, and sustainability. A persistent challenge is to raise global awareness of the country’s capabilities in order to capture greater sourcing opportunities.

4. Policy uncertainty and trade volatility.
The recent 10% reciprocal tariff applied to CAFTA-DR countries has introduced significant uncertainty. Buyers hesitate to place long-term orders when tariff levels are unclear, and this volatility affects sourcing decisions. Stability and predictability in trade policy remain critical issues for the sector.

5. Differentiation and specialization under nearshoring.
Another key challenge is sustaining competitiveness through higher-value products. Today, 54.11% of Guatemala’s apparel exports already include advanced finishing processes, and the industry is investing in spinning, woven fabrics, and technical textiles. However, scaling these capabilities requires reinvestment and foreign capital inflows—both of which are being constrained by global uncertainty. Given that Guatemala currently supplies only about 2% of U.S. apparel imports, a major issue ahead is how to convert this untapped potential into tangible growth.

In short, while the country is positioning itself strategically with competitive tariffs, geographic proximity, and an increasingly sophisticated textile base, the top issues over the next two years will be overcoming infrastructure and logistics bottlenecks, reducing dependence on imported inputs, strengthening promotion to buyers, and navigating trade policy volatility. Addressing these challenges will be crucial for Guatemala to capitalize on long-term opportunities in the ongoing global supply chain reconfiguration.

-The End-

FASH455 Exclusive Interview with Matthias Knappe, Head of Fibres, Textiles and Clothing Unit, International Trade Centre

About the interview

Textile and apparel trade matters. Even today in the 21st century, apparel could still account for 80—90% of a developing country’s total merchandise export and play a critical role in promoting economic growth, poverty reduction, and gender equality. The interview explored several key topics:

  • Why textile & apparel trade matters for development in the 21st century
  • How ITC provides capacity building support and enhances the export competitiveness of garment exporters in developing countries
  • Sustainability movement’s impact on apparel sourcing and export competitiveness of developing countries
  • The promise and complexity of circularity in tackling used clothing challenges
  • Empowering women entrepreneurs through SheTrades
  • Skills and education needed to thrive in the global fashion apparel trade

About Matthias Knappe (speaker)

Matthias Knappe is the Head of Fibres, Textiles and Clothing Unit at the International Trade Centre (ITC), which is co-run by the World Trade Organization (WTO) and the United Nations (UN). Matthias has over 30 years of diversified professional experience in international trade and development. He has worked at the enterprise, institutional, and governmental levels. Matthias is leading ITC’s textile and apparel and light manufacturing unit. Over the last 20 years, he has been working with the T&C sector around the world to increase its export competitiveness. He designed and currently manages ITC’s Global Textiles and Clothing (GTEX) programme and various other fibre, apparel and light manufacturing projects. The Unit’s present portfolio includes projects in 15 countries.

About Emilie Delaye (moderator)

Emilie Delaye is a master’s student in Fashion and Apparel Studies at the University of Delaware, with a specific interest in supply chain, global sourcing, and sustainability. With a background in Entrepreneurship and Fashion Management, Emilie’s passion lies in improving the fashion industry through innovative problem-solving and collaboration. She has worked on projects exploring sourcing destinations and emerging sourcing trends, as well as collaborated with Macy’s on an initiative centered around Extended Producer Responsibility (EPR) regulations. Emilie’s work is driven by a commitment to fostering innovation and ethical practices in fashion, positioning her as a future leader in driving the industry toward greater sustainability and responsibility.

FASH455 Exclusive Interview with Ally Botwinick, Textile Assistant at The Kasper Group, about Textile Raw material Sourcing and Management

About Ally Botwinick

Hi! My name is Ally Botwinick, and I am a University of Delaware alum who studied Fashion Merchandising and completed the 4+1 master’s program in Fashion and Apparel Studies. I am currently working as a Textile Assistant at The Kasper Group in NYC. The Kasper Group is a portfolio of global fashion brands such as Nine West, Anne Klein, Kasper, Le Suit, and Jones New York. I work on fabric sourcing and production for the Jones New York brand as well as denim fabrics for all brands within the Kasper Group.

Note: During her studies in the FASH 4+1 program, Ally participated in several research and experiential learning projects. She co-authored Explore PVH Corporation’s Evolving Apparel Sourcing Strategies, published in Just-style, a leading industry publication focusing on apparel trade and sourcing. Her master’s thesis, which examined US retailers’ merchandising strategies for clothing made from recycled textile materials, was published in the International Journal of Fashion Design, Technology, and Education. Ally was also a UD summer scholar and a key member of the FASH students team that helped Macy’s develop a vision of its sustainable apparel sourcing strategy (see featured UDaily story and Yahoo).  Additionally,  Ally was a policy intern for the American Apparel and Footwear Association (AAFA) in Washington, D.C. in the summer of 2022.

Disclaimer: The views expressed in this interview are those of Ally Botwinick and do not reflect the views or positions of her employer or any affiliated organizations.

Sheng: What are your main responsibilities as a textile assistant? What does a typical day look like? What aspects of the job do you find particularly interesting or unexpected before taking on the role?

Ally: My main responsibility as a Textile Assistant is to help buy and keep track of all fabric orders for Jones New York as well as denim for multiple brands within the Kasper Group. Jones New York has both a mainline division, which is sold at retailers such as Macy’s and Dillard’s, as well as an off-price division called Jones New York Signature which is sold at off-price retailers such as TJ Maxx, Marshall’s, Burlington, Ross, etc..

During a typical day, I communicate with textile mills/factories overseas about fabric approvals or rejections based on fabric color, quality, and hand feel. For each fabric order that we place, we have the mills submit fabric references to our New York office for review. Each morning, I process these submissions and work with my team to release comments to the mills. The color must match the color standard we send them at the beginning of production. The fabric quality must match the fabric standard that we approved upon booking the fabric.

We keep track of all these approvals and rejections in what is called a fabric WIP (work in progress) chart, where we keep track of each order for each season and division. This WIP chart includes key fabric information, price, production timelines, and fabric submit status, among other order details. Creating and updating these fabric WIPs is something I do continuously throughout the day as I receive updates from mills and factories.

I frequently work with cross-functional partners, like members of the design, production, costing, and color teams, and touch base about any changes to design boards, production schedules, costing, or color issues that may arise.

One of the most interesting aspects of the job is the number of teams that collaborate on a daily basis, especially when there are updates made to the fashion collection, such as changes to color names, production units, production schedules, fabric details, and costs.

Sheng: In general, what factors should be considered when selecting textile raw materials, such as fabrics, in product development and sourcing?

Ally:Some important factors to consider when selecting fabrics are hand feel (whether the fabric feels soft, dry, smooth, rough, etc…) and price.  We want to ensure the fabric provides comfort to the consumer and that it will drape well according to the garment design. We work very closely with the design and costing teams when sourcing fabrics as we must ensure fabrics are functional, stylish, on-brand, and meet margin goals.

We highly consider the fiber content as well. Fiber costs can be influenced by a multitude of factors, even including the weather or occurrence of natural disasters which can affect supply and demand. We also closely monitor cotton traceability as there are forced labor concerns with cotton grown in parts of China. We require each mill supplying fabrics made with cotton to submit a cotton traceability certificate for us to track the cotton’s origins. This way, we can ensure no cotton is being produced in association with forced labor.

Sheng: What are the main processes involved in selecting and sourcing textile raw materials like fabrics?

Ally:At my company, the Fabric Research & Development team is more involved in finding new fabrics, whereas my team is more involved in fabric buying and production. The design and R&D team usually hand off the desired fabrics to us after sourcing, and we go ahead and buy the fabric. We buy fabric yardage according to the number of units (garments) in the collection, accounting for the different sizes and colorways.

However, we do occasionally get involved in the sourcing aspect as well. When we source fabrics, we consider the factors I mentioned such as cost, quality, and fiber content. We also think about how we may want to elevate and bring newness to the brand.

When adding certain washes or finishes to fabrics, the appearance can change, so this is something we consider as well. When purchasing a new novelty fabric such as a new jacquard, velour, or cross-dye, we expect the mill to tell us if there is a certain inherent characteristic we should know about prior to booking. For example, a mill might tell us the fabric is known to flare a bit, and this is hard to control, or it tends to shrink a little when washing. This way, we can decide whether the fabric is acceptable based on our needs. If we decide to purchase, we then collaborate with internal cross-functional partners about creating a level of tolerance accounting for these inherent characteristics.

Upon booking any fabric, we always require mills to fill out a fabric detail sheet with information such as cuttable width, weight, price, MOQ (minimum order quantity), lead time, etc… and we have them send us a fabric header which becomes our fabric standard. The design team will also request a sample garment to ensure the fabric is suitable for the garment. All these processes are essential for booking fabric.

Sheng: Where do textile raw materials typically come from, or which countries or regions mostly supply textile raw materials for US fashion companies today?

Ally:Some of the top countries supplying fabric for U.S. fashion companies include China, Vietnam, South Korea, and India. Also, from my observation, Asia plays a significant role as a leading textile raw material supplier for many leading U.S. apparel brands and retailers.

Sheng: From your observation, how has sustainability influenced the selection and sourcing of textile materials for fashion companies? What emerging trends are worth watching?

Ally:From my observation, sustainability is becoming more and more important to brands and consumers alike. Recycled polyester is on the rise as more consumers are paying attention to the materials in their clothing and trying to lessen their environmental impact. Recycled polyester seems easier to incorporate rather than, say, recycled cotton, which is harder to trace back to the source and has quality concerns. I see recycled materials on the rise in my company, and as someone who wrote my master’s thesis on this topic, it is very exciting and encouraging to see.

Sheng: Based on your experience, can you offer any advice to our students regarding preparing for a career in the fashion apparel industry? What could they do at UD?

Ally:Some advice I would give to students preparing for a career in the fashion industry is to think about what classes at UD most intrigued and inspired them. There are so many different career paths within the fashion industry, whether it be design, product development, sales, merchandise planning, costing, garment sourcing, fabric sourcing, merchandise buying, etc… Whatever you are most passionate about, go after it. Also, keep an open mind. You may find a great opportunity that you hadn’t previously considered, and you may end up loving it. There is so much to be learned in any given role, especially when starting out. Throughout my role, I have learned not only the ins and outs of the fabric production cycle, but also the entire garment life cycle. I can see how all the teams within my organization work together to achieve a common goal.

UD has so many amazing resources to utilize for planning your future career. First, take advantage of the career center by meeting with a career counselor and updating your resume and LinkedIn. Next, consider doing a research project with a professor on a topic you are passionate about. There are so many professors in the fashion department who would be happy to chat about research opportunities, and having this experience can really help you stand out during the job search and interview process. Internships and retail experience are also great ways to gain work experience while in school. Lastly, lean on your network. If an alum you know has a career that sounds interesting to you, reach out to them and ask them for a quick phone call to learn more about it. It is great to build your network and learn more about different potential career paths. Overall, my greatest advice is to truly enjoy your college years- they go by so fast. Make the most of your time at UD, pursue your passions, and remember that exciting opportunities lie ahead!

–The End–

FASH455 Exclusive Interview with Hannah Laurits, Fabric Lab Textile Coordinator at Swim USA, about Fabrics and Apparel Sourcing

About Hannah Laurits

Hello! My name is Hannah Laurits, and I am currently working as a Textile Lab Fabric Coordinator at Swim USA. I graduated from the Master of Science program in Fashion and Apparel Studies at the University of Delaware in 2024. Through the program, I had the opportunity to work on various research projects, ranging from adaptive apparel to sustainable textiles. During my time at UD, I also had the privilege of teaching Fash133 Foundations for Fashion Innovation, which was an incredibly rewarding experience.

In addition to my master’s degree, I hold a Bachelor of Science in Apparel Design and Fashion Merchandising from the University of Delaware. Throughout my academic journey, I completed internships related to textiles and sourcing, which played a significant role in shaping my career and led me to my current position at Swim USA. I am passionate about the intersection of textile innovation, sustainability, and sourcing, and I’m excited to share insights from my experiences in the industry.

Disclaimer: The views expressed in this interview are those of Hannah Laurits and do not reflect the views or positions of her employer or any affiliated organizations.

Sheng: What are your main responsibilities as a fabric lab textile coordinator? What does a typical day look like? Which aspects of the job do you find particularly interesting or unexpected before taking on the role?

Hannah: As a Fabric Lab Textile Coordinator, I work to ensure that the fabrics that go into our products meet both our internal quality standards as well as the standards of our customers and the global textile industry. In the lab, we mainly focus on quality control, which includes ensuring that the fabrics we use in production meet specific quality standards.

In my role, a typical day may include visually and/or digitally reviewing colors to ensure that they align with our established standards. Additionally, each day consists of a variety of testing and analysis of results to ensure that they meet brand requirements. I also assist with raw materials development, particularly in the areas of color and fabric testing for various brands. One key aspect of my work is analyzing testing data to identify risks, areas for improvement, and potential delays in production. The best part of my role is the variety of tasks I’m involved in, the opportunity to work on multiple brands, and the extensive cross-functional collaboration I get to participate in. From color matching and testing to analyzing data and working directly with various teams, no two days are ever the same. The level of collaboration across departments has been extremely helpful, allowing me to learn from different areas of the business and broaden my skill set.

Sheng: In general, what factors should be considered when selecting fabrics in product development and apparel sourcing?

Hannah: When selecting fabrics for product development and sourcing, there are many factors to consider, including but not limited to cost, quality, durability, color and dyeing process, fiber content, intended use, sustainability, lead times, availability, and compliance with regulations. In my role, understanding the fabric composition, color, and dyeing process, as well as the intended final use is essential. Different fibers and dyestuffs have inherent properties that can affect the fabric’s appearance and colorfastness, so it’s crucial to understand how they will perform in the final product. This knowledge helps determine whether achieving a specific color while maintaining the desired quality is feasible. By carefully considering these factors, we ensure that the product meets both aesthetic and performance standards.

Sheng: Part of your job involves testing fabrics. What needs to be tested, and what are the main issues involved in the quality control of fabrics?

Hannah:A large part of my role involves testing fabrics to ensure they meet the required standards. There are a variety of tests that need to be completed, and they generally fall into two main categories: color fastness and physical properties. Color fastness testing is conducted to ensure that the fabric retains its color and/or does not run when exposed to various factors, such as washing, sunlight, or exposure to chlorine. Physical property testing helps ensure that the fabric will meet the required performance standards. This includes testing for qualities like weight, stretch, and dimensional stability. These tests are essential to make sure the final product fits well and performs as expected for the consumer.

Sheng: From your observation, how has sustainability impacted the selection and sourcing of textile materials for fashion companies? How is “sustainability” assessed for fabrics? What emerging trends are worth watching?

Hannah: Sustainability is a major focus in the textile and apparel industry, continuously evolving and shaping how fashion companies approach textile research, development, and sourcing. There is a noticeable shift towards prioritizing eco-friendly materials and minimizing environmental footprint. Sustainability can be assessed in many ways in fabrics throughout a fabric’s entire lifecycle – from raw material sourcing to end-of-life disposal. It is important to consider not only the environmental impact but also the social and ethical aspects of fiber cultivation and fabric production, ensuring that workers’ rights are also prioritized. From what I have observed in the market, the most accessible and widely adopted sustainable fabrics tend to be recycled, organic, or plant-based materials. However, there are many other emerging trends worth watching. These include waterless or low-water dyeing technologies, eco-friendly finishes and treatments, regenerative agriculture, and innovative fiber development

Sheng: Following up on the previous question, is it true or a myth that sustainable fabrics are typically more expensive and increase production costs? If so, how can companies balance sustainability with cost-effectiveness?

Hannah:While sustainable fabrics can sometimes be more expensive, it’s not always the case. Factors such as higher initial investments in sustainable technologies, costs of production, the smaller scale of production, and the costs associated with certifications can make sustainable fabrics more costly. However, it is still possible for companies to balance sustainability with cost-effectiveness. Sustainable practices often bring long-term benefits, such as risk reduction, improved durability, and increased brand value. Further, as more brands shift towards and invest in sustainable material innovation, we can expect these fabrics to become more affordable and available over time.

Sheng: Based on your experience, can you offer any advice to our students regarding preparing for a career in the fashion apparel industry? What could they do at UD? What is the benefit of getting a master’s degree in fashion and apparel?

Hannah: My advice to students is to get involved as much as possible. Internships are a great way to gain hands-on experience. If internships aren’t available, networking and learning from professionals in the industry are invaluable. At UD, there are numerous opportunities to take advantage of, like research projects, clubs, and career fairs to build connections and expand your knowledge. I have found that a master’s degree in Fashion and Apparel has provided me with a strong foundation which has helped me secure a career and be successful in the industry. I often find myself referring to course topics and key skills I learned in graduate school such as data analysis.

Additionally, if any students soon graduating are interested in Swim USA, below is information from our HR department on how they search for talent. “For entry-level roles, we typically use Handshake as a great way to reach upcoming graduates or recent alumni. I would advise them to register and look at opportunities there. If they haven’t already, they should also ensure their LinkedIn profile is up to date and has a nice professional picture. Start following companies that you might be interested in, like SWIM USA, to see new or open roles first. They are also welcome to follow our Swim USA careers page for more information.”

–The End–

FASH455 Exclusive Interview with Jillian Silverman, Associate Trim Specialist at Lands’​ End, about Textile Raw Materials and Apparel Sourcing

About Jillian Silverman

Jillian Silverman is an Associate Trim Specialist at Lands’ End, based in Madison, Wisconsin. She earned an Honors degree in Fashion Merchandising with a minor in Environmental Humanities from the University of Delaware in 2016. She later completed her Master’s degree in Fashion and Apparel Studies in 2018, focusing on sustainable material development. Her research, which explored the use of mushrooms as a primary material for footwear, gained national media attention. As a graduate instructor, Jillian taught an undergraduate sustainability course at UD. She continues to share her expertise on textile sustainability as an adjunct professor, teaching several courses in the FASH graduate certificate program for sustainable apparel business.

Disclaimer: The views expressed in this interview are those of Jillian Silverman and do not reflect the views or positions of her employer or any affiliated organizations.

Sheng: What are your main responsibilities as a trim specialist? What does a typical day look like? Which aspects of the job do you find particularly interesting or unexpected before taking on the role?

Jillian: I manage the trims for all our apparel categories, which include hard trims like zippers and buttons and soft trims like thread and interlining, just to name a few. I work with our designers to find out their trim needs and any inspiration, our sourcing team to learn where the garments will be manufactured and any cost, quantity, or lead time considerations, and our global trim suppliers (primarily Asia-based) to select existing trim qualities or bring new ones to fruition. I never realized the intricacies of all the different trim types, and I have learned a lot on the job and still learn as I go! I really enjoy sitting between the creative side, particularly with custom trims, and the more logistical side of things. The different teams often have competing priorities, so while that makes it challenging to juggle, the problem-solving aspect keeps things interesting.

Sheng: In general, what factors should be considered when selecting trims and other textile materials in product development and sourcing?

Jillian: One of the big challenges right now is vendor and garment production location and how that relates to material production locations. With the new administration’s push for tariffs, we’ve been trying to quickly pivot away from China, but many of our raw materials still come from China, so it’s not so simple to move production away without having new challenges with transporting materials and the resulting cost and time delays.

In general, our biggest considerations when selecting materials are aesthetics and performance, cost, lead time (how long it takes to get samples and/or bulk production made), and MOQ (minimum order quantity). We also have to consistently reevaluate our supplier base to make sure we have the right partners who offer what we need at the right place, time, and cost. Speed is becoming more important, so the quicker we can have materials made and transported to our factories, the faster we can start selling those products.

Sheng: Based on your observations, how has sustainability influenced the selection and sourcing of textile materials for fashion companies? How is “sustainability” assessed for trims and other textile materials? What emerging trends should we keep an eye on?

