# data[].attributes.body
What once was a common practice is now, to the masses, almost a forgotten concept. Dating back to the Neolithic period, with civilisations using plants, minerals, insects, and animals to create colors for status, decoration, and ritual. Countries such as Egypt, India, and China have been greatly renowned for the development and source of many natural dyes still in use today. Dyes such as:

Madder (red), woad and indigo (blue), and saffron (yellow). Animal dyes were also used, such as Tyrian purple from sea snails for royalty and cochineal from insects for red. While these dyes work well, they also require large amounts of land and labor, which is why having colourful garments in history was seen as a status symbol, as only the wealthy and royals could afford the process. Laying early foundations for the link between fashion, status, and exploitation. These early practices contrast sharply with today’s industrial dyeing processes, where toxicity and mass production dominate

# data[].attributes.attachment_link.title
The Origins of Early Colors: Natural Dyeing Techniques and the Stories

# data[].attributes.attachment_link.description
Before the advent of synthetic dyes, people relied on nature to produce pigments, transforming - The Design Craft

# data[].attributes.headline
The Development and Discovery Of Synthetic Dying

# data[].attributes.subject
The Development and Discovery Of Synthetic Dying

# data[].attributes.body
In 1856, while attempting to create a treatment for malaria, 18-year-old William Henry Perkin conducted experiments using coal tar, a thick, dark by-product of gas production. Although his scientific goal failed, the oily residue from his tests produced a vivid purple stain on silk - the world’s first synthetic dye, which he named mauveine. According to Jennifer Cohlman Bracchi, curator of the Smithsonian’s Color in a New Light exhibition, Perkins’ invention “had a severe economic impact as some natural dyes were major trade commodities more valuable than silver or gold.” Mauveine’s popularity soared after Queen Victoria of England and Empress Eugénie of France appeared in gowns dyed with the new colour, sparking a revolution in fashion and industry. By the early 20th century, the chemical manufacturing industry had exploded, with new synthetic dyes flooding global markets. Companies such as Friedrich Bayer & Company, founded in 1863 in Germany by a businessman and a master dyer, expanded the range of artificial hues available; as illustrated in Bayer’s early-1900s sample catalogue “Shades on Feathers”, showcasing vibrant colours created through chemical innovation.

https://www.acs.org/pressroom/tiny-matters/19th-century-dye-industry.html?utm_source=chatgpt.com

https://www.openculture.com/2022/07/behold-a-book-of-color-shades-depicted-with-feathers-circa-1915.html

# data[].attributes.attachment_link.title
A Purple Accident and Its Vibrant Impact

# data[].attributes.attachment_link.description
Learn how an English chemist changed the world with the color purple.

# data[].attributes.body
Today’s fashion industry depends almost entirely on synthetic dyes, with more than 10,000 different chemical colourants used worldwide. Modern dyeing creates the bright, lasting colours consumers expect, but it also comes with serious social and environmental consequences. Many factories, especially in low-cost manufacturing regions, use dyes derived from petrochemicals and release untreated wastewater into rivers. This pollution can contaminate drinking water, harm ecosystems, and expose workers to hazardous chemicals. The global demand for fast, cheap colour reflects a form of colour privilege, where consumers in wealthier countries benefit from vibrant fashion while production communities bear the hidden costs. The same innovation that once symbolised progress has now become one of fashion’s most toxic legacies, paving the way for today’s concerns about toxic dyes and sustainability.

# data[].attributes.attachment_link.title
Textile Colorant Market Size, Share, Industry Forecast, 2032

# data[].attributes.attachment_link.description
The global textile colorant market size was valued at $10.21 billion in 2023 & is projected to grow from $10.75 billion in 2024 to $16.12 billion by 2032

# data[].attributes.body
Toxic dyes are synthetic chemical colourants used to give textiles vibrant, long-lasting colours. They are widely used in modern textile manufacturing because they are cheaper, faster, and more colourfast than natural dyes. There is a range of different toxic chemicals used to produce color in mass-manufactured clothing. Below are the concerns;

Heavy Metals: Some dyes contain heavy metals like lead, mercury, and cadmium, which can be toxic to humans and animals. These metals can accumulate in the environment and cause long-term harm.

Azo Dyes: Certain azo dyes have been found to release aromatic amines, some of which are carcinogenic, when they come into contact with sweat or saliva.

Formaldehyde: This chemical is often used in textile finishing processes to reduce wrinkles and impart wrinkle resistance. However, it can cause skin irritation and respiratory issues in humans.

Chlorine Bleach: While effective at whitening fabrics, chlorine bleach releases harmful chemicals into the environment and can be irritating to the skin and respiratory system.

Perfluorinated Chemicals (PFCs): These chemicals are commonly used in waterproofing textiles, but they are persistent in the environment and have been linked to health issues.

Phthalates: Used in printing inks and plasticizers, phthalates can disrupt hormones and have adverse health effects.

# data[].attributes.attachment_link.readable_text
The textile industry indeed has a history of using various chemicals and dyes, some of which can be harmful to both human health and the environment if not managed properly. Here are some common concerns:

Heavy Metals: Some dyes contain heavy metals like lead, mercury, and cadmium, which can be toxic to humans and animals. These metals can accumulate in the environment and cause long-term harm.

Azo Dyes: Certain azo dyes have been found to release aromatic amines, some of which are carcinogenic, when they come into contact with sweat or saliva.

Formaldehyde: This chemical is often used in textile finishing processes to reduce wrinkles and impart wrinkle resistance. However, it can cause skin irritation and respiratory issues in humans.

Chlorine Bleach: While effective at whitening fabrics, chlorine bleach releases harmful chemicals into the environment and can be irritating to the skin and respiratory system.

Perfluorinated Chemicals (PFCs): These chemicals are commonly used in waterproofing textiles, but they are persistent in the environment and have been linked to health issues.

Phthalates: Used in printing inks and plasticizers, phthalates can disrupt hormones and have adverse health effects.

Efforts are being made to address these issues through regulations, industry standards, and the development of safer alternatives. Sustainable practices such as using natural dyes, reducing water and energy consumption, and implementing closed-loop systems for chemical management are becoming more prevalent in the textile industry.

What are wetting agents and oils used to prep fabrics for dyes?

