Global Organic Textile Standard (GOTS), world’s leading processing standard for textiles made from organic fibres and treatments, has released its new Version 5.0, three years after the Version 4.0 was introduced. The new version is a result of a comprehensive stakeholder input process in which various organizations with expertise in organic production, textile processing and social criteria participated.
The high ecological and social requirements as well as word-wide practicability and verifiability were considered in the revision work, in order to achieve a reliable and transparent set of criteria. The aim of the new standard is to define world-wide recognized requirements that ensure organic status of textiles, from harvesting of the raw materials, through environmentally and socially responsible manufacturing up to labelling in order to provide a credible assurance to the end consumer.
Textile processors and manufacturers are enabled to export their organic fabrics and garments with one certification accepted in all major markets. The implementation deadline for GOTS-certified entities to fully comply with Version 5.0 is 1 March, 2018. The standards for the ‘additional fibre material’ are now stricter regarding the environmentally improved and certified regenerated cellulosic fibres: The use of Viscose and Modal is now restricted to 10 per cent (25 per cent for sportswear and socks). Lyocell may still be used up to 30 per cent due its more sustainable manufacturing processes.
The new version follows the general approach of GOTS to define high-level certifiable environmental criteria throughout the entire processing chain of apparel and home textiles (including spinning, knitting, weaving, wet processing, manufacturing, and trading) made from a minimum of 70 per cent certified organic fibres.
When I say that I have been writing a book on rayon, the initial response frequently is, “Radon? That’s radiation, isn’t it?”
My attempt at a clarifying follow-up and the ensuing exchange typically runs: “Not radon, rayon, the synthetic textile.”
“Oh, didn’t they stop making that years ago — it was invented for parachutes or something in World War II, right?”
“Actually, rayon has been around since the turn of the last century — about 1900—and it’s still being made. Maybe you know it better as viscose?”
“Viscose? I didn’t know that was rayon. I thought viscose was a green product, not a synthetic.”
“Viscose rayon is based on cellulose. That part may be ‘green,’ but the chemical used to make the viscose isn’t. It’s a toxic chemical called carbon disulfide.”
“Does that mean viscose isn’t safe to wear? I’d better go through my wardrobe!”
“No,” I reassure at this point. “It’s only the workers who make it that suffer, and maybe the surrounding environment.” Consumer angst allayed, the conversation usually turns to some other topic.
I understand fully. Occupational disease is not the standard stuff of casual conversation. Admittedly, viscose is pretty far from central to almost anyone’s thoughts. Moreover, carbon disulfide, the toxic agent prerequisite to the making of viscose, is an unknown entity to anyone but a practicing chemist. Even most physicians have never heard of carbon disulfide unless they happen to remember it from an organic chemistry lab class they were forced to suffer through in premed. But the story of viscose manufacturing and viscose-caused disease, by rights, should not be obscure. It deserves to be every bit as familiar as the cautionary tales of asbestos insulation, leaded paint, or the mercury-tainted seafood in Minimata Bay.
Throughout most of the 20th century, viscose rayon manufacturing was inextricably linked to widespread, severe and often lethal illness among those employed in making it. Viscose is behind another product closely related to rayon — cellophane — and both rely on carbon disulfide as their key manufacturing constituent. Viscose, a technological innovation in its day, once was a very big business. In fact, it was one of the first truly multinational corporate enterprises, having achieved this status in the period just before World War I. A bit later in the 20th century, during the Great Depression, the viscose business did not suffer appreciably. Rather, it flourished. Viscose went on to assume a highly profitable position as a strategic matériel on both sides in World War II.
Peace finally came; viscose went from strength to strength. For the Courtaulds company (phoenix of the post-imperial British textile industry) and for the behemoth state-owned enterprises of the Eastern bloc, rayon was pivotal. During the same period in the United States, DuPont held on to its lucrative near monopoly on cellophane, fighting an antitrust ruling all the way to the Supreme Court. After the industry’s midcentury apogee, viscose manufacturing found itself in the vanguard of those hazardous industrial processes exported to the developing world, starting in the 1960s and continuing through the decades that followed. Even now, viscose is still very much with us. Its successful rebranding as a renewable , eco-friendly product cleverly sidesteps the inconvenient reality that carbon disulfide, whether mixed with soft wood pulp or bamboo or straw, is anything but green.
The basic industrial manufacturing steps employed in making viscose never have been much of a trade secret. Cellulose wood pulp is treated with caustic soda at a high pH; carbon disulfide is added to that solution; the mix is churned, allowed to “ripen” and then mixed with more caustics to form a syrupy semiliquid that is the eponymous viscose of the process. The viscose syrup is forced through tiny spinning nozzles submerged in a bath of sulfuric acid, like sprinklers irrigating a Hadean garden. It is in this unkind environment that the extruded filaments of viscose rayon fibers coagulate and grow. Replace the tiny spinning holes with a long, thin slit and one produces viscose-based film (that is, cellophane). Along the way there have been variations on this theme, but the basic story line has stayed the same.