Jillian: Sustainability considerations can be more proactive or reactive depending on the company and the issue at hand. For example, we phased out any PFAS from our supply chain to be in compliance with regulations that were coming. Other initiatives may be to reach certain sustainability goals, like ensuring that a specific percentage of polyester is recycled or using organic or BCI (Better Cotton Initiative) vs. conventional cotton, both of which are transitions we’re working to make. For outerwear, we’ve been using a lot more synthetic insulation, which is generally cheaper, more ethical, and offers easier care to our customers compared to down, so that’s a great option across the board, but many swaps are not so simple; switching to materials with a higher recycled content is often more expensive and less readily available. It can also be hard to quantify what is more “sustainable” about an item, so we look for documentation that supports it wherever possible.

Sheng: How do fashion companies today communicate the sustainability attributes of their apparel products? Is specifically mentioning keywords such as “sustainability” and “low impacts” in labels the most common practice?

Jillian: This has been an interesting topic of discussion lately since at a larger company, the people writing product copies for the website may be fairly removed from the product teams who know the ins and outs of their items and materials and what makes them special. Another challenge is that customers may not recognize the industry terms for things like branded fibers or certifications, so while those are more specific and quantifiable than terms like “sustainable,” they may be lost on the end consumer. I think it’s nice to offer both the more simplified language to get the customer to read further and then to try to break out what makes the item fit that label (e.g., water-saving dyeing method, a certain number of recycled bottles in the insulation, etc.).

Sheng: Following up on the previous question, is it true or a myth that sustainable textile materials are typically more expensive and increase production costs? If so, how can companies balance sustainability with cost-effectiveness?

Jillian: I’ve unfortunately found this to be true in many cases, but as the demand increases, many suppliers are beginning to make these switches automatically and often cost-neutral to their customers. The more brands ask for these changes, the more motivated suppliers are to invest in technology, certifications, etc.. We have to weigh whether or not we can use the more sustainable option without negatively impacting the other business needs, as well as gauge what our customer really cares about. It would be great to use more ethical materials and processes across the board, but we often use a phased approach to transition to more recycled content, for example, over time as we deplete existing stocks or focus on certain programs and styles like our more eco-friendly denim.

Sheng: Based on your experience, do you have any advice for our students on preparing for a career in the fashion apparel industry? What can they do at UD to better prepare? Additionally, what benefits do you see in pursuing a Master’s degree in fashion and apparel?

Jillian: My biggest advice is to be open to opportunities that are different from what you envisioned doing or even realized was a specific job that existed, like one centered around trims! I work with people who have moved between different roles in sourcing, design, technical design, and even IT once they get exposed to different teams and what their work was like. It’s ok to pivot if you find something that suits you better, or to find yourself working on something you weren’t expecting. Getting a breadth of experience also helps you to understand the bigger picture of all the moving parts that go into the apparel industry.

–The End–

Interview with the National Committee on U.S.-China Relations: The Geopolitics of Fast Fashion–U.S.-China & the World

About the interview: Fashion is possible because of international trade. Each year, the global fashion industry generates more than $4 trillion USD and provides families with affordable clothing options. However, as fast fashion continues to grow, so does awareness of pressing issues such as labor standards and environmental sustainability. How are the United States and China involved in the global fashion industry? How can they collaborate on the issues facing the global fast fashion industry, from production to consumption?

Sheng Lu joins the National Committee to discuss how fast fashion is a global phenomenon and how the United States and China can address common areas of concern.

Learn more about the National Committee on U.S.-China Relations (NCUSCR)

Costume Buying and Sourcing: FASH455 Exclusive Interview with Kara Hamalainen, Associate Costume Buyer at Disney Live Entertainment

About Kara Hamalainen

My name is Kara Hamalainen, and I am a May 2023 graduate of the University of Delaware. I earned my Bachelor of Science double majoring in Fashion Design and Product Innovation & Fashion Merchandising and Management. While studying at UD, I was very involved with the Impact Dance Company and Synergy Fashion Group. I have a strong passion for the costume industry because I grew up as a dancer, and it is the perfect way to link my two most prominent interests of fashion and the entertainment world together.

After graduating from UD, I was accepted into the Disney Professional Internship program and began my role as a Disney Live Entertainment Costuming Buyer Intern. I had the most incredible experience as a Professional Intern for the Walt Disney Company, and luckily, my time with my dream company did not end after my internship. I was offered a full-time Associate Costume Buyer role, and I get to continue making magic for thousands of people every single day! I currently live in Orlando, Florida and have been in my full-time ACB role for about six months.

Sheng: As a costume buyer for Disney, what are your primary job responsibilities? What does a typical day or week look like for you? Which part of the job do you find most exciting? Were there any aspects of the position that surprised you after you started?

Kara: The primary responsibility of a costume buyer under Disney Live Entertainment is to have the right costumes at the right place, in the right quantity, and at the right time. Buyers are responsible for placing orders for costume pieces, garments, and accessories and ensuring that delivery dates for products ordered are closely monitored. By achieving this, we can create and enrich the experiences of our guests and cast members worldwide. Our work can be seen at the Disney theme parks, resort hotels, cruise ships, and numerous other locations around the globe, which is truly a special and unique opportunity.

I am an Associate Costume Buyer under our Character Programs & Development (CP&D) replenishment team. In this role, I mainly replenish existing products but may assist with new developments as needed. My main responsibility is facilitating the purchase of various hard and soft goods for our character costumes. I assist a few buyers on my team with their orders while managing my own orders and vendor relationships. I also facilitate conversations with domestic vendors across the U.S. to get high-quality products on time and within budget. Additionally, I issue fabric and notions requests from our warehouse to get materials stored in-house and sent to our outside vendors for production.

The most exciting part of my job is witnessing how my work behind the scenes impacts people every single day. Whenever I go to the Walt Disney World theme parks, I watch guests interact with their favorite Disney characters through meet & greets and parades. It is heartwarming to know that I get to contribute to something so special to somebody and allow them to have that memory for the rest of their life.

An aspect of my role that surprised me the most was how complex and detail-oriented every single element of a character’s costume is. It may be as small as an earring or a buckle on a belt, but each costume component is treated equally. Attention to detail is an extremely crucial element to Disney Live Entertainment Costuming to ensure the power of storytelling comes across to all guests.

Sheng: What does the buying and sourcing process look like for costumes? What factors do you typically consider in your buying and sourcing decisions? What are the unique issues or challenges involved in costume buying and sourcing?

Kara: The buying process for character costumes begins with our CP&D inventory planning team, which monitors the inventory of our costumes in terms of sizing, assortment, and quantity. The inventory planning team determines optimal inventory levels and all costume issue locations in the warehouse. They are also the team that will receive specific requests from costuming leaders and sites regarding inventory status and demand for a certain character costume. Once the inventory planning team has decided what character costume piece will need to be ordered and the ideal quantity, they will notify the buyer to place an order.

Once the buyer has been notified of the new purchase request, they will email their vendors to notify them of the new order. It is essential to inform the vendor of the item, quantity, and due date to confirm that the order can fit into their current production schedule. The buyer will also confirm pricing with the vendor. As soon as the vendor confirms that the new order will fit into their production schedule, the buyer writes the official purchase order. For all soft goods, this is the point in time where the buyer will notify our patternmaking team to send the tech pack and samples to the vendor for production. If necessary, the buyer will also ensure that fabric and notions requests are made for the order. Once the buyer takes these steps, the outside vendor will successfully produce the order.

When production is completed, and the order is delivered to our warehouse, a detailed quality check process will be performed. Every item goes through inspection, is counted for quantity accuracy, and is measured to ensure that sizing is to spec based on the tech pack. If there are any discrepancies, there are multiple ways in which the issue can be resolved so the items can ultimately pass the quality inspection. Most importantly, the buyer will be notified and communicate the issue to the vendor so it can be prevented for future orders. If there are no noted issues with the order, then the order will be received in the system and marked for completion.

A challenge frequently arises involves orders with a “hard due date,” meaning the costume piece is needed for a specific project, show, or cruise ship. These hard due date orders do not have flexibility with their due dates as a regular replenishment order would, so it is crucial to make the vendor aware of shifting order priority if necessary. Sometimes, these hard-due-date order requests come in with very little notice, so the buyer will confirm with the vendor that they can turn in the items quickly and successfully meet the due date. If a hard due date order becomes impossible to meet, the buyer will communicate with the inventory planning team, which will work on finding a viable solution.

Sheng: As a costume buyer, how do you collaborate with other departments and teams at Disney, such as designers, product development, and sourcing? How about external stakeholders, such as your vendors?

Kara: For the CP&D Procurement Buying team, one of our main focuses is our communication and relationships with outside vendors. It is extremely vital that we build and maintain strong relationships with our outside vendors so our business can continue to run successfully. The buyers are in constant contact with their assigned vendors, communicating daily via email and phone about both current and new costume orders. It is also important that we get our work onto their production schedule in a timely manner to avoid scheduling conflicts with other customers they may have.

Regarding other teams at Disney, my buying team often collaborates with the project development buying team. This team is responsible for buying and sourcing materials for new character costumes that the designers are currently developing. Once the development process has been completed, we hold transition meetings where the development team goes over everything the replenishment buying team will need to know about the new character costume for future orders. This includes elements such as raw materials, fiber content, vendor information, and price per costume piece.

Sheng: Do you see any innovations changing the future of costume buying or production, particularly due to factors like technology, AI, and sustainability?

Kara: The Walt Disney Company commits to environmental sustainability, implementing several goals to achieve by 2030 related to emissions, water, waste, materials, and sustainable design. Specifically for Disney Live Entertainment Costuming, we focus on sustainable materials, manufacturing, and zero waste management. Fabrics and raw materials will be resourced to contain at least 25% certified sustainable content or lower-impact alternatives. Plastics will also need to contain at least 30% recycled content or a lower-impact alternative material. Manufacturers of raw materials and garments must provide one or more approved sustainable certifications and confirm participation in the Higg Index.

As a buyer, it will be our responsibility to work with our outside vendors and ensure they are closely following our company’s sustainability efforts. As some vendors source their own materials rather than use Disney-supplied materials, they must shift toward using recycled, sustainably sourced, or lower-impact alternative textiles and raw materials. Additionally, any vendors specializing in plastics and other hard goods will have to figure out ways to make their materials more sustainable without affecting the quality of the costume piece. Our current outside vendors must also maintain a sustainable manufacturing certification and provide proof of their sustainability practices. Suppose this is not possible for some of our current vendors. In that case, I imagine we would have to identify new vendors who can maintain production on a sustainable level that is ideal for our business model.

Sheng: What advice would you give to students interested in pursuing a career in costume buying and sourcing? What skill sets are most valued in this role? Are there any specific experiences or opportunities at UD and in the FASH program that you would highly recommend for our students exploring their career paths?

Kara: I would highly recommend taking advantage of internship opportunities during your time at UD. Internships are a great way to gain hands-on experience in the day-to-day responsibilities of a particular role while allowing you to strengthen your understanding of the textile and apparel industry from a real-world perspective. It is also an extremely effective way to network and make valuable connections in the industry. Don’t be afraid to start conversations with your FASH professors about your goals and interests, as they are always willing to help and will likely have strong connections to the industry as well.

Additionally, having an open mind is extremely important going into the industry. Your first job out of college may not be your dream role, but know that you are gaining valuable industry skills that can be applied to a number of different positions. For example, I know that I eventually want to work my way into a more creative and design-driven role. While my current position as a costume buyer may not be focused on design and creativity, the communication and organization skills I am gaining can still translate to various positions in the industry.

Lastly, follow your dreams! It might sound cliché, but you never know what will happen if you put yourself out there and give something a shot. I faced multiple rejections from Disney before getting accepted into the internship program. If I had not decided to persevere and keep trying, I would not be where I am today. I also owe so much of my successes to the UD FASH program, as I am so grateful for the opportunities it provided. Good luck to all of you!

–The End–

Merchandising and Sourcing: FASH455 Exclusive Interview with Natalie Kaucic, Global Merchant for Dockers at Levi Strauss & Co.

About Natalie Kaucic

Natalie Kaucic is a Merchandising professional currently in the role of Global Merchant for Dockers Men’s Tops at Levi Strauss & Co. She graduated from the University of Delaware in 2019 with a Fashion Merchandising Degree and Business Admin minor. During her studies, she was awarded the Fashion Scholarship Fund scholarship, studied at John Cabot in Rome, participated in the Disney College Program, and was a leader for the Delaware Diplomats. Natalie’s research on the global market for sustainable apparel was published in Just-style, a leading fashion industry trade publication. Post university, Natalie started as an assistant at Minted as a Merchandiser, where she worked in the Wedding category and faced the adverse challenges of the wedding industry during COVID-19. Levi’s was her next endeavor where she started as an assistant, and has since been promoted to run the Dockers Men’s Tops Category for the Globe.

Disclaimer: The comments and opinions expressed below are solely my own and do not reflect the views or opinions of any company.

Sheng: What are your primary job responsibilities as a global merchant? What does a typical day or week look like for you? Which part of the job do you find most exciting? Were there any aspects of the position that surprised you after you started?

Natalie: My primary responsibility is to create a brand-right and consumer-focused product assortment. Under the covers, this looks like a vast variety of tasks that I do on a seasonal basis. I regularly listen and work with regional merchandising to understand their regional specific needs, collaborate with design on new product ideas and fabrics, and meet with product development to work on new fabric innovations and product costing. Every week looks dramatically different for me in my work. Sometimes, I’m heads down in assortment strategy; other weeks, I work on creating templates and calendars for process improvement.

What I find most exciting is seeing the product in person. Most Dockers Tops are not sold domestically, so it’s really fun to see a product you worked on in the wild! I am also grateful to be able to manage an assistant. Seeing things click for her and watching her succeed is incredibly motivating.

What surprised me the most was the number of different teams I work with, including planning, regional merchants, product development, marketing, styling, design, garment/fit development, copy, IT, analytics, sales, business operations, and e-commerce. Learning what everyone does and who to go to was the most significant learning curve and the biggest shock coming into my role.

Sheng: Based on your observation and experience, how do the merchandising, product development, and sourcing teams collaborate in a fashion apparel company? Could you explain their respective responsibilities and how they support one another?

Natalie: In my role, I have more direct contact with our product development team than the sourcing team. I work very closely with product development as they are the team that helps produce our product. They manage fabric & garment development, costing negotiations, and innovation development/testing. They also work through some more micro-sourcing strategies, for example, moving the production from one factory to another to get better duty rates. As a hypothetical example, we sell a poplin shirt primarily in Europe. Pretend we produce the shirt in India at a cost of $10/each. However, shipping it to Europe incurs a 40% import duty, bringing the cost of goods sold (COGS) to $14. If we could produce the shirt in Mexico, where the duty rate to Europe is only 5%, even if the production cost is higher—say $12—the overall cost to Europe would still be lower. There are endless complexities to this that I’m sure you will learn more from FASH455—topics like free trade agreements, yarn forward rules of origin, etc.

Sheng: Fashion companies need to balance various factors such as cost, quality, speed to market, and compliance risks when deciding where to source their apparel products. Could you share your experiences and reflections on managing these challenges in the real world?

Natalie: Below is an example of natural fibers and the cost challenge with cotton-forward apparel products.

Currently, linen is in high demand, but there isn’t enough crop to meet industry needs—it’s a classic case of supply and demand. Not only does this drive up costs (COGS), but it also complicates the process of securing raw materials. It’s easy to overlook that the apparel industry is fundamentally tied to agriculture, making it vulnerable to factors like bad weather, natural disasters, and inaccurate demand forecasting. These challenges force us to make critical decisions. With rising garment costs, should the company absorb the expense to keep prices steady for consumers? Our product development team might ask if we need to pre-book fibers to lock in pricing—when is the right time to do that, and how much should we purchase?

This isn’t a new challenge. For example, cotton, our primary raw material for clothing, fluctuates in price like oil, making agility in sourcing essential!

Sheng: Studies show that consumers want to see more “sustainable apparel products” in stores. How are fashion companies responding to this demand? What opportunities and challenges does this trend present for fashion companies’ business operations, especially in merchandising, supply chain, and sourcing?

Natalie: This is such a complicated question. I think about this often as I am personally really passionate about this topic!

In my day-to-day work, I focus on sustainable fibers, as the fabric content of a garment is something I can directly influence. Working on a global scale, I collaborate with regions worldwide, each of which—along with their retailers—has different values regarding sustainable products. Europe, for instance, is relatively ahead of the US in sustainability and often requires a certain percentage of sustainable fibers (e.g., organic cotton, recycled cotton) in our products. In Europe, items using 100% organic cotton hold significant value and can command a higher price in stores such as Galeries Lafayette or Zalando. However, not all retailers and consumers globally share the same commitment to sustainability. In some cases, we may need to use synthetics for functional purposes, such as in activewear. In those instances, we prioritize using recycled polyester or nylon to meet our sustainability goals. Regardless of the consumer or price point, our goal is to integrate sustainability at every level and for every product.

One challenge I find particularly interesting is working with “recycled cotton.” As you may know, recycling cotton typically involves breaking down the fibers, which shortens and weakens them. Because of this, there’s usually a limit to how much recycled cotton can be used before fabric quality is affected. That’s why you often see recycled cotton blended with virgin cotton in the same garment. However, newer recycling methods that aim to preserve the staple length are emerging, offering hope for improvements as the technology becomes more mature and accessible.

Ultimately, heavy consumption, regardless of the fabric being recycled or organic, isn’t truly sustainable. The focus should be on choosing pieces you love and investing in items that are made to last.

Sheng: Are there any other major trends in the fashion industry that we should closely monitor in the next 1-3 years?

Natalie: In the next 1-3 years, I’m eager to see what AI-driven tools will be introduced to assist merchants in making smarter, data-backed decisions. In merchandising, we are constantly trying to predict the future. A lot of research and data analysis go into decision making,  but also a big handful of going with your gut. Will AI be able to help us find trends in the past that can better help us make decisions for the future?

It’s not exactly a trend, but I’m really curious about the future of fast fashion giants over the next decade. With growing interest in sustainability and new regulations emerging from Europe, will we eventually see a decline in these dominant players, or will demand for fast, cheap apparel always persist?

Sheng: Last but not least, is there anything you learned from FASH455 or other FASH courses that you find particularly relevant and helpful in your career? What advice would you offer current students preparing for a career in the fashion apparel industry?

Natalie: I felt really prepared coming out of the FASH program for my corporate job. I picked this degree, as I’m sure many have because it combined the necessary key concepts of a business degree with the skills and knowledge to build a career in apparel. I think the classes I reference the most in my day-to-day life are product development classes, textile classes, and apparel buying. As a merchant, I need to be able to talk about fabric types with designers, cost engineering with product developers, and financial metrics with planners. FASH455 was one of my favorite classes because sourcing, trade, geopolitics, and policy constantly pull the strings behind the scenes in the apparel sector. FASH455 gives you insight into how these factors create ripples in the apparel sector.

When it comes to advice, it’s tried and true: network! Talk to teachers, reach out to alumni, sign up for the UD Job Shadow Program, and talk to the career center. There are so many services to take advantage of while at UD. Other than networking, I would highly recommend steering the subjects of your papers to companies and topics you are interested in. I worked on a few reports about Levi Strauss & Co., which confirmed it as a target company for me and helped me succeed in the interview process.

Lastly, be flexible! You might come in, as I did, thinking you want to be a buyer, only to realize it’s not the best fit. Or, you could start with greeting cards and stationery merchandising and pivot to apparel. Or even move out of apparel entirely! Nothing is set in stone, and that’s both the most stressful yet reassuring lesson I’ve learned since graduating.

–The End–

FASH455 Exclusive Interview with Michael Lambert, Executive Director of Global Trade and Compliance of Urban Outfitters, about Trade Compliance and Global Apparel Sourcing

About Michael Lambert

Michael Lambert is the Executive Director of Global Trade and Compliance at Urban Outfitters (URBN). He also serves as the Vice Chair of the Board of Directors of the United States Fashion Industry Association (USFIA).