Wetting agents and oils are commonly used in textile processing to prepare fabrics for dyeing. Here's a bit about each:

Wetting Agents: Wetting agents, also known as surfactants, are chemicals that reduce the surface tension of water, allowing it to spread and penetrate more easily into the fabric. They help to ensure uniform wetting of the fabric, which is crucial for effective dyeing. Wetting agents also help to remove any oils, waxes, or other contaminants from the fabric surface, improving the dye uptake and dyeing efficiency. These agents can be synthetic or derived from natural sources.

Oils: Oils are sometimes applied to fabrics before dyeing to improve the uniformity of dye penetration and to prevent uneven dyeing. These oils act as lubricants, helping the dye molecules to migrate evenly into the fabric fibres. Oils can also provide temporary protection to sensitive fibres during the dyeing process, reducing the risk of damage or colour variations. Natural oils such as soybean oil or mineral oils are commonly used for this purpose.

Both wetting agents and oils play important roles in the preparation of fabrics for dyeing, ensuring that the dyeing process is efficient and that the resulting colours are uniform and vibrant. However, it's important to use these chemicals judiciously and to consider their environmental impact, opting for eco-friendly alternatives whenever possible.

What wetting agents and oils used on fabric preparation?

There are various wetting agents and oils used in fabric preparation for dyeing, and their specific names can vary depending on the manufacturer and formulation. Here are some common examples:
Wetting Agents:
Sodium dodecylbenzenesulfonate (SDBS)
Alkylphenol ethoxylates (APEOs)
Alcohol ethoxylates (AE)
Polyethylene glycol ethers (PEG ethers)
Ethoxylated fatty alcohols
Alkyl polyglucosides (APG)
Fluorosurfactants

Soybean oil
Mineral oil
Castor oil
Coconut oil
Palm oil
Synthetic ester oils
Silicone oils

These are just a few examples, and there are many other wetting agents and oils available for fabric preparation in the textile industry. It's important to select the appropriate wetting agent or oil based on factors such as the type of fabric being dyed, the dyeing method, environmental considerations, and regulatory compliance. Additionally, it's crucial to ensure that these chemicals are used responsibly and that proper safety measures are followed during their handling and disposal.

What is the harm of caustic soda?

Caustic soda, also known as sodium hydroxide (NaOH), is a highly corrosive substance commonly used in various industries, including textiles, paper production, and chemical manufacturing. While it has many industrial applications, it can also be harmful if not handled properly. Here are some potential hazards associated with caustic soda:

Corrosive Properties: Caustic soda is highly corrosive to skin, eyes, and mucous membranes. Direct contact can cause severe chemical burns, leading to tissue damage and scarring. Inhalation of caustic soda fumes or mists can also cause respiratory irritation and damage to the respiratory tract.

Environmental Impact: Improper disposal of caustic soda can lead to environmental pollution. If released into water bodies, it can raise the pH levels, affecting aquatic life and ecosystems. Additionally, caustic soda can react with organic matter to produce harmful byproducts.

Safety Concerns: Handling caustic soda requires strict safety measures, including the use of appropriate personal protective equipment (PPE) such as gloves, goggles, and protective clothing. Spills or leaks should be promptly contained and cleaned up using neutralizing agents and proper disposal methods.

Chemical Reactions: Caustic soda is highly reactive with various substances, including acids and metals. Accidental mixing with incompatible chemicals can lead to violent chemical reactions, releasing heat, gases, and potentially hazardous byproducts.

Storage Challenges: Caustic soda must be stored in airtight containers made of compatible materials such as stainless steel or plastic. Exposure to moisture or carbon dioxide in the air can cause it to degrade and release heat, leading to pressure buildup and container failure.

Despite these risks, caustic soda is an essential chemical in many industrial processes. However, it's crucial to handle it with care, implement proper safety protocols, and adhere to regulatory guidelines to minimise the potential harm to human health and the environment.

What are the toxic chemicals used in chemical dyes?

Chemical dyes can contain a variety of substances, some of which may be toxic depending on their composition and usage. Here are some examples of potentially toxic chemicals that have been used in chemical dyes:

Azo Compounds: Azo dyes are a large class of synthetic dyes that contain nitrogen-to-nitrogen double bonds (azo bonds). Some azo dyes have been found to release aromatic amines, which are known to be carcinogenic, when they come into contact with sweat or saliva. Examples of toxic aromatic amines include benzidine, 4-aminoazobenzene, and 4,4'-methylenedianiline.

Heavy Metals: Certain dyes may contain heavy metal ions such as lead, mercury, chromium, cadmium, and arsenic. These metals can be toxic to humans and ecosystems, causing adverse health effects and environmental pollution if not properly managed. Heavy metal ions are often used as mordants or colorants in dye formulations.

Formaldehyde: Formaldehyde is commonly used in textile finishing processes to impart wrinkle resistance and durability to fabrics. However, it is a known carcinogen and can cause skin irritation, respiratory issues, and allergic reactions in humans.

Chlorine Compounds: Chlorine-based bleaching agents such as chlorine dioxide and hypochlorite are used to bleach textiles and achieve bright white colors. However, chlorine compounds can release toxic chlorine gas and chlorinated organic byproducts, which are harmful to human health and the environment.

Organic Solvents: Some dyeing processes require the use of organic solvents such as benzene, toluene, xylene, and dichloromethane. These solvents can pose health risks through inhalation, skin contact, and environmental contamination.

Phthalates: Phthalates are often used as plasticizers in printing inks and as softeners in synthetic fibers. They can leach out of dyed fabrics and contaminate the surrounding environment. Phthalates have been linked to endocrine disruption, reproductive toxicity, and other adverse health effects.

Perfluorinated Chemicals (PFCs): PFCs are used in water- and stain-resistant finishes for textiles. Some PFCs, such as perfluorooctanoic acid (PFOA) and perfluorooctanesulfonic acid (PFOS), are persistent in the environment and have been associated with health concerns including developmental effects and immune system suppression.

It's important to note that not all chemical dyes contain these toxic substances, and many efforts are being made to develop safer alternatives and improve the sustainability of dyeing processes. Regulations and standards exist to limit the use of hazardous chemicals in textiles and ensure the safety of both consumers and the environment.