Carbon disulfide has remained a constant in the mix. This chemical has the nearly unique ability to engage cellulose molecules, lining them up for guidance into a new form. Then, at just the right moment, the carbon disulfide lets go of the cellulose. Unless the process is engineered with care, the place where the “carbon disulfide lets go” is directly into the factory air breathed by viscose workers, with the rest wafted out into the surrounding environment. Just as the basic process for making viscose is well established, the most dramatic effect of carbon disulfide on humans has been long appreciated. For more than 150 years, considerably in advance of rayon’s invention, the chemical’s potent and special toxicity has been clearly recognized. Carbon disulfide’s industrial debut was as a vulcanizing agent in the rubber trade, back in the middle of the 19th century. Trouble was noted very soon after the chemical was first introduced. The effect was hard to miss: carbon disulfide exposure led to acute insanity in those it poisoned.
In the many years that followed, more and more medical evidence documented in exquisite detail the many ways in which carbon disulfide adversely affects the nervous system. Besides frank insanity, poisoning can be manifested in subtler personality changes. Carbon disulfide causes toxic degenerative brain disease and acts by damaging the sensory capacity of nerves (including those responsible for vision). After years of exposure, even more insidious carbon disulfide damage appears through increased risk of heart disease and stroke. Only in recent decades have these latter effects been established conclusively. Sophisticated epidemiological investigation was required to confirm the unusual pattern of individual cases that were occurring among viscose workers: disease that was happening both too frequently and among those at too young an age typically to suffer from these problems.
Despite its shocking legacy, viscose’s history is almost completely unknown. Even those otherwise well versed in issues of public health are largely unaware of this story. Yet it is a history hiding in plain sight. In large part, I am motivated by a desire to memorialize the terrible suffering that has occurred. Almost everyone not only knows about radon — unlike rayon — and many can even name a specific victim: Madame Curie, who succumbed to leukemia, almost assuredly due to her occupational exposure to radiation. I want those who paid the full price for carbon disulfide’s use to be as well remembered. And I intend to name names. This may not be possible for the unrecognized thousands whom carbon disulfide made ill, although here and there personal traces of individuals can be detected. It is far easier, however, to identify the perpetrators. Indeed, some of them are still in business today, albeit after having been renamed, acquired, spun off and then remerged through a string of new, also-known-as names and business acronyms. I also believe that this past history is highly relevant to other manufacturing innovations of today and tomorrow, processes that, like viscose production, may endanger worker health, threaten to degrade environmental quality, or compromise consumer product safety.
“Fake Silk” is most certainly about illness, about the disease and death that the viscose industry caused in its factories. And it is about technological innovation, an engine fueled by carbon disulfide that churned out novel products for an eager consumer public. Fake Silk is also about economics. After all, this was an industry that helped coin a new term, “duopoly.” Referring to a market with only two sellers, duopoly characterized the comfortable arrangement between DuPont and Courtaulds’ U.S. subsidiary in divvying up the lucrative American viscose business. More than that, economic profit has always been at the heart of viscose’s power, whether that was parlayed by robber barons, war profiteers, state capitalists or, in our own time, savvy players in a globalized market. Yet most of all, “Fake Silk” is about people. Some of them are truly despicable, but many were honorable women and men and more than a few were quite heroic. In just over a century of viscose’s history, five generations have toiled in it and, before that, three worked with carbon disulfide–tainted rubber. This may not be the full 10 generations that traditionally mark the passage of time from Adam to Noah, but it is still a significant slice of the human experience. I know that I cannot do full justice to that, but I hope never to lose sight of the real people who lived the story told in these pages.
G-Star Raw is making like a tree and leaving—deforestation-promoting fabrics, that is. The Dutch denim brand, which previously collaborated with “Happy” hitmaker Pharrell Williams on an line of ocean-plastic-derived apparel, has pledged to use only forest-friendly fibers in its rayon and viscose clothing. With guidance from Canopy, a forestry nonprofit whose “Fashion Loved by Forest” campaign has earned the support of retailers such as Eileen Fisher, H&M, Levi Strauss, and Patagonia, G-Star says it will work to eliminate any wood-based fibers from illegally logged sources, ancient and endangered forests, and any species listed in the IUCN Red List as critically endangered, endangered, or vulnerable.