Michael has spent over 30 years in the retail fashion business, primarily in the import/export and Customs compliance area. At URBN, Michael is responsible for Customs, Social, Vendor and Regulatory Compliance. Urban Outfitters has a global footprint, with stores in the U.S., Canada, Europe and the United Kingdom.  Urban Outfitters designs and develops products throughout the world, working with a core vendor base across more than thirty countries. Prior to Urban Outfitters, Michael spent nine years with Limited Brands as head of their Import Planning department.  He spent his last two years with Limited Brands in London, setting up Compliance activity for Limited Brands as they expanded overseas.

Michael has been a Licensed Customs Broker since 1998 and is a graduate of Pennsylvania State University, with a Bachelor of Arts in International Politics and Foreign Service.

About Emilie Delaye (Moderator)

Emilie Delaye is a 2024 UD entrepreneurship graduate and an incoming UD graduate student in fashion and apparel studies. Emilie is the recipient of the 2024 UD Alumni Association Alexander J. Taylor Sr. Awards for Outstanding Seniors.

FASH455 Exclusive Interview with the Office of Trade at U.S. Customs and Border Protection (CBP)

Question 1: We know that nearly 98% of clothing consumed in the U.S. is imported. Can you give our students a quick overview of U.S. Customs and Border Protection (CBP)’s role in regulating international trade, particularly textiles and apparel products?

  • CBP’s Office of Trade facilitates legitimate trade, enforces U.S. trade laws, and protects the United States economy to ensure consumer safety and create a level playing field for American businesses.
  • CBP is responsible for regulating clothing and/or textiles products imported into the United States, ensuring that all trade aspects of the importation are correct at the time of entry. These include, but are not limited to the classification, valuation, country of origin markings, and qualification for preferential duty treatment under a free trade agreement and/or program. 
  • Textiles and wearing apparel are recognized as a Priority Trade Issue as codified in the Trade Facilitation and Trade Enforcement Act (TFTEA) of 2015. As such, this issue is one of the primary drivers for risk-informed investment of CBP resources as well as our enforcement and facilitation efforts. This includes the selection of audit candidates, special enforcement operations, outreach, review of free trade agreements and/or trade preference programs claims, and regulatory initiatives.

Question 2: Ensuring no forced labor in the supply chain is a top priority for U.S. fashion companies. Specifically, the Uyghur Forced Labor Prevention Act (UFLPA) officially came into force in June 2022. For our students who may not be familiar with the UFLPA, what essential information should they know about this legislation and the issue of forced labor? Additionally, could you recommend any helpful online resources?

  • CBP is the leading federal agency in the enforcement of forced labor laws and the UFLPA. The agency achieves this through two approaches – the first is through forced labor investigations and issuance of Withhold Release Orders (WROs) and Findings, which require CBP to prevent the release of goods made with forced labor into the U.S. commerce. The second is through the implementation of the UFLPA rebuttable presumption.
  • CBP enforces U.S. law on forced labor within Section 307 of the Tariff Act of 1930, which says any “goods, wares, articles, and merchandise mined, produced, or manufactured wholly or in part in any foreign country” by convict or forced labor is not permitted entry into U.S. commerce. 
  • In 2016, the U.S. Government enacted the Trade Facilitation and Trade Enforcement Act (TFTEA), which removed the “consumptive demand” clause that was in the original statute. This change allowed CBP to set up its own investigative unit, where CBP receives allegations of forced labor, investigates them using the 11 indicators of forced labor, and issues WROs or Findings when applicable. CBP issues a WRO if there is a reasonable suspicion of forced labor conditions by a particular foreign manufacturer, and it issues a Finding if there is probable cause that forced labor conditions exist.
  • The relatively recent UFLPA establishes a rebuttable presumption that any goods made wholly or in part from the Xinjiang Uyghur Autonomous Region (XUAR) are prohibited from entry into U.S. commerce, as they are presumed to be made with forced labor unless the importer can provide clear and convincing evidence the goods are not made from forced labor or sourced from the XUAR.
  • When goods are exported directly from the XUAR, CBP applies the rebuttable presumption and excludes the goods from entry. Importers then must prove by clear and convincing evidence that the goods are not made with forced labor before they can be released into U.S. commerce. For goods not imported directly from the XUAR, CBP evaluates the risk that the producer uses inputs from the XUAR in the production of the final product and will stop any shipments it deems as high risk of containing materials produced from the XUAR.
  • CBP is committed to identifying products made by forced labor and preventing them from entering the United States. CBP’s enforcement of 19 U.S.C. § 1307 supports ethical and humane trade while leveling the playing field for U.S. companies that respect fair labor standards. The UFLPA is a major shift for importers as it requires them to know their entire supply chains from the raw materials all the way to the end product and to ensure no materials made with forced labor are included at any step along the way. Information on all of these topics and many more are available on CBP’s Due Diligence in Supply Chains webpage.
  • Students can visit our Forced Labor webpage for updated information and resources on CBP’s efforts to prevent goods produced with forced labor from entering U.S. commerce. There is also a specific UFLPA webpage, which explains CBP’s roles and responsibilities and links to the UFLPA Entity List; an UFLPA Statistics Dashboard with information on the number of shipments stopped by CBP by fiscal year, industry, or country of origin; due diligence documents and reports; CBP’s Operational Guidance for Importers, frequently asked questions on UFLPA enforcement and the Department of Homeland Security (DHS) Strategy; and additional links to the DHS Forced Labor Enforcement Task Force Agency Related Resources.    

Question 3: Our students are also intrigued by the so-called ‘de minimis rule,’ which has been a topic of heated debate in the news. Why was this rule proposed initially, and how does it relate to the fashion and apparel trade?

  • De minimis shipments, also referred to as Section 321 low-value shipments, are goods that are exempt from duty and tax under 19 U.S.C. § 1321(a)(2)(C) and 19 C.F.R. § 10.151. De minimis eligibility is based on the value of all goods imported by one person, in one day. The de minimis exemption allows CBP to pass, free of duty and tax, merchandise imported by one person on one day that has an aggregate fair retail value in the country of shipments of $800 or less. This provision was first enacted in 1938 to avoid administrative expense to the government from inspecting low-value goods disproportionate to the amount of revenue realized and was subsequently raised multiple times.  
  • The passage of the Trade Facilitation and Trade Enforcement Act (TFTEA) in 2016 raised the de minimis threshold from $200 to $800.
  • In 2015, CBP processed 139 million de minimis transactions. By 2023, this increased to more than 1 billion, representing a 662% growth in eight years. Now, in Fiscal Year 2024, nearly 4 million de minimis shipments arrive at CBP facilities for targeting, review, and potential physical examination each day. Although these packages are low value, they pose the same potential health, safety, and economic security risks as larger and more traditional containerized shipments.  
  • As long as a good is not subject to duties, taxes or fees (such as anti-dumping/ countervailing duties, excise taxes such as those required for alcohol and tobacco products, or any interagency fees that have not been waived for informal entries), it is eligible for de minimis clearance.
  • Significant attention is being placed on the de minimis administrative process for new business models, such as those used by e-commerce and fast fashion companies, which leverage the de minimis process for direct-to-consumer shipments. 

Question 4: Building on the previous question, in April 2024, the Department of Homeland Security (DHS) announced its new textile enforcement actions. How will CBP contribute to the new enforcement strategy?  

  • CBP is responsible for the management, control, and protection of U.S. borders and ports of entry, acting on the frontline of textiles and trade agreements enforcement. The U.S. textile industry is a vital domestic industrial base for U.S. national security, health care, and economic priorities. U.S. textile production is the foundation of the western hemisphere textile and apparel co-production chain, representing over 500,000 U.S. jobs, 1.5 million western hemisphere jobs, and $39 billion in annual shipments. Members of the textile industry have raised concerns with CBP regarding a decline in business momentum affecting their ability to maintain productivity and jobs. 
  • In response to these concerns, CBP is increasing its efforts to detect, interdict and deter illicit textiles trade and promote a level playing field for the domestic textiles industry given the ever-changing threat landscape and recent proliferation of allegations.
  • CBP is conducting coordinated and unified intelligence and data-driven operations to target and interdict textile imports that are not compliant with U.S. trade laws. Efforts include, but are not limited to, running special operations, carrying out Textile Production Verification Team visits at foreign factories and raw material providers, examining cargo, conducting compliance reviews and verifications, completing trade audits, and performing laboratory analysis on imported products with a heighted focus on imports that are subject to the U.S.-Mexico-Canada and Dominican Republic – Central America trade agreements, imported under the de minimis provision, and/or potentially in violation of forced labor laws, including the Uyghur Forced Labor Prevention Act.
  • You can learn more about CBP’s textile enforcement work in a recent CBP Reports video. You can also find information on our website.

Question 5: We know technology is significantly affecting and shifting how international trade is conducted. At CBP, there is an initiative called “21st Century Customs Framework.” Can you provide our students with more information about this program? For example, what is it about, what do you plan to achieve, and why does the program matter for fashion apparel companies?

  • The 21st Century Customs Framework (21CCF) is CBP’s effort to update its Title 19 authorities and underlying statutes, which have not seen comprehensive updates in more than 30 years.
  • Since 1993, trade volumes have increased dramatically, trade practices have changed, and new threats have emerged, which means CBP needs new tools and capabilities to do its job.
  • 21CCF matters for fashion apparel companies in two key ways: (1) the framework identifies updates that would better enable CBP to facilitate lawful trade more efficiently, so that goods can get to consumers, warehouses, stores, and other destinations as quickly as possible; and (2) the framework identifies updates that would enable CBP to bolster detection and enforcement against goods that threaten the well-being of American businesses and consumers—counterfeits, goods produced with forced labor, anti-competitively priced goods, and goods that violate environmental or consumer safety laws.
  • For example, 21CCF includes concepts that would authorize CBP to furnish industry stakeholders with information generated by market platforms regarding compliance with intellectual property rights laws—such as product origin and manufacturer—in importations where intellectual property violations are suspected. 
  • By sharing additional information with the private sector, CBP will be able to utilize its private sector partnerships to more readily identify illicit sellers using online marketplaces to import intellectual property rights-infringing goods into the United States.
  • Additionally, these proposed updates would better position the private sector to make more informed business decisions and eliminate high-risk actors from their supply chains.
  • Overall, in pursuing 21CCF, CBP envisions a trading system where legitimate goods move swiftly and securely; ethical production methods are used throughout the global supply chain; domestic industries compete on a level playing field; and the United States helps lead the world with innovative trade practices.
  • Private sector input has been instrumental throughout the development of the 21CCF statutory concepts, and the framework is now undergoing an interagency review process before eventually being cleared to be formally transmitted to Congress for consideration.

Question 6: As members of Generation Z, our students deeply care about fashion sustainability. Studies also show that fashion companies are increasingly concerned about climate change and its significant business implications. In your view, how can international trade contribute to sustainability and foster a more sustainable fashion industry? How might CBP support and assist in these efforts?

  • Sustainability in fashion concerns more than just addressing textiles or products. It involves the entire product lifecycle process, which includes the way the clothing is produced, consumed, and disposed of in landfills.
  • Sustainability in fashion encompasses a wide range of factors, including cutting carbon dioxide emissions, addressing overproduction, reducing pollution and waste, and supporting biodiversity.
  • CBP has a responsibility, as part of our mission, to keep people safe and protect the economy; that includes supporting the fashion industry. As noted, the fashion, textile, and apparel industries are crucial parts of the U.S. economy. The work CBP does is key in seizing suspect and potentially illegal fashion goods at the border, issuing penalties to bad actors, and protecting the health and safety of the American people.  
  • Due to CBP’s direct influence over trade processes, we see ourselves as a facilitator across the government to start conversations about sustainability and where government can remove barriers or add value to existing environmental efforts in trade.
  • CBP has developed strategies aimed at promoting environmental sustainability within trade. CBP’s Green Trade Strategy, for instance, is designed to champion the reduction of pollution and waste while encouraging the adoption of green technologies and practices. Such initiatives reflect a broader commitment to advancing circularity, recycling, and reuse in the fashion industry that can enable fashion companies to produce and sell their products more sustainably.
  • CBP launched the Green Trade Strategy in 2022 to further enable CBP to fight the negative impacts of climate change and environmental degradation in the context of the trade mission.
  • The strategy focuses on four main pillars:

o Incentivize Green Trade;
o Strengthen Environmental Enforcement Posture;
o Accelerate Green Innovation; and
o Improve Climate Resiliency and Resource Efficiency.

  • Thousands of CBP employees work toward making international trade more sustainable and transparent. The strategy touches every office and every employee at CBP.
  • With these four pillars, the strategy provides a framework for future action. Success requires buy-in and collaboration with all our stakeholders, including the fashion industry, and especially you, the future of fashion. We want your help because we cannot do this alone, and you offer unique perspectives that we need in order to fight and mitigate climate change.
  • Students who are interested in learning more about CBP’s green trade efforts can visit our Green Trade Strategy webpage.

Question 7: Additionally, some of our students are considering a career in international trade. What career opportunities at CBP might be a fit for our undergraduate and graduate students? 

  • There are a number of paths for college students and recent graduates to gain experience and begin to build their careers at CBP, including our recent graduate programs and the Pathways Program.
  • Some positions that recent graduates can pursue include the following:
  • Administrative – CBP has administrative roles in various business functions, such as finance, budget, personnel, logistics, and asset management. Position titles include Staff Assistant and Management and Program Analyst.
  • Law Clerks – This role is for those with recent JDs that expect to pass the Bar Exam within 14 months.
  • Auditors – This is for students pursuing the auditor career (Interns) or those expecting to complete the required unit of Auditor courses (Auditor, GS-11).
  • CBP prioritizes facilitating legitimate trade in textiles and wearing apparel and protecting the intellectual property rights of fashion and apparel brands as a part of its trade mission.
  • CBP employees help protect the wearing and apparel industry from counterfeit merchandise and other unfair or harmful trade practices.
  • Learn more about career opportunities at CBP on our careers page.

–END–

Disclaimer: This interview is intended exclusively for educational purposes in the FASH455 class and shall not be considered an official policy statement of the U.S. Customs and Border Protection (CBP).

FASH455 Exclusive Interview with Tricia Carey, Chief Commercial Officer of Renewcell, about Textile Recycling and Implications for Apparel Sourcing and Supply Chain

About Tricia Carey

Throughout her career, Tricia believes in ‘progress over perfection’.  As an advocate for innovation and circularity in the textile and apparel industry, she recently joined Renewcell to accelerate the commercial development of CIRCULOSE®, making fashion circular. With a vast global network, as well as experience in brand building, storytelling, and business development, she is an invaluable partner to close the loop and optimize the benefits of CIRCULOSE®.

For more than twenty years, Tricia held various commercial management positions at Lenzing Fibers to establish the TENCEL™ brand, build mill partners, and set retailer specifications.  Her roles comprised marketing, Americas business development, and global denim segment expansion, including the creation of the Carved in Blue platform and numerous collaborative collections with mills and brands.

Tricia holds a bachelor’s degree in Fashion Merchandising from The Fashion Institute of Technology, as well as certificates in Digital Marketing and Strategy from Cornell University and MIT.

Tricia serves on the board of Accelerating Circularity, as well as the Transformers Foundation and the Fashion Impact Fund.  She was Vice Chair at Textile Exchange from 2014-2018.  In 2020 she was nominated as B2B Content Marketer of the Year by Content Marketing Institute, as well as top 100 Denim Legends by WeAr Magazine.  In 2019 Tricia was awarded the RIVET 50 for influential denim industry leaders.  She has been a speaker at various industry events, including the Conscious Fashion and Lifestyle Network at the United Nations, Transformers, Kingpins Show, Southern Textile Association, Texworld, Premiere Vision, Wear Conference, and more.

Tracia lives in New York City and can be seen dashing on the Peloton leaderboard.  The best way to connect with Tricia is through LinkedIn.

The interview was moderated by Emilie Delaye, UD’s entrepreneurship major and fashion management minor. Emilie has been involved in several research projects on the textile and apparel trade, sourcing, and sustainability issues, including authoring a paper on US fashion companies’ evolving sourcing strateiges published in Just-Style. Emilie is also the recipient of the 2024 Warner and Taylor Awards for Outstanding Seniors, the highest recognition for UD’s graduating seniors.

Product Development and Apparel Sourcing: FASH455 Exclusive Interview with Abby Edge, Product Development Associate at Eileen Fisher

About Abby Edge

Abby Edge is the Product Development associate at Eileen Fisher, where she supports key initiatives in sourcing and sustainability. She graduated from the University of Delaware (UD) in 2020 with a degree in Fashion Merchandising. During her time at UD, she developed a passion for sustainable sourcing and social responsibility, which led her to pursue a career with a company that aligns with these values. Abby also served as a teaching assistant for FASH455 in Spring 2020 and was the co-author of How will EU Trade Curb Affect Cambodia’s Apparel Industry published in Just-Style.

Disclaimer: The views expressed in this interview are those of Abby Edge and do not reflect the views or positions of her employer or any affiliated organizations.

Sheng: What does a Product Development Associate do? Can you walk us through your typical day at Eileen Fisher? Also, what makes you love your job?

Abby: Product development can mean different things at different companies, but at Eileen Fisher (EF) it means costing and development prior to product development (PO). All samples, fabrics, and costs need to be approved during the Product Development period before the business teams place their buys. Every day, I communicate with our vendors to cost styles and create time & action plans so that delivery will be met. We work with our vendors and fabric mills to align and finalize pricing to achieve our margin goals. We also must think strategically about material and vendor allocation to improve lead times and mitigate carbon footprint.

I work hybrid, and our beautiful office is on the Hudson River in Irvington, New York. I enjoy going into the office to spend time with my team and review the product in person. I love my job because I am exposed to so many new and exciting sustainability initiatives every day. I admire everything that EF stands for and that we can promote a “less is more” wardrobe.

Sheng: What are the key steps involved in product development, and how do you collaborate with your sourcing team throughout this process?

Abby: At Eileen Fisher, there are two main stages of the product development process before “commitment”: “development” and “dupe.” At the development stage, we focus on any new materials that are being added to the line. We make sure the costing, testing, and lead times are workable. Then, at the dupe stage, we cost and sample the entire product line so that the merchandising and buying teams have all the information they need to place their buys. After commitment, we pass the baton to the Production team to finalize quantities, issue purchase orders, and track orders. Together, the Product Development

Sheng: Sustainability is a key focus in the fashion apparel industry today. From the product development perspective, what notable improvements have been made in recent years, and where do opportunities lie for further progress?

Abby: Eileen Fisher is leading the way in sustainability within the fashion industry, and it has been incredibly rewarding to be a part of a team where this principle is integrated into every aspect. For example, materials are at the core of EF. We focus on natural, organic, and regenerative materials and steer away from synthetics. Regenerative organic cotton is a new material that I’m really excited about. It all starts with the health of the farm and the people growing our cotton. The regenerative organic certification means that the cotton is grown holistically and healthily, contributing to the soil’s health and mitigating the impacts of climate change.

Additionally, the certification has strict social responsibility guidelines, requiring a living wage and safe working conditions for all farmers. This is just one example of innovative improvements that are being made in the material sector. Others include Lenzing Tencel lyocell, regenerative responsible wool, and organic linen.

Another key initiative at Eileen Fisher is our take-back program called “Renew,” where customers bring back their old EF garments in exchange for a $5 store credit. Since the program started in 2009, 2 million garments have been collected. Of the 2 million, 660,885 have been re-sold in stores, and the rest have been donated, repurposed, or downcycled. Some of my favorite EF pieces have actually been purchased from the store’s renewal section! It is also great to see other brands following suit and creating take-back and recycling programs. Clothing waste is an industry-wide problem; we need all hands on deck to make a difference.