In chemical dye processes, finishing agents are applied to textiles to achieve desired properties such as softness, durability, and wrinkle resistance. While not all finishing agents are toxic, some may contain chemicals that can be harmful to human health and the environment. Here are examples of toxic finishing agents, including fragrances, that have been used in chemical dye processes:

Formaldehyde-based Resins: Formaldehyde-based resins are commonly used as crosslinking agents in textile finishing to improve wrinkle resistance and durability. However, formaldehyde is a known carcinogen and can cause skin irritation, respiratory issues, and allergic reactions in humans.

Chlorinated Compounds: Chlorinated compounds such as chlorophenols and chlorinated paraffins are sometimes used as flame retardants and antimicrobial agents in textile finishing. These chemicals can persist in the environment, accumulate in living organisms, and have adverse health effects.

Perfluorinated Chemicals (PFCs): PFCs are used in water- and stain-resistant finishes for textiles. Some PFCs, such as perfluorooctanoic acid (PFOA) and perfluorooctanesulfonic acid (PFOS), are persistent in the environment and have been associated with health concerns including developmental effects and immune system suppression.

Phthalates: Phthalates are often used as plasticizers in printing inks and as softeners in synthetic fibers. They can leach out of dyed fabrics and contaminate the surrounding environment. Phthalates have been linked to endocrine disruption, reproductive toxicity, and other adverse health effects.

Volatile Organic Compounds (VOCs): VOCs, including aromatic hydrocarbons and aldehydes, are commonly found in fragrances used in textile finishing. These chemicals can contribute to indoor air pollution and may cause respiratory irritation, headaches, and other health issues.

Heavy Metals: Some finishing agents may contain heavy metal ions such as lead, mercury, chromium, cadmium, and arsenic. These metals can be toxic to humans and ecosystems, causing adverse health effects and environmental pollution if not properly managed.

It's essential for manufacturers to be aware of the potential hazards associated with finishing agents and to prioritise the use of safer alternatives. Regulations and standards exist to limit the use of hazardous chemicals in textiles and ensure the safety of both consumers and the environment. Additionally, eco-friendly and sustainable finishing techniques are being developed to minimise the environmental impact of textile production.

What's the chemical list for making polyester fabric?

Polyester fabric is made from synthetic polymers derived from petroleum. While the exact chemical list for producing polyester fabric can vary depending on the manufacturing process and specific formulations, here are some key chemicals commonly used:

Purified Terephthalic Acid (PTA) or Dimethyl Terephthalate (DMT): These are the primary raw materials used to produce the polymer for polyester. PTA and DMT are esters of terephthalic acid, which undergo polymerization with ethylene glycol to form polyethylene terephthalate (PET).

Ethylene Glycol: Ethylene glycol is a key reactant used in the polymerization process to produce PET. It reacts with PTA or DMT to form the polyester polymer chain.

Catalysts: Catalysts are often used to facilitate the polymerization reaction. Common catalysts include antimony compounds, titanium compounds, or organic esters.

Chain Extenders and Modifiers: These chemicals may be added to the polymerization reaction to control the molecular weight and properties of the polyester. Examples include diols such as butanediol or glycerol.

Stabilisers: Stabilisers are added to polyester to enhance its resistance to heat, light, and oxidation during processing and use. Antioxidants, ultraviolet (UV) stabilisers, and thermal stabilisers are commonly used for this purpose.

Colourants: Various pigments and dyes can be added to polyester to achieve desired colours and effects. These may include organic or inorganic colourants depending on the application.

Textile Auxiliaries: Various auxiliary chemicals may be used during the processing of polyester fibres or fabrics to improve their properties or facilitate manufacturing processes. These can include lubricants, antistatic agents, softeners, and flame retardants.

Solvents and Carriers: Solvents and carriers may be used in certain processing steps, such as spinning or dyeing, to dissolve or disperse chemicals and aid in their application to the polyester.

It's important to note that the production of polyester involves complex chemical processes, and manufacturers must adhere to stringent safety and environmental regulations to ensure the responsible use and handling of these chemicals. Additionally, efforts are being made to develop more sustainable and eco-friendly alternatives in polyester production.

How is bamboo fabric made?

Bamboo fabric, also known as bamboo viscose or bamboo rayon, is made from bamboo fibers through a chemical process. While the exact ingredients and processes can vary among manufacturers, here are the general steps and ingredients commonly used to make bamboo fabric:

Bamboo: The primary raw material used for bamboo fabric is bamboo cellulose obtained from bamboo plants. Bamboo can be harvested sustainably, as it grows rapidly and requires minimal water and pesticides.

Chemical Processing: Bamboo cellulose is extracted from the bamboo plant through a process called hydrolysis or solvation, where the bamboo pulp is broken down into cellulose fibres. The most common method used is the viscose process, which involves treating the bamboo pulp with chemicals to dissolve the cellulose and create a viscous solution.

Sodium Hydroxide (Caustic Soda): Caustic soda is used in the initial step of the viscose process to break down the bamboo pulp into cellulose. It is a strong alkaline chemical that helps dissolve the bamboo fibres.

Carbon Disulfide: Carbon disulfide is used to dissolve the cellulose in the bamboo pulp, forming a viscous solution known as viscose. It is a volatile and highly flammable chemical.

Sulfuric Acid: Sulfuric acid is used to neutralise the viscous solution after carbon disulfide has been added. This step helps stabilise the solution and prevent excessive decomposition of the cellulose.

Sodium Hydroxide (NaOH) Solution: After neutralisation with sulfuric acid, sodium hydroxide solution is added to the viscose solution to adjust the pH and further dissolve the cellulose.

Bleaching Agents (Optional): Depending on the desired colour and properties of the final fabric, bleaching agents may be used to whiten the bamboo fibres before spinning into yarn.

Textile Auxiliaries (Optional): Various auxiliary chemicals may be used during the processing of bamboo fibres or fabrics to improve their properties or facilitate manufacturing processes. These can include lubricants, softeners, and dyeing agents.

It's important to note that while bamboo is a natural and renewable resource, the chemical processes involved in producing bamboo fabric, particularly the viscose process, can have environmental impacts if not properly managed. Efforts are being made to develop more sustainable and eco-friendly processes for bamboo fabric production, such as the lyocell process, which uses a closed-loop system and non-toxic solvents.

We are on a journey to continue to be better and create totally toxic-free clothing. To learn more about our ingredients used you can read here.

# data[].attributes.attachment_link.title
What are the toxic chemicals and dyes commonly used in the textile industry?

# data[].attributes.attachment_link.description
The textile industry indeed has a history of using various chemicals and dyes, some of which can be harmful to both human health and the environment if not managed properly.

# data[].attributes.body
In the textile hub of Tiruppur, Tamil Nadu, dyeing and bleaching units have long discharged untreated effluent into the Noyyal River, with severe consequences for water quality and the surrounding land. According to one report, the river “has been turned into a toxic sewer” by the apparel sector, and the fertile land within 2 km of its banks has been rendered unproductive due to seepage and sludge build-up

Another study of this region found that lead and chromium levels in river water near dyeing units exceeded permissible standards, revealing how toxic dyes in wastewater flow directly into surface and groundwater systems.

# data[].attributes.attachment_link.title
Noyyal and Bandi Rivers : shocking cases of the textile industry’s pollution in India

# data[].attributes.attachment_link.description
Many Indians owe their livelihoods to the textile industry. As a demand for textiles grows, enticed by its large pool of low wage labour and bounty of natural resources, more and more international brands are coming to India to meet the demand.In fact, India’s textile industry, which employs around 15 million people and makes up 14% of India’s industrial production, is the second largest global exporter of textiles and apparels.But the growth of India’s textile industry has come at an enormous c

# data[].attributes.body
The global fashion industry’s reliance on toxic dyes has severe social and health consequences that disproportionately affect vulnerable communities in manufacturing countries. Workers and residents near dyeing factories face daily exposure to hazardous chemicals, contaminated water, and unsafe working environments, all of which reflect the unequal power structures that sustain fast fashion’s supply chains.

In Bangladesh, where the textile and dyeing industry employs over four million people, the human cost of cheap colour is highly visible. Studies show that factory workers experience frequent skin irritation, respiratory problems, and eye inflammation from direct contact with dyes and chemical vapours (Kant 2012). Many facilities operate with minimal protective gear or ventilation, exposing workers to azo dyes that can release carcinogenic aromatic amines and to formaldehyde used in fabric finishing (Haque et al. 2022). One report from the International Journal of Environmental Research and Public Health revealed that wastewater from textile dyeing plants in Dhaka contains high levels of heavy metals such as lead, chromium, and cadmium, all linked to cancer, neurological disorders, and organ damage (Haque et al. 2022). The same study noted that communities downstream rely on these polluted rivers for drinking, bathing, and agriculture, meaning the health burden extends beyond the factory walls.

# data[].attributes.body
Beyond environmental degradation, toxic dyes have deep cultural and ethical implications that reflect global inequalities in the fashion system. Traditional dyeing practices, once rooted in local culture and natural materials, have been displaced by mass industrial production driven by consumer demand for cheap, colourful clothing. This transition has not only polluted ecosystems but also weakened cultural heritage and erased artisan knowledge. Historically, the use of natural dyes, such as indigo, madder, and cochineal, carried cultural significance and embodied sustainable craftsmanship. However, the rise of synthetic dyes during industrialisation undermined these traditional systems, reducing them to niche crafts for global luxury markets rather than sustaining local livelihoods (Shen, 2014). In regions such as India and Indonesia, where textile dyeing has long been tied to cultural identity, the dominance of toxic synthetic dyes has eroded community-based dyeing knowledge that once relied on ecological cycles and non-toxic materials (Chattopadhyay, 2019).

Ethically, the fashion industry’s reliance on toxic dyes exposes a power imbalance between producers and consumers. Workers in dyeing factories, often in low-income countries, face hazardous conditions daily, including direct exposure to carcinogenic and skin-irritating chemicals like azo dyes and formaldehyde, without adequate protective equipment or labour rights (Fibre2Fashion 2023). Studies show that workers in textile-dyeing regions such as Tirupur, India, experience high incidences of respiratory illness and skin disease due to chemical exposure and contaminated wastewater (Kant 2012). These conditions violate principles of decent work and human dignity, linking the ethics of production directly to consumer privilege. As Fibre2Fashion (2023) reports, “Consumers enjoy colourful, affordable garments, while those at the production end bear the health, environmental, and ethical costs of that colour.”

This imbalance also manifests culturally. The ability to purchase and discard brightly coloured garments cheaply has become a form of aesthetic privilege for wealthier consumers, while communities involved in their production are left with polluted waterways and declining health. The “hidden cost of colour,” as Alchemie Technology (2023) describes it, is not just ecological but moral: the global fashion system externalises its ethical debt to the most vulnerable. Moreover, cultural homogenisation in colour and design driven by global fashion trends further erases local identity and expression, as small-scale dyers cannot compete with fast production cycles.

Ethical responsibility within the fashion industry increasingly demands transparency, fair wages, and revival of cultural textile practices. Movements towards natural dyes, slow fashion, and traceable supply chains are a cultural response to the exploitative dyeing systems of the past century. As noted by SpringerOpen’s case study on handloom industries, “Reconnecting with sustainable dyeing practices not only restores ecological balance but also reclaims cultural dignity and craft heritage” (Shen 2014). By linking ethics with aesthetics, the industry can begin to decolonise colour production, valuing traditional knowledge, ensuring fair labour, and creating garments that embody respect for both people and planet.

# data[].attributes.attachment_link.readable_text
With ethical sourcing as the new norm for ethical business processes, the global textile industry worth $1.5 trillion is changing dramatically. The industry has been plagued for decades with transparency-deficient supply chains, natural resource damage, and abusive labour practices. Nevertheless, companies are forced to adopt ethical sourcing practices by increasing consumer consciousness, stringent regulatory environments, and corporate responsibility programmes. Going beyond mere compliance, responsible sourcing encompasses end-to-end visibility, good working conditions, equitable pay, and environmental responsibility. This shift is not a fad but a complete rewriting of textiles' manufacturing, trade, and use.

This article investigates the textile sector's growing requirement for ethical sourcing, its numerous benefits, the hindrances to widespread uptake, and the trends affecting its course. The role of ethical sourcing is now an integral aspect of competitive and sustainable business models, not discretionary, by looking at real-life scenarios, industry reports, and specialist viewpoints.