Sheng: From your observation, how has the adoption of digital technologies transformed the practices of product development and apparel sourcing?

Abby: Our Product lifecycle management (PLM) system— Centric— has helped streamline the design and product development process tremendously. All teams have access to the PLM system, which allows everyone to be on the same page and easily access any information they might need. For example, designers use the system to set up styles and tech packs, whereas the merchandising team uses the system to line plan and set retails. In my role, I use PLM to enter and land costs and analyze margins. It is dynamic and provides everyone the key tools to succeed while working on multiple seasons at once.

Sheng: Are there any other major trends in the fashion industry that we should closely monitor in the next 1-2 years, particularly in product development and sourcing?

Abby: Traceability and transparency have become increasingly important in the industry. Technology platforms are emerging that can ensure transparency throughout all supply chain tiers using a digital “fiber coin.” The specific platform we use— Textile Genesis—maps the supply chain from fiber to retail to verify any sustainable fibers so that all claims we make are valid. In other words, they ensure the “transactions” between each supply chain step (fiber to yarn to fabric to garment) are authentic. It has been very exciting to see this project come to life, and I feel that platforms like this will become increasingly more prominent in the coming years.

Sheng: What reflections can you share from your experiences at UD and FASH? what advice would you offer to current students preparing for a career in product development and apparel sourcing?

Abby: I am so grateful for my time at UD in the FASH program. I made so many connections with my peers, professors, and alums that have helped me get to where I am now. My advice to current students is to get involved as much as possible, whether through study abroad programs, internships, or clubs. Don’t limit yourself or close yourself off to areas of the industry and embrace any opportunity you get, as you never know where it could lead. My internship with Under Armour in Hong Kong through the FASH study abroad program really helped me grow personally and professionally and I would not be where I am without that experience.

–End–

Sourcing Sustainable Fashion Products (II): FASH455 Exclusive Interview with Megan Dawson-Elli, Product Sustainability Manager at Tapestry (UD & FASH BS16)

About Megan Dawson-Elli

Megan Dawson-Elli graduated from the University of Delaware (UD) in 2016 with a degree in Fashion Merchandising. During her time at UD, she was the winner of the Fashion Scholarship Fund case study, a highly competitive national competition. Early in her academic career, she identified her interest in environmental sustainability within the fashion industry. This inspired Megan to study abroad in Hong Kong in 2014, where she was a Sourcing & Sustainability intern for Under Armour. After graduation, Megan worked in merchandising and sourcing before starting her career in environmental sustainability at PVH in 2018. Presently, Megan holds the position of Product Sustainability Manager at Tapestry, where she leads their work on product impact, environmentally preferred materials, and circularity.

In her free time, Megan enjoys reading, running, and traveling. She lives in NYC with her fiancé, also a UD graduate, and likes spending her weekends in Central Park.

Disclaimer: The views expressed in this interview are those of Megan Dawson-Elli and do not reflect the views or positions of her employer or any affiliated organizations.

Sheng: What does a Product Sustainability Manager do? Can you walk us through your typical day at Tapestry? Also, what makes you love your job?

Megan: As a Product Sustainability Manager, I work as an internal consultant to our brands to support their progress towards our Environmental, Social and Governance (ESG) goals and their desire to market and evaluate the environmentally preferred attributes of our products. Many initiatives fall under Product Sustainability, but I would bucket most of the work into several categories: marketing claims substantiation, environmentally preferred materials, product impact, circularity, and packaging. Every day can look different in this role, which keeps it exciting! One day I will be working with teams to craft a marketing claim about a product and the next I will be collecting data from suppliers for a life cycle assessment. My work is very dynamic, with some projects lasting days versus months. I love my job because I get to work with teams across the company that are passionate about sustainability, and even though I no longer work to create products, it’s still the focus of my work.

Sheng: Consumers today, especially our Gen Z students, want to see more “sustainable” fashion products in the market. What does “sustainable product” mean in practice? Can “sustainability” be objectively measured?

Megan: The term “sustainable” has become difficult to define as many initiatives can fit under it, like environmentally preferred materials, responsible sourcing, circularity, etc. It can also be seen as a yes/no question, while sustainability is a journey where progress should grow as new innovations become available. At a product level, the most visible sustainability initiatives that can be seen are environmentally preferred materials or social impact claims being made about the item. There are plenty of initiatives that companies are doing across their supply chain and their operations. Checking out a company’s annual Corporate Responsibility report will show a greater picture of its efforts, commitments, and progress.

Sheng: How can sourcing contribute to a fashion company’s sustainability efforts and make more sustainable products available to consumers?

Megan: At Tapestry, we follow an internal framework known as “Style, Performance and Impact.” This ensures all products meet our high standards of craftsmanship. The framework also guides our decision-making around environmentally preferred materials and material innovation investments.

  • Style: Does it meet design needs or the intended design function of the product?
  • Performance: Does it meet expectations of quality and cost?
  • Impact: Does the material or decision have a measurable reduction in environmental impact?

Additionally, suppliers play a critical role in helping companies realize their environmental and social ambitions. We consistently partner with stakeholders across our value chain to work toward more responsible practices that their businesses can incorporate, especially through increased implementation of environmentally preferred manufacturing practices and using preferred materials.

Sheng: Related to sustainability are the buzzwords “supply chain transparency” and “traceability.” What progress has been made, and what are the key steps for fashion companies in achieving greater transparency and traceability in their supply chains and sourcing?

Megan: To ensure a more responsible and transparent supply chain, it is critical to map supply chains and the relationships between suppliers. At Tapestry, we have begun the process of onboarding suppliers to join TrusTrace, a cloud-based web platform for sustainability, where we intend to conduct more upstream supply chain mapping and the collection of documentation to establish material and product traceability. We envision the platform will help us meet enterprise-wide sustainability commitments and goals, and help us align with upcoming regulatory requirements and industry best practices.

We have also improved downstream traceability by launching a digital product passport program, most notably through Coachtopia products. Customers can hold their smartphones against the cloud emblem on their Coachtopia product until the pop-up appears and then learn the total environmental impact of the product, along with all the potential avenues to extend its useful life under the sub-brand’s circular principles.

Sheng: As legislation related to fashion companies’ sustainability practices continues to be newly implemented or is on the horizon, are there any specific regulations you would recommend our students closely monitor?

Megan: There are many emerging ESG regulations, especially in Europe. Below are some that would be interesting to review.

Europe:

USA:

Sheng: Any reflections on your experiences at UD and FASH? What advice would you offer to current students preparing for a career in fashion sustainability after graduation?

Megan: My “lightbulb moment” for wanting to pursue a career in sustainability happened while I was at UD, specifically from taking the ethics and sustainability in the fashion industry class. After identifying environmental sustainability as my focus and passion, I found ways to include it in every project, case study, and internship during school. The great thing about sustainability is that every department in a company can be part of the collective efforts, so even if you aren’t on an ESG (Environmental, Social, Governance) team, you can make an impact. If you are specifically interested in pursuing a role on an ESG team, I recommend networking with people in the industry that have those roles to learn more about what the job looks like and staying up to date on the latest news, innovations and regulations in the space. Also, there are plenty of college courses and industry certifications in sustainability that can be a great learning resource.

–END–

Sourcing Sustainable Fashion Products (I): FASH455 Exclusive Interview with Julianna Alfieri, Senior Global Sourcing Specialist at Amscan (UD & FASH BS22)

About Julianna Alfieri

Julianna Alfieri is the Senior Global Sourcing Specialist for Amscan, which serves over 40,000 retail outlets across the globe and owns Party City Holdings Inc. Born and raised in Long Island, Julianna has always had a passion for all things fashion. This passion led her to pursue a Bachelor’s degree in Fashion Merchandising and Management, with a minor in Sustainable Apparel & Textile Innovation, from the University of Delaware. Julianna furthered her expertise with a Graduate Degree from Parsons School of Design in Fashion Sustainability. Her diverse background includes experience in fashion styling, retail, marketing, and indexing, all of which have shaped her approach to global sourcing. With these educational and professional experiences, Julianna has built a solid foundation and acquired the necessary tools to excel in the industry.

Disclaimer: The views expressed in this interview are those of Julianna Alfieri and do not reflect the views or positions of her employer or any affiliated organizations.

Sheng: What does a Senior Global Sourcing Specialist do? What does your typical day look like? Also, what makes you love your job, or what is the most exciting part of it?

Julianna: As a Senior Global Sourcing Specialist, my role revolves around fostering cross-functional collaboration and maintaining strong relationships with vendors and suppliers. I oversee specific categories of the company’s business, ensuring effective communication and negotiation to maximize the quality of goods while meeting financial objectives. This involves working closely with my sourcing team, global offices, and utilizing various systems to streamline sourcing processes.

On a typical day, I work closely with my sourcing team and global partners to analyze costs, manage vendor relationships, and collaborate on major projects within my designated categories. Additionally, I assist in updating data in relevant systems and ensuring smooth transitions for new suppliers while also contributing to major projects aimed at enhancing redundancy categories and diversifying our supplier base.

The dynamic nature of the role keeps me engaged and continuously learning, allowing me to apply my education to real-world scenarios and witness the tangible outcomes of our efforts, such as seeing products I’ve contributed to in stores. What I find most exciting is the opportunity for constant growth and the collaborative aspect of working with our global partners!

Sheng: Can you walk us through the sourcing process—for example, the main procedures, who will be involved, and the general timeline?

Julianna: The overall sourcing process is an extremely collaborative effort involving multiple teams and stakeholders. It begins with identifying the need for specific products, which could stem from various reasons such as new product development, transitioning from existing suppliers, or finding vendors offering better cost or quality.

Once the product to be sourced is determined, we engage with suppliers from our matrix. Communication is managed internally for domestic vendors, while for international vendors, our global partners are involved. We evaluate potential suppliers based on their capability to produce the desired product and then proceed to cost negotiations.

Sample gathering is a crucial step where we collect samples from all potential vendors to assess quality and cost-effectiveness. This decision often involves input from both sourcing and product development teams. Using Product Lifecycle Management (PLM) systems, we then generate artwork for the product, collaborating closely with the art team.

Once artwork is finalized, it is shared with the chosen vendor to facilitate production specifications. Lead times for sample creation and production are negotiated with the vendor. Once we receive a pre-production sample, either our global partners or product development teams evaluate its quality and suitability.

Upon pre-production sample approval, the sourcing team updates our systems to indicate the selected vendor for the product. Throughout this process, sourcing manages communication between cross-functional teams and partners.

The timeline for this process typically spans 3 to 6 months, varying on factors such as the country of sourcing, vendor payment terms, lead times, and sample production quality.

Sheng: We know retailers today need to “balance” many sourcing factors today, from costs and speed to market to compliance risks. In practice, how do these factors actually affect companies’ sourcing decisions? For example, are there any specific factors that hold particular importance or are given significant weight in the decision-making process?

Julianna: Sourcing decisions within companies are deeply influenced by a number of factors. Among these factors, cost stands out as a primary consideration, directly impacting the financial health and competitiveness of the company. Balancing cost-effectiveness with other factors is essential to ensure optimal value for the organization.

Quality is another factor that holds significant weight in sourcing decisions. Maintaining specific standards of quality is essential to uphold the brand reputation, customer satisfaction, and overall product integrity. Innovation also drives sourcing decisions, as companies look for suppliers with advanced products, technologies, or processes to stay competitive and meet changing consumer needs.

Other critical factors include supplier reliability and supplier diversity. Dependable suppliers ensure consistent delivery schedules, minimize disruptions, and foster trust, while diversification enhances resilience and flexibility. Building strong relationships with suppliers encourages working together, coming up with new ideas, and achieving long-term success!

Finally, sustainability is now a crucial factor in sourcing decisions, driven by increasing consumer and regulatory demands for environmentally and socially responsible practices. Companies favor suppliers committed to sustainability, such as reducing waste and upholding fair labor standards. Embracing sustainability not only reflects a company’s corporate values, but also ensures long-term business success and resilience in a market that values conscious practices.

Sheng: From your observation, what are the critical sourcing trends and key issues to watch in 2024?

Julianna: In today’s climate, it is evident that there are several critical sourcing trends and key issues to keep a close eye on in 2024. Among these, prioritizing resilience, sustainability, and diversification stands out as essential for companies aiming to navigate the evolving sourcing landscape successfully!

The COVID-19 pandemic has led to a renewed emphasis on strengthening supply chain resilience. Companies are actively diversifying their suppliers and improving risk management to ensure operational continuity. Based on my personal experience in this industry, I’ve recognized the essential role adaptability plays in keeping operations running smoothly without interruption.

Additionally, there is growing attention on sustainability and ethical sourcing. Companies are under pressure to be transparent and accountable due to increased consumer awareness about environmental and social issues. In our organization, we maintain standards through the use of supplier audits to ensure sustainability compliance. Initiatives such as sustainable packaging and collaborations with suppliers certified by reputable organizations like the Forest Stewardship Council (FSC) reflect our efforts to advance sustainability goals.

One of the key challenges I’ve encountered in my sourcing career is the reliance on a limited supplier base. This became evident during our paper bag project when antidumping duties significantly impacted our sourcing strategy. The imposition of antidumping duties on paper bags from certain regions prompted us to explore alternative suppliers globally. This highlighted the importance of diversifying our supplier matrix to reduce dependence on specific regions and mitigate risks associated with geopolitical tensions or trade regulations.

Lastly, uncertain economic climates have significantly influenced what warrants close attention. Our company’s experience with Chapter 11 bankruptcy served as a pivotal moment, illuminating the crucial paths forward. As repeatedly emphasized, maintaining a diverse and resilient supplier base is essential for mitigating risks linked to potential disruptions in the supply chain. Additionally, closely monitoring costs and implementing cost-saving measures becomes imperative for navigating through uncertain economic times. Lastly, fostering robust supplier relationships and enhancing communication and collaboration with suppliers emerge as essential strategies for navigating challenges and ensuring continuity in the sourcing process, especially amidst economic uncertainty.

Sheng: Many retailers have adopted PLM (product life cycle management) and other digital tools to manage sourcing and the supply chain. From your observations, what changes have these tools brought to sourcing?

Julianna: Digital tools are vital for global sourcing as they streamline processes, enhance communication, and provide real-time insights, enabling companies to make informed decisions. Some important tools I work with closely include PLM (Product Lifecycle Management), BPCS (Business Planning and Control System), and Datamyne, as they help to optimize efficiency and mitigate risks in the complex global marketplace.

PLM helps to centralize information and documents, which ensures that all stakeholders have access to real-time data, updates, and feedback, leading to improved alignment. This helps for history purposes and checking previous decision making done by other team members. PLM also assists with processes such as supplier onboarding, product specifications management, and artwork/sample tracking.

BPCS provides a wide range of tools for managing inventory, procurement, and production planning. It helps ensure that inventory levels are optimized, procurement processes are efficient, and production activities are scheduled according to demand forecasts and inventory data. This visibility into inventory levels also allows sourcing partners to access crucial information, such as the amount of inventory on hand, helping us prioritize sourcing efforts based on urgency.

Lastly, Datamyne provides valuable insights into global trade data, including import and export information, tariffs, and compliance requirements. Datamyne also allows users to search for potential suppliers, thus mitigating risks associated with geopolitical factors and trade regulations. In response to the antidumping tariffs affecting our paper bags (previously mentioned), I utilized Datamyne to identify alternative vendors exempt from these tariffs. I thoroughly researched and explored these potential vendors to determine if they could serve as viable alternatives for sourcing paper bags, thereby circumventing the tariffs.

Sheng: Any reflections on your experiences at UD and FASH? What advice would you offer current students preparing for a career in sourcing after graduation?

Julianna: Reflecting on my experiences through the UD fashion program, I am grateful for the comprehensive education and real-world projects that have shaped my understanding of the fashion industry and the global sourcing world. UD provided me with valuable insights into various aspects of the industry and encouraged me to explore my interests deeply. Through specialized courses for my focus on sustainable apparel and textile innovation, I gained practical knowledge that is directly applicable to the sourcing realm. The exposure to relevant case studies and global issues was instrumental in honing my skills and preparing me for my career in global sourcing, and UD has paved the way for the inevitable challenges and opportunities ahead.

For current students preparing for a career in sourcing after graduation, my first piece of advice would be to prioritize networking and building relationships with peers and faculty members. Business is personal, and these connections can open doors to opportunities in the industry! Additionally, dedicating oneself to school projects and seeking any type of industry experience can provide clarity on career paths and offer invaluable insights into different work environments, and help in understanding one’s preferences within the industry.

Developing strong presentation skills and the confidence to speak up in team settings are essential for standing out as a leader and effectively communicating with vendors, global partners, and cross-functional teams.

Finally, staying informed about current events, especially in the sourcing landscape, is crucial for making informed decisions and staying ahead in the industry.

Feel free to reach out anytime if you’d like to connect, chat, or discuss industry insights – I am always here and eager to engage!

–The END–

FASH455 Exclusive Interview with Jennifer Pisula, Fabric Sourcing Manager at QVC, about Why Fabric Sourcing Matters

About Jennifer Pisula

Jennifer Pisula is a Fabric Sourcing Manager at QVC. Jennifer is also a member of the Cotton Board, appointed by the U.S. Secretary of Agriculture.

Jennifer has over ten years of experience in the corporate retail industry, where she first started her career as a Buyer at Qurate for QVC, buying for brands such as Isaac Mizrahi, Liz Claiborne, and C. Wonder. Given her love for Product Development and Production, Jennifer shifted her career to Sourcing at QVC where she traveled to China, Hong Kong, and Vietnam for factory and mill visits. Jennifer left QVC to be the Sourcing lead for URBN’s Anthropologie Plus line and the lead for Free People Movement Pre-Production and Production. In 2020, Jennifer returned to Qurate to lead the Fabric Sourcing team for QVC, where she manages sourcing & R&D for over 20 brands, working on both celebrity and core private label brands. Jennifer also works part-time as an Adjunct Professor at Immaculata University, where she teaches Textiles and Fashion Portfolio Development. In addition to her professional positions,

Jennifer Pisula graduated from the Textiles, Fashion Merchandising and Design M.S. program from the University of Rhode Island & earned a B.S. in Fashion Merchandising from Mercyhurst University.

The interview was conducted by Leah Marsh, a graduate student in the Department of Fashion and Apparel Studies at the University of Delaware. Leah’s research focused on​​ exploring EU retailers’ sourcing strategies for clothing made from recycled textile materials and fashion companies’ supply chain and sourcing strategies.

The interview is part of the 2023 Cotton in the Curriculum program, supported by Cotton Incorporated, to develop open educational resources (OER) for global apparel sourcing classes.

FASH455 Exclusive Interview with Beth Hughes, Vice President of the American Apparel and Footwear Association (AAFA), about US apparel sourcing from Central America

About Beth Hughes

Beth Hughes serves as the Vice President of the American Apparel and Footwear Association (AAFA), responsible for supporting the association’s efforts on international trade and customs issues. Beth oversees AAFA’s Trade Policy Committee, as well as AAFA’s Customs Group. Beth is also the spokesperson of the Coalition for Economic Partnership in the Americas (CEPA), a group of prominent American companies, and manufacturers committed to advancing regional trade and employment opportunities in the Western Hemisphere.

Before joining AAFA, Beth served for six years as senior director of international affairs at the International Dairy Foods Association. Beth earned a Bachelor of Arts degree in political science at George Washington University and received a Master of Arts in international affairs from Florida State University.

The interview was conducted by Leah Marsh, a graduate student in the Department of Fashion and Apparel Studies at the University of Delaware. Leah’s research focused on​​ exploring EU retailers’ sourcing strategies for clothing made from recycled textile materials and fashion companies’ supply chain and sourcing strategies.

The interview is part of the 2023 Cotton in the Curriculum program, supported by Cotton Incorporated, to develop open educational resources (OER) for global apparel sourcing classes.

Technical Design and Apparel Sourcing: FASH455 Exclusive Interview with Emma Zuckerman (UD & FASH BS16), Technical Designer at Nike

About Emma Zuckerman

Emma Zuckerman, a New Jersey native, graduated from the University of Delaware in 2016 with a degree in Apparel Design. During her time at UD, she actively participated in the FASH program and engaged in extracurricular activities related to her major. Emma conducted research on functional fashion with Dr. Martha Hall and held positions on the executive board, eventually becoming the President of Synergy Fashion Group in her senior year. She also founded a club dedicated to creating adaptive garments for children with disabilities. After graduation, Emma commenced her career in technical design with Under Armour (UA), accumulating six years of experience across various apparel categories and fabrications. She began in youth basketball, then transitioned through a range of products, from underwear to seamless leggings, woven jackets, and pants. In her later years at Under Armour, she played a significant role in the launch of Curry Brand and the introduction of UA’s first inline women’s basketball apparel line (non-uniform). Presently, Emma holds the position of Senior Technical Designer at Nike, where she contributes to the development of ACG and Nike SB product lines.

In her free time, Emma loves working on personal sewing, patterning, and draping projects. She also loves hiking, skateboarding, baking, swimming, and painting!

Disclaimer: The views expressed in this interview are those of Emma Zuckerman and do not reflect the views or positions of her employer or any affiliated organizations.

Sheng: What does a technical designer do? Can you walk us through your typical day as a technical designer? Also, what makes you love your job?

Emma: Technical designers work on developing clothing – we work with factory partners to take a style from a conceptual sketch to bulk production. For each style, we start by working with our design partners to understand their vision. We create detailed construction sketches, measurement charts, and sometimes original patterns, then compile those into a tech pack along with our designer’s garment sketch and a Bill of Materials outlining all garment components. A factory partner uses the information in that tech pack to make a sample to send back to us. We fit that sample with our team, cutting and pinning until we achieve the desired fit and aesthetic. The factory uses our feedback to create a second sample, and this process repeats until the style is finalized and approved for production. Throughout the process, we keep the tech pack up-to-date and ensure it accurately reflects the style we’re developing.

There are so many things I love about my job! The subjects of fitting and patterning are fascinating to me, and there will always be so much to learn about them. I love that throughout my career, there will be no limit to how much I can learn and how much my skills can grow. I exercise my creativity while also exercising the mathematical side of my brain, so my job is constantly challenging me in really interesting ways. I get to work with people around the world, learn about other cultures, backgrounds, and communication styles, and collaborate with amazingly talented teammates.

Sheng: How does a technical designer get involved in a fashion company’s sourcing process?

Emma: A technical designer’s level of involvement in the sourcing process varies from company to company, but it is always extremely helpful to work closely with our sourcing team. Since both technical designers and the sourcing team communicate with factories, we often check in with each other to make sure the information we’re sending is consistent. We (technical designers) can help provide feedback on factory capabilities and sample quality. Understanding the sourcing process helps us gain insight into why our sourcing partners allocate certain styles to specific factories (for example, a factory might have expertise with woven fabrics, outerwear, or embroidery; a style might qualify for a lower duty rate if sourced from a specific region; some factories may reach their maximum capacity for new styles more quickly than others).

Technical designers work most closely with our sourcing partners during costing conversations. Factories send cost sheets for every style at several key points during development. These cost sheets break down every element that contributes to the final cost of making the garment, from materials to trims, to time spent.  One major role of a sourcing partner (or, at some companies, a product developer) is to process these cost sheets and advise the rest of the team on how much cost needs to be saved, and/or what steps can be taken to save cost, to ensure the style is profitable. Technical designers can use our garment construction and patterning expertise to effectively contribute to these conversations (which leads nicely into the next question)!

Sheng: We know production cost is a critical sourcing factor for fashion brands and retailers. From a technical designer’s perspective, what factors affect garment production and its sourcing costs? What strategies can be employed to manage these costs, beyond labor wages?

Emma: So many factors affect production cost – at the top of my mind are material cost (for fabric yardage and individual trims like zippers) and cut/make time (which includes labor cost and factory overhead). Material usage and cut/make time are both factors that technical designers can heavily influence during costing conversations with our design and sourcing teams. 

Material usage: Marker efficiency refers to the amount of fabric used per garment compared to the amount wasted. The more closely pattern pieces can fit together, the less space for fabric scraps between them and the more efficient a marker will be. A technical designer can use their patterning experience to advise pattern shapes that will contribute to marker efficiency. For example, adding or removing a seam may allow pattern pieces to fit more closely together. Choosing where and when to engineer print placements – for example, matching stripes across a seam – will also impact the way pattern pieces can be arranged and, therefore, how efficient a marker can be. An efficient marker will both save cost and minimize fabric waste.

More on material usage, and cut/make time: Each construction choice contributes to the final cost of making the garment. For example, when it comes to finishing seam allowances, binding a seam allowance will take longer and use more material than an overlock stitch. For that reason, binding a seam allowance will also be more expensive. As garment construction experts, we lead conversations about style details, the time it will take to construct them, and other options that could potentially save time and material. This helps our team make informed choices that consider both cost and aesthetics.

Sheng: What are your thoughts on the trend of fashion companies using more sustainable materials like recycled cotton in their products?

Emma: I support fashion companies making an effort toward more sustainable & ethical production, and using recycled materials is an important step. Fabric with recycled fiber content can be more expensive and more difficult to source than traditional fabric, which may discourage some companies from moving in that direction. I’m hopeful that this trend will continue and that as it gains popularity, fabric with recycled fiber content will become easier to source over time.

Speaking of ethical production, I also would like to see fashion industry brands take additional steps toward a more earth-positive and people-positive existence, including:

  • Considering local labor laws, worker wages, and working conditions when selecting factories
  • Implementing garment repair programs to extend the lifecycle of their styles
  • Improving accuracy of demand planning to reduce excess inventory and/or considering donation or upcycling of excess inventory
  • Expanding size ranges and accurately grading sizes to fit well on plus-sized consumers
  • Moving away from gendering clothing as “men’s” or “women’s;” during sample development, checking that samples fit well on lots of body types (including individuals who have had gender-affirming care, individuals who haven’t, individuals who may be wearing gender affirming garments like binders)
  • Diversifying the company workforce at every level, from entry-level to leadership to c-suite
  • Expanding representation in advertising campaigns to reflect the diversity of global consumers
  • Supporting nonprofit agencies whose work aligns with company values

Some companies are doing a great job of fulfilling some, most, or all of the items on my above wish list, but we know that the fashion industry has a long way to go when it comes to impacting our earth and our societies positively. I think it’s our job as newer fashion industry professionals to speak up about all of this and start to push our industry in a better direction.

Sheng: What other key industry trends will you closely monitor in 2023?

Emma: I am so interested in the increased use of 2D and 3D patterning software. Programs such as Gerber, Optitex, Clo, and Browzwear are already changing the design and development process in fascinating ways. Experience in any of these programs has already become a very valuable asset for job applicants. I’m curious whether garments will ever be sold to consumers based only on 3D renderings, and if body scanning will become a more mainstream part of the shopping process.

I’m also curious how the increased use of 2D and 3D patterning software will impact more traditional design processes, like paper patterns and draping. Will these arts be preserved? Are there types of apparel that will always need to be draped or patterned physically? Will students 20 years from now still learn to pattern and drape the way we did, or will these skills be fully computer-based?

Sheng: Any reflections on your experiences at UD and FASH? what advice would you offer current students preparing for a career in fashion after graduation?

Emma: I feel so lucky to have had the experience that I did at UD and within the FASH program. I learned so much in my patterning, draping, collections, textiles, and sourcing classes (big shoutout to Dr. Lu!) that has stayed with me and helped me find success in my current job.

I have so much advice! If you’re looking for a career in technical design, practice any patterning software you can access as much as you can. As you begin applying to jobs, try to reach out to contacts at the companies you’re applying to (even if it means sending a random LinkedIn message to a fellow UD grad, or asking a professor/another student to help connect you with someone). Start your career with curiosity and an open mind – you will learn so much on the job that isn’t covered in school. Try to find a mentor, or several mentors, who’ve had work experiences similar to yours. A mentor who you can trust and rely on for advice makes a huge difference when work gets challenging. Speaking of which – work does get challenging, and that’s okay! Work on learning to identify situations that you can work through and learn from (which are hugely beneficial to your personal growth and career development), compared to work environments that are more consistently unhealthy or not providing what you need (which are an indication that it’s time to make a change). If you have coworkers you trust, sharing salary information openly is a great way to make sure everyone’s skills and contributions are being valued appropriately.

Enjoy your time in college and in the FASH program. I miss it!

–The END–

What Does Sustainable Apparel Sourcing Mean for Generation Z?

Many brands and retailers are trying to make their apparel sourcing more sustainable, from publishing the ESG report to using more recycled textile materials in the products. However, the effectiveness of fashion companies’ sustainability efforts and related communication remain largely unknown, especially among Generation Z, their most important target market.

Students in FASH455 and FASH graduate students recently shared their valuable perspectives on sustainable apparel sourcing with Just-Style, a leading publication focusing on the fashion industry. Below are selected original comments from students:

What “sustainable apparel sourcing” means to you and your generation, Generation Z?

Cecilia Goetz, Fashion Merchandising and Management Major (Honors), Senior

To me, sustainable apparel sourcing means going about sourcing in an ethical way both environmentally and socially and often putting the financial interests of the company on the backburner in order to do so. This can mean a number of things, including a shift towards more local production (nearshoring), the implementation of labor regulations in factories, and the use of more eco-friendly materials. On top of this, it is a matter of companies being entirely transparent with their efforts and being open with consumers about where their products came from and how they were made. Part of sustainability involves doing everything in a company’s power to support people and the environment, and the other part involves telling consumers the entire truth, whether it works in their favor or not. I think a large portion of Generation Z has a strong understanding of “sustainable apparel sourcing,” but there are still so many young consumers who are never faced with the question of how to define it and how to achieve it. My generation is definitely one that is more progressive and well-informed regarding social issues than the Baby Boomers, for example, but there is definitely still a long way to go in terms of educating Gen Z on sustainable practices within the apparel industry.

Emilie Delaye, Entrepreneurship Major, Fashion Management Minor, Senior

It is difficult to share exactly what “sustainable apparel sourcing” means to me and my generation, as I feel the meaning and interpretation of the word “sustainable” itself is changing and expanding rapidly. A few years ago, probably 5-10 years ago, the phrase sustainable apparel sourcing referred to sustainable efforts in terms of the environment. This meant that products were perceived as sustainably sourced when they met some of the following characteristics, including: using inputs that are biodegradable components from natural or recycled fibers, inputs that have no chemical treatment use, or inputs that were produced with the effort to reduce overall carbon footprint. I think now, my generation is viewing “sustainable sourcing” as a phenomenon that is much larger than environmental issues. There are many more intricate issues that intertwine with sustainable sourcing that go beyond purely environmental focuses, including social and ethical factors. Gen Z consumers, including myself, are becoming more concerned with the “who” and “where” questions in sourcing. This means that consumers view sustainable sourcing as things such as sourcing from responsible production facilities that pay fair wages or avoiding sourcing in areas with large social or ethical issues.

Hannah Laurits, Graduate Student, Fashion and Apparel Studies

For Generation Z, the concept of “sustainable apparel sourcing” embodies a commitment to ethical, eco-conscious, traceable, and transparent sourcing practices. Sustainability encompasses various elements that define responsible production. It depends upon the ability to trace the origins and production methods of products, emphasizing fair labor practices across all tiers of the supply chain. Our generation greatly emphasizes environmental preservation and recognizes the importance of protecting our earth’s natural resources for future generations.

A sustainable supply chain operates with a determination to minimize adverse environmental impacts by harnessing emerging innovations in materials and processes. To Generation Z, a product can earn a sustainable label or association by meeting a portion of these criteria. Realistically, we understand that perfection in sustainability remains nearly impossible to achieve today. Nevertheless, as a generation, we actively seek products that align with as many of these sustainability parameters as possible and validate their claims with reliable evidence. To Generation Z, sustainable sourcing is about driving positive change in the fashion industry through our apparel supply chain.

Miranda Rack, Fashion Merchandising and Management Major (Honors) & FASH 4+1 Program Graduate Student

Sustainable apparel sourcing means knowing where textiles and apparel come from and who made it. Consumers are starting to consider this information when buying clothing. The country-of-origin label does not provide enough information to learn anything about the garment. Especially because the country-of-origin tag only displays where the garment was finished, consumers receive no information on where the fibers or fabric was sourced. While it is common for brands to share their tier 1 suppliers, consumers want more information than that. We want to know which factories produced what, and especially who made our clothing. If a brand wants to source apparel more sustainably, the first step is to become more transparent. Brands should be required to publicize all steps of their supply chain. Consumers value supply chain transparency because it builds a sense of trust between brand and consumer. It is the brand’s responsibility to be open and honest about where their products come from, not the consumer’s job to research every time they shop.

Kendall Ludwig, Fashion Merchandising and Management Major & FASH 4+1 Program Graduate Student

It means full responsibility for their supply chain. From start to finish, a company knows who makes their products and ensures that the garment workers they employ have access to basic human rights such as a living wage and the right to unionize. On top of this, the company should ensure that the health and safety of their workers are not at risk. If human rights abuses appear in their supply chain, the company must remediate them. From an environmental perspective, sustainable apparel sourcing also means that a company has implemented a plethora of strategies to minimize the harmful environmental impacts their business creates. Further, social and environmentally sustainable apparel sourcing requires transparency from apparel companies. If a company does not disclose their efforts, it is valid to assume they have none. The more transparent, the better!

Leah Marsh, Graduate Student (4+1 program), Fashion and Apparel Studies

Gen Z has become increasingly aware of the global fashion industry’s harmful effects on the environment. With this, a majority of us have turned towards the topic of sustainability in order to purchase clothing and support companies that cause minimal harm. Our understanding of “sustainable apparel sourcing” includes both environmental and social topics. We believe that companies who sustainably source their apparel products are paying their workers fair wages and, protecting their health and safety, and also respecting their local environments by minimizing their output of pollutants and being mindful of limited resources. These are just a couple of specific examples, but we also care about topics such as economic circularity, local production, and consumer education. Ultimately, to Gen Z, sustainable apparel sourcing means not only producing clothing with minimal negative environmental and social impacts but also being transparent and responsible throughout the entirety of the supply chain. Gen Z consumers are continuously looking for fashion brands and companies to support that align with these values. It is important to me and my generation to support those who make genuine efforts to create a more sustainable and ethical fashion and apparel industry.

Annabelle Brame, Fashion Design & Product Innovation Major, Senior

When asked how we Gen Z interprets “sustainable apparel sourcing” the first thing that comes to mind is sustainability for workers. I think it is so easy to confuse sustainability with environmental consciousness. And while that is a piece of it, the ethical element is wildly important. Since most companies outsource production from other countries with more labor, we are very conscious of how that looks for the workers. We see employees not being fairly paid with poor working conditions, which is not only sickening but wildly unsustainable. And while there is so much talk about the poor conditions, that is how we encourage the shift to more sustainable practices. Sustainability in apparel sourcing starts to look at fair wages, manageable hours, and safe working conditions. This isn’t a one-person job. It takes companies, the government, and factory owners to make that change physically.

Hunter Wills, Entrepreneurship Major, Fashion Management Minor, Senior

Sustainable apparel sourcing means that you know exactly where a garment is coming from, you are able to easily learn about the supply chain if you would like to do further research, and you know everyone in the process is being treated ethically. When brands try to hide information about their supply chain, it usually means they are not practicing sustainable sourcing, whereas companies that are very open and transparent about this process are more likely to be sustainable.

How does a fashion company’s sustainability in apparel sourcing affect your purchasing decisions?

Cecilia Goetz, Fashion Merchandising and Management (Honors), Senior

I am embarrassed to admit that in high school, I shopped at brands like Shein and Forever 21 before taking any classes, especially about fashion and sustainability. As a teenager with little money of my own and virtually no knowledge of what goes on behind the scenes before a garment arrives at your doorstep, the low prices and trendiness of clothing was my main priority. Unfortunately, I think that is the case for a lot of young consumers, which is why brands like Shein perform so well. Now, after years of specially curated classes about the fashion industry, I have learned about the Rana Plaza Collapse of 2013, the chemicals and water used in the production of a single t-shirt, the wages for garment workers in less developed countries, and so much more. As a result, the sustainability of a brand is something I really look into when shopping. Whether it be the hang tags on a garment calling out recycled materials, an online tab about sustainability initiatives, or a hanger made from eco-friendly materials, I am always more inclined to make a purchase from a brand when I see these things. I do, however, also try to weary of vague references to ethical or environmentally sound practices because not all companies tell the whole truth when advertising the sustainable aspects of their products.

Emilie Delaye, Entrepreneurship Major, Fashion Management Minor, Senior

I think that a fashion company’s sustainability in apparel sourcing does affect my purchasing decisions, however, I believe that I am more informed than the typical Gen Z consumer. Though it is becoming increasingly popular for consumers to be educated on the processes, such as sourcing processes, that go into their apparel production, I do not believe we are at a point where the average consumer understands or has the background knowledge to know what the implications of brand’s sourcing decisions have. By studying the fashion industry in school, I have had access to this knowledge, and therefore have changed my shopping behavior. I tend to lean more towards thrifting clothing, as most sustainable brands that seem compelling fall sadly out of the price range of a college student’s tight budget. For me, thrifting from local consignment stores is a way for me to “boycott” the larger fast fashion brands and choose a relatively lesser evil.

Hannah Laurits, Graduate Student, Fashion and Apparel Studies

A company’s reputation and commitment to sustainable sourcing practices significantly influences my purchasing decisions. When I shop, I try to practice conscientious consumption, taking into account that company’s reputation and what the impact of that article of clothing may be. Being well-informed about the practices of the brands I support is crucial to me, as I feel it is my responsibility to ensure I am buying from a company that is dedicated to maintaining a sustainable supply chain. When I am unsure, I tend to do more research into the brand to see how transparent they are about their practices. When purchasing a clothing item, I strategically look for brands that are doing their part in this industry’s efforts to improve their environmental and social impacts. While I don’t expect absolute perfection in a company’s sustainability practices, I remain vigilant for warning signs, such as greenwashing or a lack of information, that may raise doubts about their authenticity.

Miranda Rack, Fashion Merchandising and Management Major (Honors) & FASH 4+1 Program Graduate Student

As a student studying sustainable fashion, a company’s sourcing habits greatly affect my purchase intention. I buy most clothing secondhand because I do not trust many popular retailers to put sustainability over profit. I will not shop from them if I cannot verify that a brand’s sourcing strategies do not harm people or the planet. Because so many brands are not transparent enough, it is nearly impossible to verify that their sourcing practices do less harm than good. For example, I will not buy from Shein because I cannot verify that their products are made without forced labor. Shein, among many other Chinese fast fashion retailers, takes advantage of de minimis policies, which allow many product shipments to sneak through customs. There is a possibility that Shein sources cotton from the Xinjiang region of China, so I do not shop there.

Kendall Ludwig, Fashion Merchandising and Management Major & FASH 4+1 Program Graduate Student

A fashion company’s sourcing sustainability efforts are a huge determinant of whether or not I will buy from them. This is one of the main reasons why I predominantly shop secondhand. Not enough brands live up to my expectations when it comes to supply chain transparency. It is hard for me to buy a new product when I am unsure of where it has been through every stage of its development. Although this is also the case when I buy secondhand clothing as well, I know that I am not directly giving my money to a brand that may be exploiting workers or causing detrimental harm to the environment.

Leah Marsh, Graduate Student (4+1 program), Fashion and Apparel Studies

As a Gen Z consumer who prioritizes ethical and sustainable fashion, there are a handful of different ways that a company’s sustainability in apparel sourcing affects my purchasing decisions. To begin, I believe that research and transparency is the first step I take in order to understand whether or not I should support a specific brand. It is really important to me for a company’s website, or an article of clothing’s tag to disclose as much information as possible. Key information that stands out to me as a conscious consumer is the country of origin, price, fiber content, and even the care instructions.