The Textile Sector's Sensitive Demand for Ethical Sourcing
Due to the prolonged dependency of the textile industry on cheap labour and unsustainable practices, there have been severe human rights violations and environmental degradation. The 2013 Rana Plaza collapse in Bangladesh that killed over 1,100 garment workers is one of the most tragic examples. This disaster brought to light the critical need for systemic reform and exposed the dark underbelly of fast fashion.

The fashion industry is also a huge environmental perpetrator. It is the second-largest polluter globally and contributes a lot towards plastic pollution, carbon footprint, and water pollution. For instance, conventional cotton production consumes a lot of water and pesticides, and man-made fabrics like polyester emit microplastics into the sea which are harmful to sea life. Twenty per cent of global industrial water pollution is accounted for by textile dyeing alone, estimates the World Bank. As a result of these environmental and social costs, customers, governments, and advocacy groups are demanding more from fashion brands.

The Increasing Demand for Ethical and Sustainable Fashion
There is a drastic shift in consumer preference with increased emphasis on sustainable and ethical production. According to a 2023 Nielsen survey, 66 per cent of global consumers will pay more for products from companies that are committed to a positive social and environmental footprint. Gen Z and Millennials are leading this change, with preferences for companies that align with their values. The development of labels such as Fair Trade, Global Organic Textile Standard (GOTS), and B Corp, serving as proxies for legitimacy of products that are produced ethically, is a consequence of this shift.

Another key differentiator these days is transparency. To ensure that materials are responsibly sourced and that the workforce is treated ethically, today's consumers are demanding brands to open up their supply chains. Today, customers are able to trace a garment from raw material to store, thanks to the increased adoption of blockchain technology to enhance traceability. Companies such as Patagonia and Everlane have set the benchmark and built customer trust by providing end-to-end visibility into their manufacturing operations.

Necessity of Ethical Sourcing for Brands
Brands stand to gain much from ethical sourcing practices, ranging from enhanced reputation to long-term financial stability. Companies that prioritise sustainable materials and ethical labour often experience high brand advocacy and customer loyalty. 87 per cent of customers are inclined to do business with brands that do social and environmental good, reveals a 2022 Cone Communications survey. In an increasingly competitive marketplace, such loyalty translates into greater sales and market distinction.

Another significant concern is compliance with regulations. Tougher laws are being enacted by governments globally to compensate for environmental degradation and forced labour. The US Uyghur Forced Labor Prevention Act (UFLPA) prohibits imports related to forced labour in China's Xinjiang province. Likewise, the European Union's Corporate Sustainability Reporting Directive (CSRD) necessitates detailed supply chain disclosures. Those brands that ignore these regulations expose themselves to legal consequences, damage to their image, and exclusion from certain markets. Ethical sourcing diminishes the risks by ensuring compliance with international labour and environmental practices.

In addition, ethical sourcing often yields long-term cost savings despite its greater initial expense. Productivity is enhanced, and staff turnover is reduced with just remuneration and stable working conditions. Practices such as waste minimisation schemes and water-saving dyeing processes reduce costs of operation. Moreover, firms can reduce their use of virgin inputs and their ecological footprint by investing in circular fashion systems, for example, recycling programmes and rental options.

Challenge in Deploying Ethical Sourcing
The transition to ethical sourcing has its challenges even as it presents benefits. One of the largest hurdles is cost. Ethical labour practices and sustainable materials have a tendency to add 10 per cent to 30 per cent to the cost of production, which complicates keeping prices affordable. Since they are based on low-cost, high-volume production, fast fashion retailers especially are opposed to these modifications.

The complexity of international supply chains is a hindrance as well. Traceability is difficult because textile production has numerous tiers of suppliers, often across numerous countries. In a 2023 Fashion Revolution study, it was found that just 12 per cent of popular fashion brands disclose their full lists of suppliers, thereby allowing unethical practices to persist unchecked.

The issue is compounded by 'greenwashing', where some firms deploy misleading assertions of sustainability in order to attract ethical consumers without making meaningful changes. In such cases, consumer confidence is undermined, which also highlight the importance of third-party, standardised certification to underpin ethical assertions.

Future of Ethical Sourcing
Circular economy models, technological advances, and inter-industry collaboration are central to the future of ethical sourcing. As blockchain technology establishes immutable records for all phases of production, it is transforming supply chain transparency. Blockchain is being leveraged by companies like VeChain and Provenance to provide customers with verifiable details on the origins of fashion, ensuring authenticity and ethical suitability.

Artificial intelligence (AI) and the Internet of Things (IoT) are also being utilised to monitor factory conditions in real time, detecting environmental hazards and labour infractions before they escalate. Rather than relying on response-based audits, such technology allows brands to take proactive measures.

Another groundbreaking movement is circular fashion. Take-back programmes are being spearheaded by brands such as Adidas and The North Face, wherein customers send back old clothing for recycling or resale. There are also rental and subscription services gaining traction, which extend product lifetimes and reduce the need for new apparel.

To standardise ethical sourcing practices, partnerships across the industry are essential. Major brands converge on joint sustainability targets and share best practice via initiatives such as the Fashion Pact and the Sustainable Apparel Coalition (SAC). Collaborations drive greater impact by stimulating accountability and pushing systemic change across the industry.

Ethical sourcing is now part of the global textile industry's minimum expectations and no longer a niche concern. Supply chains are being transformed by the intersection of customer demand, legislation, and corporate social responsibility. This compels businesses to adopt sustainable materials, fair labour practices, and open and transparent business processes. Despite challenges such as supply chain complexity and cost, technological innovations and collaboration are unlocking a more ethical and sustainable future.

Along with lowering risks and enhancing their reputations, ethical sourcing brands will contribute to a more equitable and environmentally aware portion of the economy. Companies that fail to evolve, risk being left behind in an increasingly responsible marketplace, and thus the time to evolve is now. The apparel industry can rebrand itself as a positive force around the world by placing people and the planet ahead of profit.

# data[].attributes.attachment_link.title
Importance of Ethical Sourcing in Global Textile Supply Chains - Fibre2Fashion

# data[].attributes.attachment_link.description
Read article about Ethical sourcing is transforming the $1.5 trillion textile industry, driven by consumer demand, regulatory pressure, and corporate responsibility. Brands gain loyalty, compliance, and cost savings by prioritising sustainable practices. Despite challenges like cost and supply chain complexity, advancements in technology and circular fashion are shaping a more ethical future.