With this, if I notice that a company sources its materials from a hazardous region or the original retail price is astronomically low, I definitely think twice about purchasing their products. The biggest dividing factor amongst Gen Z consumers is the fact that some see these extremely low prices and follow through with the purchase due to its economic appeal. On the other hand, some see these prices and immediately question how a product could be produced at such a low price, and refrain from supporting the company.

Annabelle Brame, Fashion Design & Product Innovation Major, Senior

Personally, it holds a great deal on how I purchase. While I am a college student I recognize the dramatic harms of shopping fast fashion, which uses a vast range of unsustainable sourcing practices. That leads me not to want to purchase from brands such as Shein, no matter the cost. However, it is important to recognize my background and education. As a fashion student, I have learned so much about what goes on behind the curtain that the masses don’t. I think it is important to remind ourselves when interacting with other individuals shopping at these places, that they are only seeing the surface level of this information, and while we can’t cause them to fully understand it in one conversation, we have to remember creating resources and alternatives that demonstrate sustainable sourcing is what can help make that difference.

Also we have to consider the trade-off. Can we stop purchasing from companies who aren’t making changes in how they source? Not always. So, we have to think critically about how we consume and show ourselves grace as we work towards a more sustainable future. Is it possible to quit shopping at brands that do not pay their workers a living wage cold-turkey?

Honestly, probably not. Many of our brands are not transparent or know fully what is happening where they are producing so it is extremely difficult as consumers to buy into the right places correctly. Also, the key is moderation, just like going on a diet. If you give up all sweets, it makes it more likely you will quit the diet altogether. But what will lead to your success is learning how to consume it in a healthy moderation. For example, instead of spending hundreds of dollars on hauls of clothing, consume less. A purchase every now and again is nothing to feel guilty of. It is all about moderation. The ways these unsustainable companies make their money is from the mass amounts of consumption. By consuming less, it significantly begins to help the problem. That is what I think scares Gen Z so much, the idea that it is an all-or-nothing trade when purchasing.

Hunter Wills, Entrepreneurship Major, Fashion Management Minor, Senior

A company’s sustainability in apparel sourcing is the main driver in my purchasing decisions. This makes it very hard for me to justify buying anything new because there are very few brands that are making clothing with sustainable sourcing in mind and are offered at a price point that I can afford. This usually causes me to look online or thrift stores for second-hand clothing that I know will last.

Are there specific sustainable materials or practices in apparel sourcing that particularly interest you and your peers? Why do you find them appealing or important?

Cecilia Goetz, Fashion Merchandising and Management Major (Honors), Senior

The act of recycling fabrics to create new textiles or upcycling old garments into exciting and fashionable pieces is a practice that definitely resonates with several members of Generation Z, including my peers and me. Overproduction and overconsumption are two very large issues in the apparel industry that have an extremely negative effect on the environment…Upcycling, in particular, is something that Gen Z has taken a liking to. My Tik Tok “for you page” is often filled with crafty teenagers turning a worn down pair of pants from Goodwill that they would never wear into a stylish two-piece set that can be worn in multiple ways. Not only did they spend little money, but they also got the opportunity to show off their creativity and design skills on an app that could allow them to go viral at any moment. In posting these videos, they are helping their personal brands while showing their viewers how they can be sustainable and upcycle clothing themselves.

Emilie Delaye, Entrepreneurship Major, Fashion Management Minor, Senior

The biggest sustainable materials and practices that come to mind would probably be associated with the key terms “organic cotton” and “fair labor”. In terms of sustainable materials, organic cotton has become one that is very popular in Gen Z, and one that brands have quickly picked up on and highlighted in their practices. The other term that I believe highlights some of the most popular practices when it comes to sustainable sourcing is fair labor. This practice I believe is still particularly prevalent in the more “woke” crowds of consumers, however has begun to penetrate mainstream discussion. I believe that Gen Z consumers want to be able to consume clothing, knowing that the production and sourcing was not associated with child or slave labor. Brands have also tended to emphasize this practice for their consumers. Whether their statements are an accurate representation of their sourcing has yet to be seen.

Hannah Laurits, Graduate Student, Fashion and Apparel Studies

Absolutely! Specific materials are very appealing to both myself and my peers. Any time I come across an article of clothing, one of the first things I do is to inspect the inside tags to determine its place of origin and the fiber composition of the fabric. Investigating a product’s origins provides valuable insights into that garment’s potential economic and social impact.

What excites me the most are sustainable fibers, especially new innovations which are more environmentally friendly. When looking at fabrics, I watch for green flags such as organic fibers, hemp, linen, bamboo, and more. Many of my peers are interested in recycled fibers, such as recycled cotton. These fibers are enticing to my peers and I as they are much less harmful to the environment compared to other alternatives.

Miranda Rack, Fashion Merchandising and Management Major (Honors) & FASH 4+1 Program Graduate Student

Sustainable apparel sourcing does not just include supply chain transparency but also the environmental impact of sourcing decisions. Brands often set benchmarks to reduce carbon or water emissions, use more recycled textiles, source only organic materials like cotton, or no longer use animal fur. All these issues are equally important in sustainability, but consumers will prioritize issues that personally interest them when shopping. Personally, I am most passionate about overconsumption and post-consumer textile waste. So, I am more likely to shop at secondhand stores than slow fashion retailers.

Kendall Ludwig, Fashion Merchandising and Management Major & FASH 4+1 Program Graduate Student

I think organic cotton has become quite popular recently with our peers. In the Sustainable Fashion Club (note: a student organization at the University of Delaware), the most popular activity by far is painting organic cotton tote bags. Our members love receiving a product that was made with sustainability in mind. While there are unsustainable elements to organic cotton, it seems to be what our Gen Z peers are most drawn to when trying to consume with intention. I think this is still a step in the right direction because consumers are becoming more informed about sustainability in fashion if they are drawn to organic materials. As their knowledge increases, so will responsible purchasing decisions.

Leah Marsh, Graduate Student (4+1 program), Fashion and Apparel Studies

I believe that the sustainable practice in apparel sourcing that resonates with me the most is ethical labor. The topic of fair treatment and fair wages for workers in the fashion industry is what first got me interested in sustainability as a whole. It is extremely important to ensure that all workers are paid fairly, provided safe working conditions, and have basic labor rights protected. There are a handful of accounts and campaigns on social media that introduced me to this important issue. I follow Labour Behind the Label and Fashion Revolution which are two of the non-profit organizations that advocate for a more ethical and sustainable supply chain. Moreover, two of the most prominent social media campaigns are the #PayUp movement and the #WhoMadeMyClothes movement.

Annabelle Brame, Fashion Design & Product Innovation Major, Senior

As a designer, I have really gravitated to fabrics that are not blends. That allows for fabric to be easily recycled after the product’s life, unlike blended fabrics. Secondly, brands sourcing from the U.S. because I feel confident in our enforcement of labor laws. Being able to have the transparency from just trusting the government policies is comforting and inspires me to want to support businesses that run their brands like that. As other countries begin to make changes in their laws, it opens my mind to implementing sustainable sourcing internationally.

Also transparency. I would rather have a company tell me they pay their worker $68 a month than tell me nothing at all or try to make themselves look better than they are. Having that information allows me to evaluate in my brain, if this is ethically right for me. In doing so, it allows consumers to encourage change.

Hunter Wills, Entrepreneurship Major, Fashion Management Minor, Senior

One sustainable practice that I resonate strongly with is upcycling. Upcycling is taking pre-existing clothing and using it to make new garments. I currently do this with my clothing brand named Funky Rat, where we take older pieces of clothing and add our own designs via embroidery and screen printing to them and then sell them. We could have started the brand by having a completely custom hoodie manufactured for us, but we felt there was no need to have this new garment made when we can find perfectly good quality hoodies at local thrift stores and design on top of these. This also allows us to have a unique selection of products and colors, as opposed to having 50 of the same exact thing.

Another practice that resonates strongly with me and my peers is zero waste design. Last semester I found this concept for the first time and was immediately intrigued. I ended up making a hoodie shortly after using a zero waste pattern from the designers Shelly Xu and Katla. It was incredible to me to see something so simple in terms of a pattern fit so well, while creating no waste. I am currently working with a friend on a few zero waste patterns and design concepts, and I cannot wait to see where this concept moves in the future, especially at scale.

How effectively do fashion companies communicate their sustainability efforts to Generation Z like yourself? Are you concerned about the issue of ‘greenwashing’?”

Cecilia Goetz, Fashion Merchandising and Management Major (Honors), Senior

There is definitely some “greenwashing” and performative language used by fashion companies. Some brands struggle to include every detail of the processes that go into the manufacturing of their products. Although they are rarely lying, they often word things in a way that makes them sound better than they are while excluding important information. Some companies are known for their recent shift towards more sustainable practices and transparency. However, they still fail to include exact information about their factory set-ups and are often called out for their lack of true transparency. Moving towards sustainability in the apparel industry has become a major trend in recent years and I think brands are more-so trying to appease consumers and maintain a certain image of integrity, rather than make genuine changes in their mindsets and overall brand ideals.

The main issue behind greenwashing– besides the fact that it is somewhat unethical and sly– is that it works. Because so many customers are unaware of the lack of social responsibility and environmental practices within apparel production, they have no reason to believe that a brand might be withholding some of the truth on the tag of a garment or the product description online. They instead are excited by the thought of a “sustainable” piece of clothing and are often more inclined to actually follow through with the purchase. I will, however, give Generation Z some credit. I think my age group definitely cares more about sustainability than older generations and would be more likely to notice cases of greenwashing than other consumers.

Emilie Delaye, Entrepreneurship Major, Fashion Management Minor, Senior

I think that greenwashing is a major issue in the industry today. Brands have become more astute and turned into what consumers, such as Gen Z consumers, want and, therefore, have amplified their messages on sustainability and ethical business practices extensively. If you look at even major fast fashion brands, such as Shein, it can be seen that the term “sustainable” is thrown around quite frequently, with very little information to back up the statements. I do think as I have said, however, we are not at the point yet where the majority of Gen Z consumers question the words of the brands they are buying from. If a consumer sees that a brand has a section on its website that is dedicated to sustainability, they are very likely to believe that this brand is infact, sustainable.

Hannah Laurits, Graduate Student, Fashion and Apparel Studies

Honestly, it’s really hard right now for fashion companies to communicate their sustainability efforts to Generation Z, this is because sustainability is such a hot topic. Virtually every brand strives to align itself or its products with sustainability, even when its practices do not genuinely reflect these values. Greenwashing is a deceptive marketing tactic and is a large concern for my generation. As consumers and future industry professionals, we are very much aware and mindful of greenwashing practices.

In the retail setting, when I encounter multiple tags flaunting recycled symbols, excessive claims of environmental friendliness, or any other indications of greenwashing, I am immediately deterred. The best thing that a company can do to communicate sustainability efforts to Generation Z is to do so in a subtle yet thoughtful and thorough way. For example, I look for companies that have a dedicated page on their website that goes in depth about their sustainability efforts and future goals. Levi’s is a great example of a brand that does this well.

Brands that genuinely pride themselves on being sustainable and prioritize sustainable practices, should convey their efforts without resorting to overt marketing tactics which may resemble greenwashing. Instead, they should lead with authenticity and transparency, fostering Generation Z’s trust and loyalty as consumers committed to sustainable lifestyles.

Miranda Rack, Fashion Merchandising and Management Major (Honors) & FASH 4+1 Program Graduate Student

Fast fashion companies do a horrible job communicating their sustainability efforts to Generation Z.  The “sustainability” tab is always super small, all the way at the bottom of the home page. Fast fashion retailers are not forthcoming about sustainability initiatives because there is almost always nothing to brag about. I am very concerned about greenwashing because it is just another way for brands to take advantage of consumers. Most consumers do not study sustainable fashion, so when they read “made with 80% recycled fibers,” they believe it is true without verifying. Most brands do not outright lie about their sustainability efforts, but they do hide how their products and practices are killing the planet. Overconsumption is an enormous issue that is hidden from the public because so much post-consumer textile waste is shipped overseas to developing countries. Countries like Ghana and Chile are drowning in our old clothing, but Shein shoppers know nothing about this issue because it is not communicated to consumers. 

Kendall Ludwig, Fashion Merchandising and Management Major & FASH 4+1 Program Graduate Student

Greenwashing is a huge concern as sustainability continues to be identified as a “trend” that brands need to keep up with. Sustainability is not a trend. As a fashion student focusing on sustainability, it is easy for me to identify greenwashing tactics, especially on a brand’s website. But for consumers unfamiliar with greenwashing and sustainability efforts, they may see a sustainability page on a brand’s website and think the brand is doing their part.

Leah Marsh, Graduate Student (4+1 program), Fashion and Apparel Studies

Since sustainability and ethical fashion have become such a hot topic within the industry, I believe that fashion companies have been extremely successful in communicating their sustainability efforts to Gen Z. Companies are aware that this is currently the top priority for my generation, and they are definitely marketing towards it. For example, fashion brands such as H&M have not only increased the information they provide on individual products, but they have also added an entirely new tab to their website dedicated to sustainability. The new tab allows customers to explore the company’s work and commitment to sustainability. However, this has also raised the concern of “greenwashing.” Greenwashing is when a company claims to be doing something to improve their effect on the environment, but there is no proof of change or improvements. Consumers wonder how companies like H&M can prioritize sustainability when, at the same time, they are still a global fast fashion company that produces a plethora of products at relatively low prices.

Annabelle Brame, Fashion Design & Product Innovation Major, Senior

Quite honestly, extremely poorly. Off the top of my head, I can think of maybe two larger brands that I feel do an adequate job at showing their customers their efforts, which is so heartbreaking. I see the issues with greenwashing everywhere I go. Unfortunately, I don’t even believe it is fully the company’s fault. They themself are just uneducated on the topic. We do not have enough professionals to guide a change and effectively communicate “sustainability”; instead, we have incredible marketers who know how to influence consumers. As Gen Z wants to shop sustainably, we often settle for what we see, because we want to believe change is being made.

Especially with the idea that sustainability has to be expensive when we see a supposed “eco-conscious” shirt with sustainable materials for a good price, we don’t look into it. For example, organic cotton has so many benefits compared to standard cotton. But many people fail to realize there is just as much, if not more water waste in its creation. And just because that shirt was made with a so-called “better” cotton doesn’t mean workers were fairly treated or the textile mills had negative CO2 emissions. There is so much we don’t look into, partially from lack of time, but also the idea that we can’t fathom being lied to. These companies know that stamping an eco-friendly sticker on the tag does inspire customers, and they take advantage of that.

Hunter Wills, Entrepreneurship Major, Fashion Management Minor, Senior

I feel that fashion brands do not do a good job of communicating their sustainability efforts to Gen Z. As hard as they try to tell us what they are doing for sustainability, our generation is able to see right through the half hearted efforts and made up terms to fool consumers into thinking they are being sustainable. I feel that this is part of the reason for the resurgence of thrifting, especially with Gen Z. Our generation is tired of being lied to and decided to take that into our own hands with where we buy our clothes from. Thesad truth is that a majority of Gen Z does not know about the impacts of fast fashion and how much of an impact the fashion industry has on the environment. I feel that this is the case because of greenwashing. Brands want consumers to feel that they are helping, not hurting the world with their purchase and will go to great lengths to put on this facade.

As individuals studying fashion merchandising and design and representing the fashion industry’s future professionals, what role do you think your generation can play in advancing sustainability within the industry’s supply chain and sourcing practices?

Cecilia Goetz, Fashion Merchandising and Management Major (Honors), Senior

As Generation Z is slowly approaching the title of the “largest consumer group in America,” it is clear that we can play a major role in changing the trajectory of sustainability in the apparel industry. Gen Z’s strong social media presence gives us a type of influence that generations in the past didn’t have. This communication and activism on a worldwide scale allows the group to reach so many different people and create a call-to-action. There are lots of Instagram and Tik Tok accounts like @genzforchange or @environment who aim to educate their followers on current issues and events related to sustainability, social responsibility, and more. With over a million followers collectively, the two accounts can teach young consumers about their impact and how they can change their shopping habits. Adjusting their mindsets from a young age can then change the way they carry themselves as professionals years later and make them more likely to consider sustainability with every decision they make in their jobs. This can, in turn, prevent things like “greenwashing” from occurring because the people behind the scenes are educated on the matter and truly care about advancing sustainability within their companies.

Emilie Delaye, Entrepreneurship Major, Fashion Management Minor, Senior

I believe that one major role Gen Z individuals studying fashion merchandising and design can play in the industry deals with legislation. Our generation is being educated on these intricate and delicate issues at hand. With the education, we can provide a framework and legal structure that will define what classifies as “sustainable,” and that actively works against greenwashing. Hopefully, we can build a system that ensures brands are backing up their claims and feel the need to act ethically and transparently rather than simply acting in the best interests of their companies.

Hannah Laurits, Graduate Student, Fashion and Apparel Studies

I’m excited to see the increasing presence of Generation Z in the workforce, particularly because we are all so passionate about sustainability. I expect that my generation will play a huge role in advancing sustainability within our industry, supply chain, and sourcing practices as this is an issue that we genuinely care about.

In the years to come, as our generation takes on roles as designers, merchandisers, buyers, and more, we will advocate for sustainable practices within our workplaces. Generation Z has the ability to take this from just a business practice to a mindset for a company. Our generation will push for the adoption of conscious practices across all departments across many fashion brands and retailers. I truly believe that we as a generation, will make a significant contribution to a positive shift in the fashion and apparel industry.

Miranda Rack, Fashion Merchandising and Management Major (Honors) & FASH 4+1 Program Graduate Student

Students in the fashion field should be learning about sustainability in their classes. Not only should they be learning about it, but fashion students should also be actively practicing sustainable fashion in their everyday lives. We can take this knowledge to the industry and educate the older generations we will be working with. With sustainable fashion being a relatively new buzzword, we cannot expect all current industry professionals to be as well-versed and subsequently committed. The issue is with education. Consumers still support fast fashion because they are unaware of how it affects people and the planet. The fashion industry must focus on consumer education rather than profit to slow climate change. Educating consumers can start with creating a more transparent and accessible supply chain.   Publicizing their supply chain holds brands accountable for using suppliers who uphold their sustainability initiatives.

Kendall Ludwig, Fashion Merchandising and Management Major & FASH 4+1 Program Graduate Student

Our Generation Z is the most environmentally conscious, but at the same time, we buy the most fast fashion products. That being the case, I believe our generation can greatly advance sustainability within the industry’s supply chain and sourcing practices. As avid internet users, raising awareness through social media is one of the most effective and easiest ways to get brands to respond and take action. Gen Z consumers also have the ability to make change through financial means. As the target market for the biggest fast fashion companies, a generation-wide boycott to demand better sustainable sourcing practices would force companies to listen to stay in business. 

Leah Marsh, Graduate Student (4+1 program), Fashion and Apparel Studies

I believe that my generation can play a significant role in advancing sustainability within the industry’s supply chain and sourcing practices. I have noticed that a handful of my peers and I have started exploring additional career opportunities rather than being a merchandiser or designer. We have begun to open up doors within the industry and some of the job positions that we are currently seeking did not even exist when we started the fashion program at the University of Delaware just 4 years ago. The increase in availability and demand of these alternative sustainability-related careers within the global fashion and apparel industry is extremely promising. For example, after I graduate, I hope to work for a non-profit organization that advocates for garment workers’ rights and environmental policy while also working to prioritize supply chain transparency amongst fashion brands and retailers.