# data[].attributes.headline
Sustainable Development Goals and The Problem, Privilege, and Inequality That Come With Toxic Dyes

# data[].attributes.subject
Sustainable Development Goals and The Problem, Privilege, and Inequality That Come With Toxic Dyes

# data[].attributes.body
Being such a prevalent issue in the fashion industry, linking this issue only to 1 or 2 SDG goals would be minimizing the flow of effect it has on multiple goals that intersect with human, social, economic, and ecological systems.

From irresponsible production to global inequality and environmental collapse, each stage of the dyeing process links directly to multiple SDG global targets.

The cycle begins with overproduction and overconsumption. The growing demand for cheap, fast fashion has normalised excessive clothing output, pushing manufacturers to produce colourful garments at rapid speeds. To meet this demand, synthetic dyes became the dominant choice due to their cost efficiency and consistency. However, this pursuit of profit and convenience directly contradicts SDG 12: Responsible Consumption and Production, as it prioritises mass consumption over sustainable design and ethical manufacturing. The production process itself relies on synthetic chemicals derived from petroleum, further embedding the fashion industry in unsustainable, resource-intensive systems.

This overproduction fuels exploitation at a human level. Most textile dyeing now occurs in developing regions, where low labour costs and weak environmental regulations enable cheap production. Workers are often exposed to hazardous chemicals without adequate protection or fair compensation, linking the issue to SDG 3: Good Health and Well-being and SDG 8: Decent Work and Economic Growth. Unsafe working environments, coupled with poverty wages, deepen inequality and hinder access to safe livelihoods, reinforcing the challenges outlined in SDG 1: No Poverty and SDG 10: Reduced Inequalities. The pressure to maintain global fashion’s rapid pace often traps communities in cycles of economic dependency, where their health and safety are sacrificed for industry profit.

Beyond human harm, toxic dyes have severe ecological consequences. Effluent from dyeing processes is frequently discharged untreated into rivers, contaminating local water sources. This pollution undermines SDG 6: Clean Water and Sanitation, while the accumulation of toxic chemicals disrupts aquatic ecosystems and agricultural land, impacting both SDG 14: Life Below Water and SDG 15: Life on Land. The environmental damage loops back to affect communities that rely on these waters for drinking, fishing, and farming, showing that ecological degradation and human well-being are inseparable.

The environmental strain is compounded by energy use and emissions. The manufacture and application of synthetic dyes are highly energy-intensive, depending largely on fossil fuels. This reliance on non-renewable energy sources undermines SDG 7: Affordable and Clean Energy and SDG 13: Climate Action, contributing to the industry’s growing carbon footprint. As the fashion sector continues to expand, so too does its role in accelerating global warming and resource depletion.

The consequences of this system reach cultural and societal dimensions as well. Traditional dyeing practices, once rooted in local knowledge and natural materials, are being displaced by industrial methods, eroding cultural heritage and artisanal livelihoods. This loss connects to SDG 11: Sustainable Cities and Communities, which emphasises cultural preservation and resilient production systems. Furthermore, polluted waterways and dying ecosystems threaten food sources, linking indirectly to SDG 2: Zero Hunger, as contaminated water and soil reduce agricultural productivity and food safety.

Altogether, the impacts of toxic dyes reveal an interconnected web of environmental, social, and economic challenges. The exploitation of workers, degradation of ecosystems, and dependence on fossil fuels reinforce one another, showing how unsustainable colour production perpetuates inequality and ecological harm. Addressing dye toxicity is, therefore, not only an environmental goal; it is a collective step toward achieving a fairer, more resilient global fashion system.

# data[].attributes.attachment_link.title
References - Phoebe Firkin Giles Assesment

# data[].attributes.body
Many synthetic dyes exhibit a high degree of persistence and resistance to degradation, allowing them to persist in ecosystems long after discharge. Their complex molecular structures, often involving aromatic rings, nitrogen-nitrogen double bonds (as in azo dyes), and halogenated chains, make them non-biodegradable under typical environmental conditions. When they do break down (e.g., via photolysis or microbial action), some azo dyes can form aromatic amines, many of which are known carcinogens. Verma et al. (2012) explain that these characteristics hinder simple removal: “colour removal from textile wastewater by means of cheaper and environmentally friendly technologies is still a major challenge.” Yaseen et al. (2019) also note that textile effluents contain persistent dyes and chemical auxiliaries that do not readily degrade.

In addition to environmental persistence, these chemicals pose direct risks to human skin and health through contact and absorption. Some disperse dyes, commonly used in synthetic fabrics like polyester, are known to cause contact dermatitis or allergic reactions in sensitive individuals.

Moreover, finishing chemicals such as formaldehyde-based resins are applied to textiles to improve wrinkle resistance and durability. These agents, even at low residual levels, can lead to skin irritation, respiratory discomfort, or more serious long-term effects in vulnerable populations.

According to Pinto et al. (2025), textile workers who handle synthetic dyes, formaldehyde, and flame retardants regularly face “respiratory issues, skin irritation, and even cancer.”

While much attention is paid to end consumers, significant harm also begins at the production stage. In dyeing and finishing factories, especially in regions with limited regulation, workers are frequently exposed to concentrated chemical mixtures through inhalation, skin contact, and accidental spills.

Continuous exposure to heavy metals (like chromium, cadmium, and nickel) and other dye intermediates has been associated with kidney, liver, and neurological damage.

The global environmental injustice of fast fashion underscores this disparity: in many low- and middle-income countries (LMICs), those who work in or live near textile manufacturing facilities “bear a disproportionate burden of environmental health hazards” while consumers elsewhere reap the benefits of cheap, colourful clothing.

# data[].attributes.attachment_link.title
Future Fashion III - Sustainability of synthetic and natural textile dyes | Alder BioInsights— Alder BioInsights

# data[].attributes.body
Case Study 2: Qiantang River, Zhejiang Province, China

In China’s Zhejiang province, textile and dye-processing plants along the Qiantang River basin have produced extensive pollution, tied directly to global fashion supply chains. A report by Greenpeace East Asia identified large-scale wastewater plumes from dyeing units visible by satellite imagery off the coast of Shishi, and noted that “17 to 20 per cent of industrial water pollution comes from textile dyeing and treatment” in China.

Officials admit that economic growth has taken priority over environmental regulation in these areas.

https://www.planetcustodian.com/dyeing-industry-polluting-asian-rivers/15641/?utm_source=chatgpt.com

# data[].attributes.attachment_link.title
Officials failing to stop textile factories dumping waste in Qiantang River

# data[].attributes.attachment_link.description
Despite local government promises to close them down, cloth dyeing plants are still poisoning a major river in eastern China.

# data[].attributes.body
Case Study 3: Heavy Metal Food-Chain Risk in the Textile Region of West Bengal, India

In the industrial textile cluster around the Ranaghat–Fulia–Shantipur region in West Bengal, heavy-metal contamination stemming from dye-factory effluents has entered the local environment. A study found heavy metal deposition (notably chromium) in soils, sediments, algae, macrophytes, and fish in water bodies receiving effluent from hand-loom textile units ( Similarly, another review highlighted that in Bengal’s food-growing zones near textile units, agro-products carried 2–40 times higher levels of Pb, Cd and Ni than WHO/FAO safe limits, while zinc was significantly depleted (IndiaWaterPortal 2023)

# data[].attributes.attachment_link.title
Deposition of chromium in aquatic ecosystem from effluents of handloom textile industries in Ranaghat–Fulia region of West Bengal, India

# data[].attributes.attachment_link.description
Accumulation of chromium (Cr) was determined in water, sediment, aquatic plants, invertebrates and fish in aquatic ecosystems receiving effluents from handloom textile industries in Ranaghat–Fulia region of West Bengal in India. Cr was determined in…

# data[].attributes.body
Similar issues have been observed in India’s dyeing hubs, such as Tirupur in Tamil Nadu, once nicknamed the “dyeing capital of India.” Rapid industrialisation led to the uncontrolled dumping of dye effluents into the Noyyal River, which subsequently became biologically dead. A 2019 investigation reported that residents experienced higher rates of skin disease, gastrointestinal illness, and crop failure due to contaminated irrigation water (Subramani and Rajaguru 2019). The closure of 700 dyeing units by the Tamil Nadu Pollution Control Board in 2011 temporarily improved water quality but also left thousands of workers jobless, illustrating the intersection of health, livelihood, and environmental justice.

# data[].attributes.attachment_link.title
TN cracks down on polluting dyeing units

# data[].attributes.attachment_link.description
CHENNAI: With the Madras High Court ordering closure of over 700 dyeing units in Tiruppur a couple of months ago for pollution, the Tamil Nadu government has st

# data[].attributes.body
Addressing the environmental and social impacts of toxic dyes requires a combination of policy reform, technological innovation, and nature-based solutions. These strategies provide actionable pathways for designers, manufacturers, and consumers to reduce harm and move toward sustainable fashion.

Policy and Industry Standards form the foundation for systemic change. Adopting frameworks like the ZDHC Roadmap to Zero ensures that hazardous chemicals are systematically removed from textile supply chains. Governments and regulatory bodies in major manufacturing countries must enforce wastewater treatment requirements and chemical disclosure, holding factories accountable for environmental and worker safety standards. Greenpeace’s Detox Campaign highlights that brand-level accountability and compliance with chemical management protocols can significantly reduce the toxic load entering waterways and communities (Greenpeace 2018; ZDHC Foundation 2022).

Technological innovations offer exciting opportunities to replace traditional, hazardous dyeing methods. Biotechnological dyes, such as those developed by Colorifix, leverage genetically engineered microbes to produce vibrant pigments directly on fabric, eliminating the need for heavy metals, formaldehyde, or azo compounds. Similarly, Natsai Audrey Chieza’s Faber Futures project demonstrates bacterial pigment application, combining aesthetic richness with reduced chemical impact (Chieza 2019). Waterless dyeing systems, which use supercritical CO₂, dramatically reduce water consumption and prevent chemical runoff, while the revival of natural dyes, including indigo, turmeric, and onion skin, promotes a return to sustainable, culturally-rooted colouration (Al-Tohamy 2022).

Nature-based solutions complement technological and policy approaches by using ecological systems to remediate dye pollution. Constructed wetlands allow plants and soil to naturally filter dye-laden wastewater, while biochar filtration and microbial bioreactors trap and degrade toxic compounds before they reach rivers and groundwater. These approaches not only reduce chemical contamination but also support local biodiversity and ecosystem restoration (Alegbe et al. 2024). Visualizing these systems for example, diagrams showing wastewater flowing through a wetland or microbial bioreactor, can help communicate the practical application of these solutions in real-world textile manufacturing.

Collectively, these strategies can be organized into designer and consumer actions. Designers can select low-impact dyes, collaborate with certified dye houses, and design for longevity, while consumers can reduce consumption, support brands committed to transparency, and minimize laundering practices that exacerbate pollution. Together, these approaches demonstrate that innovation and ethical practice are not mutually exclusive; they are mutually necessary.

These solutions naturally lead into Future Pathways, where the industry must embrace regenerative colour as a principle, integrating scientific innovation, ethical governance, and responsible design. By adopting these practices, fashion can transition from a system that externalizes harm to one that actively restores environmental, social, and cultural value.

Chieza, Natsai Audrey. 2019. Faber Futures: Co-Designing Colour with Bacteria. London: Faber Futures Studio.

ZDHC Foundation. 2022. Roadmap to Zero Programme: Chemical Management System Framework. Amsterdam: ZDHC. https://www.zdhc.org/.

# data[].attributes.attachment_link.readable_text
Necessary Cookies (required) Always enabled

These cookies are required for technical reasons so that you can visit our website and use the functions we offer. These cookies are used to recognise you between successive visits and thus provide you with a better experience, storing your consent preferences and the last Greenpeace.org website visited.

We use tracking and analysis tools to ensure continuous optimisation and demand-oriented design of our website. These cookies will allow us to collect statistical and anonymised data, such as how visitors use our website or which pages are accessed most frequently, to ultimately improve Greenpeace.org and provide you with a better experience of our website.

In addition to the Performance cookies mentioned above, we may also place in your browser cookies from third-party services (e.g. Facebook or Google) to track the effectiveness of our online marketing strategies and to deliver adverts more relevant to you and your interests. These cookies may also be used to serve advertising to you after you have left our site (retargeting cookies).