Annabelle Brame, Fashion Design & Product Innovation Major, Senior

We have the knowledge. As professionals, it is important we just continue to educate others. We will end up all across the globe with people in a million different fields, so it is important to remember not everyone knows what we do, and keep the conversation going. When it comes to sustainability and sustainable sourcing, we have to assume the people around us have no idea what we are talking about and continue to teach and touch on deeper topics within this industry. Also, incorporating sustainability into all our fields. As a fashion designer, it is easy to think we don’t have an impact on how we source. In reality, we can choose fabrics based on fiber, think consciously about the mills, and start conversations in the workplace about how we can pattern-make smarter.

How can education and awareness about sustainable apparel sourcing be improved among Generation Z, both as consumers and as future professionals in the fashion industry

Cecilia Goetz, Fashion Merchandising and Management Major (Honors), Senior

Social media is a very powerful tool that can be used to educate Generation Z about sustainable apparel sourcing. Not only can advocates make posts with useful information about sustainability in the fashion industry, but they can get in contact with other members of Gen Z and have meaningful conversations about what can be done to make further progress. This helps to make it a more common discussion and helps to encourage Generation Z customers to keep an eye out for sustainability when shopping.

In the professional world, it is important that companies invest in sustainability initiatives and teams who aim to teach other employees about the subject matter. Those who studied sustainability and related topics can bring this knowledge to the workplace and start workshops, discussion groups, and panels about environmental and social improvements and what every employee can be doing in their role to make improvements. With members of Generation Z focusing on and learning about sustainability from both the production side and consumer side, ethical apparel sourcing is bound to improve in fashion brands around the world.

Emilie Delaye, Entrepreneurship Major, Fashion Management Minor, Senior

One major improvement that I think needs to be done is the focus on how to find reliable information and the skill of critical thinking. Social media and media, in general, have taken over many individuals’ lives today, however, it is known that not all information is true. I think that educating individuals on how to successfully identify whether a source is credible will help reduce the spread of mass misinformation. This, along with the development of critical thinking skills, will ensure that each consumer and professional can create their own opinions on a topic at hand, which in turn will allow our society as a whole to come up with more collaborative and informed decisions on how to tackle the issues we face.

Hannah Laurits, Graduate Student, Fashion and Apparel Studies

Education of sustainable apparel sourcing is extremely important for Generation Z. The best way to improve our generation’s awareness of these issues is by exposing them to real world scenarios and keeping them informed on what is happening in regards to sustainability in the fashion industry. At the University of Delaware, our fashion programs do an excellent job of keeping students informed and engaged with sustainable fashion practices. Sustainability is rooted in the course curriculum in every single fashion class. This is how we improve sustainability awareness in the fashion industry, through consistent exposure, our generation will continue to become the experts in sustainable apparel sourcing.

Miranda Rack, Fashion Merchandising and Management Major (Honors) & FASH 4+1 Program Graduate Student

It is up to brands to be honest with consumers about their apparel sourcing, but it is up to consumers to care. Consumer education and awareness start with transparency by the brand. Generation Z must keep fighting to hold brands accountable. Right now, the best thing consumers can do is to educate themselves on how fast fashion is killing people and the planet. We need to stop shopping at brands that cannot prove to consumers that they value sustainability. We must stop shopping at brands that refuse to publicize their supply chain and sourcing practices. We need to stop taking everything brands say at face value and start working to verify claims on our own terms.

Leah Marsh, Graduate Student (4+1 program), Fashion and Apparel Studies

Education and awareness about sustainable apparel sourcing can be improved among Gen Z by establishing industry standards. Every new sustainable term has a handful of different definitions floating around that ultimately confuse consumers and professionals. There needs to be a standard developed, just like for any other area of study or focus. Consumers need to have something accurate to refer to when they need help making important decisions.

Annabelle Brame, Fashion Design & Product Innovation Major, Senior

As cliche as it may seem, social media. It has an astounding amount of power over our peers and can reach large audiences rapidly. One of the really amazing things that has come from platforms like Tiktok is allowing us to share information creatively. We don’t have to just look at a camera and talk about sourcing, but we can create engaging videos with editing to keep the viewer watching. With so many niches, people can gain a platform that allows them to continue telling the story about sustainability in between feeds of crafts, dancing, and comedy. It allows it to be a recurring reminder between their other programming. That is the key, repetition. It takes persistence from people to grasp the gravity of the issues we face within sustainable apparel sourcing. So it takes us showing up– on the news, social media, and in person.

–END–

FASH455 Industry/Internship Stories—Hannah Laurits, Haddad Brands

Hannah Laurits (second from the right) worked as a sourcing intern for Haddad Brands in New York City in the summer of 2023. In the picture, Hannah was visiting the company’s world class distribution center in New Jersey.

About Hannah Laurits

Hannah Laurits is a master’s student in the Department of Fashion and Apparel Studies (FASH) at the University of Delaware (UD). She also received her B.S. from UD & FASH with a double major in apparel design and fashion merchandising and management.

Hannah is passionate about adaptive clothing and making the fashion industry more inclusive and sustainable. She has participated in several related research projects, including working at UD’s Health and Innovation Lab and designing adaptive clothing for children with Down syndrome. Hannah’s master’s thesis explores U.S. retailers’ merchandising and business strategies for adaptive clothing. As a graduate instructor, Hannah teaches FASH133 (Foundations for Fashion Innovation), an important foundational course for FASH freshmen. Hannah is the recipient of the 2023 International Textiles and Apparel Association (ITAA) Sara Douglas Fellowship in recognition of her academic excellence and accomplishments.

During the summer of 2023, Hannah had the exceptional opportunity to work as a sourcing intern for Haddad Brands in New York City. Below, she shared her reflections on this incredible internship experience.

Question: What does a typical day look like during your sourcing internship with Haddad?

Hannah: Each day, I would enter Haddad’s beautiful Manhattan office and make my way up to my desk on the 10th floor, which was home to the design and sourcing departments. I had the opportunity to sit next to my mentor and assist her in her day-to-day tasks as a Fabric and Trim Research &Development (R&D) Manager. This often consisted of maintaining fabric/trim development digital and physical libraries, creating new fabric swatch headers, entering fabric/trim data in PLM, partnering with Product Development to establish fabric and trim codes for PLM, and analyzing new fabric developments. I also assisted in collaborating and developing fabrications, finishes, and trims with our supply chain by communicating feedback via internal emails.

One thing that  I really enjoyed was that each day consisted of working cross-functionally with the different teams. I helped prepare for and sit in on weekly fabric/trim development status meetings with the various Design teams where fabric/trim developments for the upcoming seasons were discussed and designers would make new fabric requests for their added styles. I also sat in on bi-weekly fabric/trim development status meetings with the Product Approval team to ensure the fabric samples from mills were up to standard for development. Here, I was able to help weigh in on fabrics and compare them to our standards to determine if they met our requirements or if they needed to be changed and how. Additionally, some days included meetings with various suppliers to discuss innovations in fiber, fabric, finish, and trim.

Being part of an internship that enabled me to perform meaningful work from day one, provided countless opportunities for personal growth, and exposed me to working with some of the most iconic global brands (e.g., Levi’s) was a truly fulfilling experience.

Question: Any major projects did you work on during your internship? What did you learn from the experiences?

Hannah:Each Haddad Legacy Intern was assigned and worked on a project for their department based upon a real business need. Based on my educational background and my passion for sustainability, my team outlined a project that would best fit. This involved researching innovative sustainable solutions and sourcing practices to further their sustainability efforts.

My research was not only conducted from outside sources but from internal ones as well. I felt an immense amount of support from all of the individuals who helped me accomplish this project and was excited to learn that they also are just as excited about sustainable practices as I am. At the end of the internship, each intern had the chance to present to senior management our individual projects. This experience taught me how to create a visually compelling presentation and relay large amounts of data concisely and effectively.

Question: What insights did you learn about the fashion apparel industry from the internship? For example, the key issues the industry cares about or the challenges it faces.

Hannah:From my internship experience, I was able to see firsthand key topics important to the fashion/apparel industry; specifically, two areas caught my attention.

First, sustainability and social responsibility. Consumers and investors are seeking more sustainable products and better practices from the brands they love. Considering this, sustainability-forward brands are focused on maintaining their high values regarding these areas and keeping their practices aligned with them.

Second, the fashion industry is constantly seeking innovative technology solutions, including in the sourcing and supply chain areas. Technology is evolving faster than ever, helping create efficient solutions to drive the fashion industry forward. Technologies such as 3D printing, AI, laser cutting, and more are being used to improve the industry in various ways such as trend forecasting, supply chain, and consumer experience, just to name a few. Even regarding sustainability, many fashion brands are investing in or actively exploring new technology solutions to help them develop a more sustainable and ethical supply chain and improve sourcing transparency, traceability, and accountability.

Question: How do your learning experiences at FASH help with your internship? Any specific knowledge or skill sets do you find most critical?

Hannah:FASH had a great influence on my decision to pursue a sourcing internship with Haddad Brands. It was through the UD & FASH department’s Fashion Career Meetup that I was able to connect with the amazing HR team at Haddad Brands and learn more about the company.

Specifically, it was FASH455 (Global Apparel Trade and Sourcing) that piqued my interest in the world of sourcing and provided foundational knowledge for my internship. Working in fabric research and development, on a daily basis, I referred back to key concepts from FASH215 (Fundamentals of Textiles I) and FASH220 (Fundamentals of Textiles II) on fiber, yarn, fabric, structures, color, and finish. Additionally, the FASH Social Responsibility and Sustainability certificate courses played a unique role in my experience, helping me bring a sustainability forward perspective into my internship and providing a solid background to further build upon for my internship project.

Furthermore, the FASH department at UD excels at providing students with extensive foundational fashion industry knowledge. Not only is the course curriculum excellent, but so is the faculty who goes above and beyond to help foster student’s education and build critical professional skills.

Question: What’s your plan after graduation?

Hannah:I am currently working on wrapping up my master’s program and am on track to graduate in May 2024. I am seeking a full-time role that allows me to have a hand in developing products that have a positive impact on people and the planet. Potential roles include sustainability, social compliance, sourcing, product development, and product line management related to fashion apparel products. While I am originally from Delaware, I am hoping to relocate to a city on the East Coast such as NYC, Philadelphia, or Baltimore. However, I am open to considering job opportunities and locations beyond this scope. As my graduation approaches, I am eager to begin my career in the fashion apparel industry.

Meanwhile, I am actively seeking winter and spring internship opportunities in the greater Philadelphia area or remote positions to enhance my professional development.

–END—

An Inside Look at Textiles “Made in the USA”: FASH455 Exclusive Interview with Elizabeth Davelaar (UD&FASH MS17), Co-owner of Maker’s Way Fiber Mill

About Elizabeth Davelaar

Elizabeth Davelaar is a Co-Owner of Maker’s Way Fiber Mill in Brandon, SD, which opened in October 2021. The mill is a family-run business, with Elizabeth’s sister, Erin, and her mother, Kari, as other co-owners. Elizabeth began her career in the fashion industry at the University of Minnesota, where she graduated with a BS in Apparel Design from the College of Design. She then went to the University of Delaware, where she graduated with an MS in Fashion and Apparel Studies and a Graduate Certificate in Sustainable Apparel Business.

Elizabeth served as a project manager for a non-profit fashion brand in St. Louis and taught sewing to immigrant women in St. Louis and women in Ethiopia. She then moved to Vi Bella Jewelry in Sioux Center, IA, working her way from Shipping Manager to VP of Operations, Sustainability and Design. She then opened Maker’s Way Fiber Mill in 2021 with her family and has been working with local fiber producers to grow the yarn industry in South Dakota and surrounding areas.

Interview Part

Sheng: What inspired you to start your fiber mill business? What makes it special and exciting?

Elizabeth: The mill was born out of the need to solve a problem. I became interested in natural dye at the University of Delaware under Professor Cobb. Once I moved back to the area where I grew up, COVID hit, and I was able to dive deeper into the natural dye and use local plants as a dye source. This also led to being curious about local natural fibers. South Dakota isn’t a state that grows cotton, and the hemp industry is currently small, but it has an abundance of sheep. According to statistics from the US Department of Agriculture, South Dakota has 235,000 sheep and is home to one of the nation’s largest wool co-ops. However, there are only 2 working fiber mills in the area that provide custom processing, which makes yarn made from local fiber very hard to find.

This led to the opening of Maker’s Way Fiber Mill. We are a full-service, custom fiber mill and make yarn, felt, roving, and home goods products from primarily wool and alpaca fiber. Approximately 90% of our time is spent processing for clients who own the animals and use the yarn themselves or sell it, with the other 10% processing yarn that we sell online via our website and in-person at events. The vast majority of our customers are local (within 4-5 hrs) and sell locally to crafters. We take pride in knowing where the fiber we use comes from, sourcing from local farms or using fiber from vintage or second-hand sources.

Hats made from 80% alpaca/20% Wool (both sourced from SD) with a small amount of recycled sari silk blended in. Photo courtesy of Elizabeth Davelaar
(Photo courtesy of Elizabeth Davelaar)
Photo courtesy of Elizabeth Davelaar

Sheng: According to Maker’s Way Fiber Mill’s website, sustainability is a critical feature of your products. Why is that, and how do you make your products sustainable?

Elizabeth: We believe that we are stewards of the earth and should be conscious of how the products we make are grown, created, and then how they can be disposed of. The fashion industry, from creating the product to end life, is a huge polluter. The current market for wool is not great for producers, and there isn’t a good avenue for alpaca producers. We work very hard to ensure that our products are sourced from people that we know and trust or are from vintage or second-hand sources. We also work to ensure our products are made from natural fibers, thus they are biodegradable.

We also work to limit the waste in our mill. Although we try our absolute best to reduce loss in the process, each step produces some loss in fiber. This fiber is swept up and either rewashed and added to our Millie line or added to our bird nest starters. The Millie line is yarn spun up from the scraps, and we end up running about four batches of this a year. Each batch is unique because of the different blends of fiber we run. The bird nest starters use fiber that either falls out of our carder or is swept off the floor. These are then put outside in the spring for birds to use for nesting. The fibers are short enough that the baby birds don’t get tangled in them as they would with yarn and because they are natural animal fibers, the nests will biodegrade, unlike acrylic yarns that are sometimes used.

Photo courtesy of Elizabeth Davelaar

Sheng: Maker’s Way Fiber Mill’s products are 100% locally made in South Dakota. From your perspective, what are the opportunities and challenges for manufacturing textiles in the US today?

Elizabeth: I see two big challenges in the natural animal fiber side of the U.S. textile industry: Lack of consumer knowledge of where clothing comes from and lack of infrastructure. But both also present big opportunities!

First, we have found with our mill that people don’t have a good understanding of how many steps there are in creating yarn in general, let alone clothing. We have people who question our pricing because they don’t understand what it means to make yarn in the United States. From start to finish, it takes eight different steps to get raw fiber from producers to yarn ready to sell. Our consultations for new clients tend to be very educational because even fiber producers don’t necessarily know all the steps. As we open the mill for tours and talk to people at events, they start to understand and respect how much work is behind the yarn we create, and that is when we see buy-in – when people start to see the whole process, as well as the people.

The second challenge I see is the overall lack of infrastructure. We are one of approximately 200 small-scale / artisan-style mills in the country (this number is approximate – there is not a good database) and do not run near the quantity compared to the larger manufacturers. As of 2018, there aren’t any small-scale fiber mill equipment manufacturers in the US, so all of the equipment available to us is either used or has to be imported from Canada or Italy. Wait time for most small producers to get their fiber made into yarn is approximately 8-12 months at many mills, some run up to 18 months out. Our mill currently runs about 6 months out and we have been open for just over a year.

For producers who want to sell their wool to larger manufacturers and not have it custom processed, as far as our research has shown, there is one large-scale scouring (wool washing) facility in the states and most of the large-scale spinners use fiber from this facility to spin into yarn and then send the fiber off to other finishing companies for knitting. Otherwise, all of the wool is shipped overseas, and producers are earning approximately $1.66/lb of wool (in 2020). We have heard of many producers that have stockpiles of wool because they are waiting for higher wool prices. Coops also won’t accept wool that isn’t white, so all dark colors of wool get thrown away as there isn’t a market for it.

We also see this as an opportunity. We have noticed the “buying local” trend extending past food also to include yarn. People also see value in making their own clothing and being intentional through knitting/crocheting. There is a growing market for it. We have also seen some demand for the addition of another large-scale scouring facility that could meet the needs for wool insulation and other home applications.

Sheng: Like other fashion programs in the US, most of our FASH students take job opportunities from fashion brands and retailers, not necessarily textile mills. How to raise the young generation’s interest in pursuing a career in textile and apparel factories? Do you have any suggestions?

Elizabeth: I definitely never intended to start a fiber mill when I was in school. I only took one textile class and am pretty sure only one of my design projects used wool. UD was really what fed the sustainability bug in me and I started to realize that sustainability starts at the very beginning of the lifecycle of clothing. Whether or not something can be biodegradable, recyclable, or repurposed starts with what fiber makes up the clothing. UD also showed me how global apparel is and how much carbon footprint it makes.

Working in a fiber mill is not an easy job. It is dirty, we tend to put in long days, and we are constantly learning new things. I am a very hands-on person, and I love being able to create things from nothing, so this job is a great fit for me. The part I loved most about being in design school was being able to create things, and my current job is that all day, every day. We split the mill into “zones” and between myself, Erin and our mom, we all specialized in a specific part of the process. I am in charge of skirting and cleaning fleeces, which means cleaning off all of the hay and visibly dirty areas (aka manure) and then washing the fiber in 140-180 degree water to get the dirt and lanolin out of the fleece. I then pick and card the fiber, which opens up and organizes the fiber into a long tube that is then drafted, spun, plied, and put into skeins. While most days tend to include the same things, each day is never the same as the last. Each animal fleece we run acts differently, so we are always learning new and better ways to run the equipment we have. It is challenging but also a labor of love. Because we work directly with producers, we know the names of most of the animals and love knowing that their fleeces are being used instead of being discarded! We also love connecting with local people who love purchasing from local producers and makers.

Photo courtesy of Elizabeth Davelaar

One of the biggest things I believe fashion programs can do to help open up students to different options in the fashion industry is to expose them to different opportunities and allow them to follow whatever passion they have and emphasize that there isn’t a “right” path in the industry. My classes opened me up to labor issues around the world and that then led me to Delaware. And the opportunities I was given at UD to follow my passions are a huge reason I am doing what I am doing now. One of the things I think UD does right is having many different professors with varying backgrounds in the FASH department and I think other universities would do well to implement that too.

Sheng: Any other key issues or industry trends you will watch in 2023?

Elizabeth: One of the key trends we are watching is the local craft movements and knowing where your clothing comes from. We saw a crafting resurgence happen during COVID and people are still pickup up their knitting needles and crochet hooks to create items to wear and love. We also see some carryover of the local food scene into the local fiber scene. We believe that this will continue to grow!

–The END–

FASH455 Industry/Internship Stories—Ally Botwinick, American Apparel and Footwear Association (AAFA)

Ally Botwinick (2nd from the left) with Steve Lamar, AAFA President & CEO (first on the left)

About Ally Botwinick

Ally Botwinick is a 4+1 graduate student in fashion and apparel studies (FASH) at the University of Delaware (UD), class of 2023. She graduated from UD with a BS in Fashion Merchandising and Management in 2022. Ally is passionate about sustainability, sourcing, and supply chain issues in the fashion industry. She was a policy intern for the American Apparel and Footwear Association (AAFA) in Washington, D.C. in the summer of 2022. She is currently interning with the Worldwide Responsible Accredited Production (WRAP).

Question: What does a typical day look like during your AAFA internship?

Ally: I would arrive at American Apparel and Footwear Association (AAFA)’s beautiful DC office, take the elevator up to the third floor, greet the two other interns, and make my way over to my desk. For the policy interns, our typical day consisted of working on individual projects and attending committee meetings, such as the weekly Social Responsibility Committee call with member companies, environmental and product safety meetings, trade policy meetings, and others. We also took notes on hearings and events and paid particular attention to topics related to the apparel sector. For example, I listened in and took notes on Hill hearings, workshops hosted by the World Trade Organization (WTO), and International Labour Organization (ILO) meetings. Some additional internship projects included updating country sourcing profiles for AAFA member companies to use in their factory selection process and analyzing trade data.