# data[].attributes.attachment_link.title
Detox My Fashion - Greenpeace International

# data[].attributes.attachment_link.description
Global fast fashion brands are churning out more clothes than the planet can handle.

# data[].attributes.body
The fashion industry must transition from toxic colour to regenerative colour, a system that restores environmental, social, and cultural value rather than depleting it. This transformation requires scientific innovation, ethical governance, and conscientious design. Designers hold a pivotal role: their choice of materials, dyes, and production methods can either perpetuate harm or drive meaningful change.

Biotechnological pigments are a prime example of this shift. Colorifix uses genetically engineered microbes to produce vibrant colours without toxic chemicals, reducing water usage and chemical runoff (Colorifix 2024). Natsai Audrey Chieza’s Faber Futures project explores bacterial pigment application, offering an innovative alternative to conventional dyes while merging creativity and sustainability (Chieza 2019). Meanwhile, luxury brand Stella McCartney has partnered with Bolt Threads to create Mylo™, a mycelium-based leather alternative that avoids chemical-intensive leather tanning and dyeing processes, demonstrating the potential of circular, regenerative materials (Stella McCartney 2023).

Beyond technology, policy and ethical frameworks are crucial. Global adoption of chemical safety standards such as the ZDHC Roadmap to Zero and certifications like OEKO-TEX ensures accountability throughout the supply chain, while local governments must enforce wastewater treatment and labour protections. When coupled with consumer awareness and responsible purchasing, these strategies can collectively reduce fashion’s ecological footprint and human harm.

By adopting regenerative colour principles, the industry can actively contribute to the UN Sustainable Development Goals: ensuring clean water (SDG 6), promoting decent work (SDG 8), reducing inequalities (SDG 10), and encouraging responsible consumption (SDG 12). Colour, long associated with aesthetic appeal, can evolve into a symbol of sustainability, creativity, and ethical responsibility.

Chieza, Natsai Audrey. 2019. Faber Futures: Co-Designing Colour with Bacteria. London: Faber Futures Studio.

Stella McCartney. 2023. “Stella McCartney and Bolt Threads: Mylo Mycelium Leather.” https://www.stellamccartney.com

ZDHC Foundation. 2022. Roadmap to Zero Programme: Chemical Management System Framework. Amsterdam: ZDHC.

OEKO-TEX Association. 2023. Sustainable Textile Production (STeP) Standard.

# data[].attributes.body
Designer Actions

Choose low-impact dyes: natural plant-based or biotechnological (e.g., Colorifix, bacterial pigments).

Collaborate with certified dye houses (ZDHC, OEKO-TEX).

Design for longevity and versatility: fewer dye baths, timeless pieces.

Support scientific innovations in sustainable textiles.

Align with SDG 12 (Responsible Consumption & Production) & SDG 6 (Clean Water).

Examples:

Colorifix: microbial pigments reduce water use & toxic chemicals.

Natsai Audrey Chieza: bacterial dye research combining art + sustainability.

Stella McCartney x Bolt Threads: bio-material innovation with mycelium leather.

Consumer Actions

Buy fewer, higher-quality garments.

Support transparent brands reporting chemical and environmental data.

Wash clothes less frequently to reduce microfibre and dye pollution.

Advocate for sustainable and ethical fashion practices.

Align with SDG 6 (Clean Water & Sanitation) & SDG 14 (Life Below Water).

Impact:

Reduced demand for toxic dyes.

Lowered chemical runoff into rivers and oceans.

Encourages brands to innovate sustainably.

# data[].attributes.headline
Putting Principles into Practice: My Mini Collection

# data[].attributes.subject
Putting Principles into Practice: My Mini Collection

# data[].attributes.body
My upcoming runway mini collection embodies the principles of sustainable and ethical fashion that I have explored throughout this project. All garments are made from natural fibers, primarily silk fibers, sourced and produced ethically in India. This not only ensures fair labour practices and safe working conditions, but also supports traditional cultural textile practices, helping preserve local craftsmanship while providing economic opportunities for communities. By prioritizing natural fibers, I am reducing reliance on synthetic, chemically-intensive textiles and promoting SDG 8: Decent Work and Economic Growth, as well as SDG 12: Responsible Consumption and Production.

The collection is primarily in white, providing a versatile and timeless base that aligns with sustainable design principles by reducing the need for multiple dye processes. I am also learning to indigo dye each piece myself, putting into practice the knowledge and solutions I have researched throughout this project. This hands-on approach allows me to control chemical usage, experiment with regenerative colour techniques, and gain a deeper understanding of the environmental and social impacts of dyeing. By integrating these practices, my work demonstrates that sustainable design is not just theoretical — it is actively applied from concept to final garment.

Through this collection, I am translating research into action, showing that ethical sourcing, natural fibers, and safe dye practices can produce garments that are both aesthetically striking and environmentally responsible. It is a tangible example of how designers can embody change in the fashion industry, aligning with the UN Sustainable Development Goals while advocating for colour, culture, and creativity without compromise.

# data[].attributes.body
The fashion industry’s use of toxic dyes has far-reaching environmental, social, cultural, and ethical consequences. From polluted waterways and damaged ecosystems to unsafe working conditions and global inequalities, the hidden cost of colour is substantial. However, through responsible design, innovative technologies, and conscious consumption, fashion can shift from a system that externalizes harm to one that restores value.

This project demonstrates that change is possible when designers and consumers act intentionally. By selecting low-impact dyes, supporting ethical production, and experimenting with nature-based or biotechnological colour innovations, fashion can align with the UN Sustainable Development Goals, including clean water (SDG 6), responsible production (SDG 12), decent work (SDG 8), and life below water and on land (SDGs 14 & 15).

My own runway mini collection embodies these principles in practice. Using ethically-produced natural fibers, supporting cultural textile traditions in India, and personally applying indigo dye techniques, I am translating research into action, showing that sustainable, ethical, and creative fashion is not only possible but inspiring.

Ultimately, colour need not come at the cost of the environment, human health, or social equity. When designers, manufacturers, and consumers commit to ethical, innovative practices, fashion can become a celebration of creativity, culture, and sustainability, proving that beauty and responsibility can coexist seamlessly.