A very exciting and beneficial component of the AAFA internship experience was being able to attend special industry events such as the Washington International Trade Association (WITA) dinner and AAFA’s Annual Traceability and Sustainability Conference in Pittsburgh, PA. The WITA dinner is often referred to as “Trade Prom” and is packed with a ‘Who’s Who of trade policy professionals–over 500 attendees each year. Volunteering at this event with the other AAFA and WITA interns was incredible. The AAFA 2022 Traceability and Sustainability Conference in Pittsburgh, PA was another highlight of my internship experience. The conference took place at the American Eagle corporate headquarters, which was very exciting to tour. I spent three days in Pittsburgh with the AAFA team and heard presentations from top leaders in the fashion sustainability space, which was a dream! Member retailers spoke about what their companies are working on, what key challenges the industry faces, and how brands can collectively make a difference. It was a truly inspiring event and a phenomenal networking opportunity. This was an experience I will never forget!

Question: Any major projects did you work on during your internship? What did you learn from the experiences?

Ally:One of the main projects I worked on during my internship was updating AAFA’s Sourcing Profiles for their member companies. These country-specific sourcing profiles include essential information relevant to apparel companies’ sourcing decisions, such as a country’s political situation, minimum wage, membership in trade agreements, and economic outlook. Updating these sourcing profiles allowed me to understand why fashion brands and apparel retailers choose to source from particular countries over others. Having this solid background knowledge of leading apparel-sourcing destinations helps me tremendously, especially given that I am very interested in pursuing a career in sourcing. Some other projects I worked on include analyzing the latest US import patterns for travel goods and creating a “Corporate Social Responsibility Checklist” for AAFA members.

Question: What insights did you learn about the fashion apparel industry from the internship? For example, the key issues the industry cares about or the challenges it faces.

Ally: Through this highly valuable internship with AAFA, I saw the fashion industry through a unique policy and “DC” perspective. A key issue the industry cares about is sustainability. For example, fashion companies are increasingly implementing more and more environmentally and socially responsible business practices. Many leading US apparel brands shared their perspectives on building a more sustainable and transparent fashion supply chain at AAFA’s Traceability and Sustainability Conference. Fashion companies are also investing in innovative new technologies to work toward a closed-loop, circular economy.  

Another challenge the fashion industry faces today is improving the supply chain’s transparency. For example, the alleged forced labor in China’s Xinjiang region is a huge concern to US apparel companies. With the recent implementation of the Uyghur Forced Labor Prevention Act (UFLPA) in June 2022, many US fashion brands and retailers are seeking advice on how to comply with this new law and minimize potential sourcing disruptions. Now, more than ever, apparel companies need to ensure they can map their supply chains all the way back to the very beginning, such as where they source their raw cotton.

There is also much interest among fashion companies in finding new sourcing destinations outside of China. For example, Sri Lanka sees this as an opportunity, as well as other developing countries such as Vietnam and Cambodia. We could see some notable shifts in US fashion companies’ sourcing patterns in the coming years.  

Further, this Fall, I have been interning virtually at Worldwide Responsible Accredited Production (WRAP). WRAP is a non-profit organization headquartered in Arlington VA, with staff worldwide. WRAP certifies factories in the apparel, footwear, and sewn-products sector regarding their social responsibility performance. WRAP helps factories achieve this certification by conducting audits and working with factories directly to improve working conditions. AAFA and WRAP work closely with one another on numerous projects and industry events, and it has been wonderful to connect these two internship experiences. For example, I read and studied factory audit reports at WRAP. This allowed me to see fashion companies’ and auditors’ respective perspectives when examining a factory’s social compliance. Something that I took away from both internships is that garment factories could use auditing as an opportunity rather than a burden. By investing time and energy into improving factory working conditions and getting certified by a third-party organization, such as WRAP, a factory can attract more retailers, gain more business, and provide a better working environment for its workers. 

Question: How do your learning experiences at FASH help with your internship? Any specific knowledge or skillsets do you find most critical?

Ally:My learning experiences in the UD’s FASH department were what influenced and inspired me to pursue the internship with AAFA and now with WRAP. FASH455 (Global apparel trade and sourcing), specifically, is what sparked my interest in apparel sourcing, supply chain, and trade. Before taking this class, I certainly had not thought about how free trade agreements affect the fashion industry. I found all the sourcing rules of origin such as “yarn-forward” and “fabric-forward” to be interesting and intriguing and I was eager to learn more. That is part of what led me to seek out these fashion opportunities in DC.

What I’ve learned through my time in the FASH department is that there are so many career directions a fashion merchandising degree can take you. Fashion is not all about runway shows and magazines- although those elements are very exciting. Many people often do not think about so many other aspects of the industry, like sourcing and trade. The fashion department at UD does a great job in providing students with a well-rounded education and improving students’ critical thinking skills, writing skills, data analytic skills, as well as other skills useful in preparing us for our future careers.

Being selected as a UD Summer Scholar during the Summer of 2021 was another fascinating and unique learning experience, which allowed me to begin researching an area of the fashion industry that I am most interested in–sustainability. Specifically, working with Dr. Lu, I researched US fashion retailers’ merchandising and marketing strategies for clothing made from recycled materials. I expanded the Summer Scholar’s research project into my master’s thesis which was recently published in the Journal of Fashion Design, Technology and Education. This is super exciting!

Choosing the University of Delaware and its fashion department for my education was the best choice I could have made. I have such positive memories such as my first business of fashion class with Professor Ciotti, my assortment planning and buying class with Professor Shaeffer, where we simulated working for a department store, and Dr. Cao’s sustainability and textile courses. Being Co-President of the Sustainable Fashion Club was also a highlight of my time in the FASH department. All of my coursework and experiences in the FASH department gave me the confidence needed to succeed in my internship and work experiences. 

Question: What’s your plan after graduation? 

Ally: I am currently nearing graduation from my Master’s program. I am on track to receive my Master’s degree in Spring 2023 (or earlier!). I am looking for full-time job opportunities in the realm of fashion sourcing, sustainability, and supply chain. I am hoping to live in either New York or DC after graduation, depending on what job opportunities become available. I am also keeping an open mind to other locations/job prospects. I am eager and excited to start my career in an industry that I am so passionate about, and I look forward to seeing where the future takes me!

-END-

Understand West Africa as an Emerging Apparel Sourcing Hub and Its New Sustainable Development Model: FASH455 Exclusive Interview with Kekeli Ahiable

(photo courtesy: Kekeli Ahiable)

Kekeli Ahiableis a private sector development Advisor with the Tony Blair Institute’s Industrialisation Practice. Working with industry leaders over the past 10 years, she has facilitated business and job creation opportunities in the trade infrastructure, supply chain, and manufacturing sectors across four continents.

In her current technical support role at TBI, she manages the Institute’s regional textile and apparel (T&A) project which aims to support the development of a best in class, sustainable, and circular cotton-to-apparel manufacturing hub across five West African countries.

She holds a Master of Public Policy (MPP) from the University of Oxford, with a focus on trade policy and economic development.

Interview Part:

Sheng: Thank you so much for speaking with us, Kekeli. First of all, would you please tell us a little about the Tony Blair Institute for Global Change (TBI) and your involvement with the textile and apparel (T&A) industry in West Africa?

Kekeli: Sure! The Tony Blair Institute for Global Change (TBI) is a not-for-profit organization that offers strategic advice and practical support to political leaders and governments so they can deliver reforms that raise standards and transform lives. Our work includes advising on a range of sectors including industrialization, energy, and technology. We currently work in 17 African countries.

Since 2019, we have been working with several governments in West Africa – specifically Cote d’Ivoire, Ghana, and Togo – to support the development of a best-in-class and sustainable textile and apparel sector that meets the needs of British, European, and North American retailers and consumers.

Our role has centered around supporting our partner governments to:

  • prepare for doing business; work with them to develop relevant sector strategy & review policy, etc.
  • design attractive investment incentives
  • attract interest in the region from relevant fashion trade actors

For instance, we facilitated a week-long investor roadshow to the three countries in 2019, with participation from three of the largest global apparel brands together with their mills and manufacturers (with a combined turnover of over US$ 70 billion). This was co-sponsored under the banner of Amcham Hongkong.

Covid-19 naturally impacted our physical scoping events and so we moved the conversations to virtual roundtable forums. Last December, eight of the UK’s biggest retailers, plus several European retailers, attended a session we organized, led by Rt Hon. Tony Blair. Representatives from the three main governments and other non-governmental groups involved in developing textiles and apparel in the region were also present to engage in discussion with the investors. We have also worked with the American Apparel and Footwear Association (AAFA) and the United States Fashion Industry Association (USFIA) to update US brands and retailers on West Africa’s potential as a nearshore sourcing destination for the North American market.

In summary, TBI is very much to help create top-of-mind awareness about West Africa’s suitability to grow a viable T&A sourcing hub and ultimately facilitate investment into the priority countries.

Sheng: What is the current state of the textile and apparel (T&A) industry in West Africa? What are the key development trends? How about the impact of COVID?

Kekeli: West Africa’s T&A market is rapidly expanding. Although considered nascent when compared to Asia’s more developed markets, its many greenfield opportunities also mean there are fewer legacy challenges to contend with. This offers a ripe opportunity for investors and manufacturers to start from an almost clean slate, which is crucial as the apparel industry makes strides toward a more environmentally sustainable footprint.

The region also has numerous natural and competitive advantages for textiles and apparel manufacturing and has seen increased interest from global actors, brands, manufacturers, infrastructure developers, development finance institutions, etc., over the last few years.

Key development trends

Recognizing shifting patterns in global T&A trade and the immense value in domestic processing of abundantly available raw materials, West African governments are demonstrating an ambition to harness their competitive advantages and expand their T&A sectors.

The governments of Cote d’Ivoire, Ghana, and Togo especially, are walking the talk. Togo’s agile government closed a ground-breaking €200 million investment deal with Arise IIP, in August 2020. The deal included building a 400-hectare eco-industrial park dedicated to textiles and apparel manufacturing. Apart from the park, the Arise group is investing into vertically integrated (fiber to fashion) knit apparel units which will start commercial operations in mid-2023.

Ghana has the most advanced industrial base of the three highlighted countries and hosts DTRT Apparel, which has been running its operation in Ghana for the past 7 years and is currently the largest apparel exporter from West Africa. As a further boost towards vertical integration, in March, they partnered on a co-creation deal with the International Finance Corporation (IFC) to jointly develop setting up a synthetic fabric mill in the region. Meanwhile, Northshore Apparel, another garment actor, recently began constructing a 10,000-worker garment factory in Ghana. To attract more foreign direct investment (FDI), the government is drafting a new T&A sector policy and incentive framework under the UK’s Foreign, Commonwealth & Development Office (FCDO) funded £16 million-pound JET Programme.

In a similar vein, Cote d’Ivoire, Africa’s second-largest cotton seed grower, is carrying out sector reforms and strategy development aimed at facilitating the domestic transformation of at least 50% of their annual cotton output.

Altogether, it is an exciting time to be developing the T&A sector in West Africa. We are excited to contribute towards this vision to create a best in class, vertical and sustainable manufacturing hub in the region, and help to create 500k direct and indirect jobs.

Impact of COVID

Most existing garment manufacturers pivoted to producing PPE for both domestic and international markets. For instance, DTRT is making this a permanent feature of their production, although orders have resumed from their traditional apparel buyers.

We have also witnessed a stronger resolve from governments to support their domestic T&A manufacturing sectors’ growth.  The Togo deal, for instance, happened at the height of covid lockdowns. Some countries also offered waivers on value-add tax for their textile and apparel manufacturers and used the time to restructure their labor codes to meet international standards.

Sheng: How to understand West African countries’ competitiveness as an apparel-sourcing base for western fashion companies?

Kekeli: First, there is an immense opportunity to vertically integrate the T&A manufacturing value chain. The region produces around 1.5 million metric tons of cotton annually, which represents about 60% of Africa’s total output and 15% of global exports. The vast majority of this is exported unprocessed. Farming methods feature rain-fed irrigation with harvest done by handpicking, leading to 80% being labeled as preferred, sustainable cotton under Better Cotton Initiative (BCI) and Cotton made in Africa (CmiA) standards.

Secondly, its geographical location means it offers a natural nearshore market to Europe and US markets – literally less than two weeks away from Europe by sea.

Note: transit times are shorter depending on the shipping line. Transit references for the US are New York and Charleston, Antwerp and Hamburg for Europe, and Hangzhou for China/Asia. Source: Freightos, Bollore Africa Logistics interviews

Other benefits include an abundant trainable labor force, cost savings to manufacturers under favorable trade instruments like African Growth and Opportunity Act (AGOA), EU’s Economic Partnership Agreement (EPA)/Everything But Arms (EBA) program, etc., as well as consolidated political stability in all three countries. Moreover, there is strong potential for developing a circular textile economy facilitated by green manufacturing and initiatives like our West Africa Regeneration Zone (WARZ) initiative, on which TBI is collaborating with key brands and figures from the industry.

Apart from the main retail regions, there is a growing online retail market in Africa – estimated to increase to $75 billion by 2025 with projected $3.4 trillion aggregate GDP under African Continental Free Trade Area (AfCFTA). As we have seen with recent moves to the continent by Twitter, Google, and others, there is large scope for fashion retailers to use manufacturing in West Africa as a launchpad into this growing continental market, with free movement of goods and services under AfCFTA.

These are attractive propositions for buyers and manufacturers looking to diversify their supply chains and leave a greener carbon footprint in the process.

Sheng: It is of concern that used clothing exports from developed countries to Africa hurt the local textile and apparel industry. What is your assessment?

Kekeli: That is correct. The reality is that there is strong consumer demand for second-hand clothing, due to the cheap prices and readily available clothing for re-use. This is the main reason why the supply chains are routing the bales to other markets, including Africa. Most consumers in Africa rely heavily on the second-hand clothing markets. In this configuration, it is difficult for local players to compete and attract the same consumers’ appetites.

Moreover, this is quite complex, especially in an era of global value chains and [free] trade pacts that enjoin countries to offer some levels of reciprocity in their trade relations. Governments wishing to partake in international trade cannot simply ban imports of goods to protect their local industries. It is, therefore, crucial to explore practical win-win solutions.

For instance, there is a fast-growing global market for fabrics made from recycled materials as brands and manufacturers are taking steps to make their footprint greener. Receiver countries of second clothes could develop other business opportunities from the materials that arrive, with funding from relevant partners. Take Ghana as an example – its Kantamanto market, arguably the world’s largest reuse, repair, and upcycle market, process hundreds of tons of clothing each week. A large percentage of what comes to the market however ends up as landfilled waste due to various reasons.

One remedy is recycling, which ploughs back the many unsold and non-reusable clothes into the textile manufacturing economy. This not only reduces the need for virgin fibers but with the scale envisioned for the West Africa T&A manufacturing project, it increases the fabric feedstock available for domestic Cut, Make, Trim (CMT) manufacturers thus supporting to differentiate the region as a destination for circular apparel sourcing. Managed properly, we envision this would have positive spillover effects on the domestic market. At TBI, we published a piece on tackling Ghana’s textile waste which can be read here for a deeper dive into the subject.

Sheng: How does the textile and apparel industry in West Africa embrace sustainability?

Kekeli: The strongest aspect is from an environmental perspective. With rain-fed irrigation, around 80% of the region’s cotton is labeled as preferred cotton. Vertically integrating the cotton value chain by processing within one geographical area supports a lower carbon footprint of each final product.

West Africa’s geographical proximity to main buyer markets also increases its environmental sustainability credentials as a nearshore market.

Moreover, circularity is part of the culture in this part of the world – people reuse and pass on clothes to other family relations after use, with very little going to waste. We see an opportunity to scale this with the West Africa regeneration (WARZ) initiative. The WARZ initiative aims to support the development of a sustainable and circular textile and apparel supply base in West Africa where post-consumer textile waste is recycled at scale and becomes feedstock for making new apparel. This would be underpinned by disruptive recycling and traceability technology.

In our role as non-vested convenors and facilitators, we have convened a consortium of international and domestic stakeholders to develop a pilot project in Ghana, which is the world’s number two importer of second-hand clothing. Preliminary scoping puts the entire project size at over US$500 million with the potential to generate over 60K jobs along the value chain over the next 5-10 years. The following image depicts the initial concept for the regeneration zone project:

Relatedly, to demonstrate emerging support at the continental level, the African Development Bank recently approved the establishment of a €4 million Africa Circular Economy Facility to drive integration of the circular economy into African efforts to achieve nationally defined contribution targets.

Sheng: How important are trade preference programs like the African Growth and Opportunity Act (AGOA) to the development of the textile and apparel industry in West Africa? Do you think AGOA should be extended after 2025? Should the agreement keep the liberal “third-country fabric” rules of origin? Why or why not?

Kekeli: Trade preference programs are extremely important to facilitate the growth of Africa’s manufacturing and export capacity. As fundamentals like infrastructure tend to be less developed on the continent, preferential regimes like AGOA serve as a key enabler for manufacturing FDI. The T&A industries in countries like Kenya, Lesotho, and Madagascar have grown tremendously in the past few years thanks to AGOA’s tariff-free concessions. West Africa’s T&A industry is now in the beginning stages of development and needs an extension of AGOA to grow.

I believe in the short-medium term, maintaining third-country fabric rules is also crucial (note: Third-country fabric rules allow for apparel made with fabrics sourced from outside the AfCFTA/Sub-Saharan Africa region to qualify for duty-free access). The simple reason is that West Africa’s cotton value chain needs support to develop. While countries have ambitions for vertical integration by processing cotton within the region, these backward linkages will take time to develop.

A phase-out period may be negotiated to further incentivize accelerating the move towards domestic production of fibers that qualify to be used by CMT manufacturers in the [sub]-region.

Sheng: What does the African Continental Free Trade Area (AfCFTA) mean for the textile and apparel industry in West Africa? 

Kekeli: The AfCFTA pact aims to form the world’s largest free trade area by connecting almost 1.3bn people across 54 African countries. The goal is to create a single market for goods and services to deepen the economic integration of Africa, with a combined GDP of around $3.4 trillion.

Historically, the most developed world regions have been those that have figured out and developed strong regional value chains. The EU, which is the world’s largest regional trade agreement (RTA) by value has over 64% of trade taking place within the regional block. Similar cases pertain in the US-Mexico-Canada (USMCA) and the Association of Southeast Asian Nations (ASEAN) free trade areas.

Intra-Africa trade on the contrary is currently under 20%, with strong potential for growth. Trade figures show that when African countries trade with each other, it is mostly intermediate or finished goods, which naturally have more value. The goal is to encourage more of this.

Textiles and apparel development in West Africa has strong potential to become a flagship example of what AfCFTA implementation could practically look like. In the next couple of years, I envision fabrics from Cote d’Ivoire, Benin, being exported to Ghana duty-free to feed apparel factories, designers from Cote d’Ivoire offering their expertise across the sub-region with no restrictions on their movement, textiles from Ghana being traded in Nigeria, etc. The possibilities are truly endless. 

–END–

Sourcing Apparel from the CAFTA-DR Region—The Modern Cotton Story Podcast

Discussion questions:

  • What are the advantages and disadvantages of CAFTA-DR as an apparel-sourcing base for US fashion companies?
  • What are the key bottlenecks that prevent more apparel sourcing from CAFTA-DR members?
  • Do you support liberalizing the rules of origin or keeping the strict “yarn-forward” rules of origin in CAFTA-DR, and why?

Barcelona Fashion Summit 2022 Exclusive Interview: Apparel Sourcing, Trade, and Globalization