Rayon, viscose, modal, and other cellulosic fibers are increasingly made from the world’s most endangered forests, according to Canopy. From the lush rainforests of Indonesia to Canada’s great northern boreal forests, 70 to 100 million trees are logged annually to produce pulp for fabric for dresses, skirts, tank tops, yoga wear, and suit-jacket linings.
“Even though our main raw material is cotton, we are aware of the growing use of forest-based fabrics in apparel supply chains,” the brand said in a statement. “G-Star is committed to ensure that the raw materials used in our products are manufactured in a responsible way that preserves natural resources and respects human and animal rights.”
This year’s Council of Fashion Designers of America (CFDA) Fashion Awards in New York City Monday, not only recognized fashion designers, journalists and influencers, but activists who interrupted the event shed some light on one of the biggest names in fashion reportedly contributing to forest destruction.
Dressed in formal wear for the event, activists from Rainforest Action Network’s (RAN) Out of Fashion campaign, displayed a large banner and handed out balloons and business cards printed with a parody logo of the demonstration’s target, Ralph Lauren. The logo features the brand’s name in its iconic navy and tan but positioned on a circular saw. RAN is accusing the luxury brand of making clothes at the expense of deforestation and human rights abuse and is urging it to adopt new policies that commit to using only forest-friendly fabrics in its products.
“Every year, millions of trees are turned into clothing through the use of forest fabrics like rayon and viscose,” Brihannala Morgan, RAN’s senior forest campaigner, said. “This scandal has been hidden in plain sight for too long, but no more. The time has come for the fashion industry, and in particular Ralph Lauren, to take responsibility for its impacts on people and the planet and to publicly adopt binding policies that prevent deforestation, human rights abuses and climate pollution from being woven into the fabrics Americans wear everyday.”
Morgan added, “There are some brands that are taking action on this issue, like H&M and Stella McCartney, but Ralph Lauren isn’t one of them, and there’s just no excuse. As one of the biggest fashion brands in the world, Ralph Lauren has the ability and resources to ensure that human rights abuses and forest destruction won’t be a part of their next collection.”
In addition to their live protest at the awards, RAN also called out Ralph Lauren over Twitter. Many supporters of the organization’s campaign chimed in as well.
Ralph Lauren is just one of the brands among the “Fashion 15” group of companies RAN is urging to take responsibility for their supply chains, including Prada, LVMH, Tory Burch, Michael Kors, Vince, Guess, Velvet, L Brands, Forever 21, Under Armour, Footlocker, Abercrombie and Fitch, GAIAM and Beyond Yoga. RAN said it wants the brands to identify negative manufacturing components and develop commitments to protecting forests and human rights.
** This post first appeared on Sourcing Journal here.
** This post first appeared on Sustainable Brands here.
Today, global viscose giant Aditya Birla Group announced an industry-leading commitment to eliminate sourcing from the world’s ancient and endangered forests for all of its Viscose fibers, which are widely used in clothing and textiles.
Aditya Birla is India’s largest multinational conglomerate (with US$40B in revenue) and the world’s largest producer of Viscose, manufacturing 20 percent of the world’s supply of the material, which is made from wood pulp. The commitment applies to wood and pulp sourcing for all its mills, including those in Canada, Indonesia and China.
The textile giant worked with Canadian environmental group Canopy to craft this game-changing policy, which offers new hope for solutions in places such as Canada’s Boreal and Indonesia’s rainforests.
“We’re committed to avoiding any endangered forest fiber in our products and are excited to help drive innovation in the development of fabrics made from new fibers that reduce the pressure on the world’s natural forests,” said Kumar Mangalam Birla, Chairman of the Aditya Birla Group. “We and many of our customers in the fashion industry are equally committed to developing sustainable business solutions that help conserve forests and species.”
Aditya Birla’s leadership on this issue positions them as a collaborative partner responding to more than 25 major fashion brands that have developed similar endangered forest commitments with Canopy in the past 18 months. Since 2013, global brands including H&M, Zara/Inditex, Levi Strauss & Co, Marks & Spencer and designers such as Stella McCartney have joined Canopy’s Fashion Loved by Forests campaign and adopted commitments to phase out endangered forest fiber in their product lines. Aditya Birla’s new policy now sets a high bar for all other producers to meet.
“Aditya Birla may not be as sexy as clothing brands in terms of cache but they’re definitely hot in terms of alleviating impacts on forests,” Nicole Rycroft, Canopy’s founder and executive director, said via email. “Given that the top 10 rayon and viscose producers control 80 percent of global production, we’re excited about how this sets the whole supply chain in transformation.”
Aditya Birla’s policy includes an immediate commitment not to source fiber from endangered forests or endangered species habitat, such as Indonesia’s tropical forest and Canada’s Boreal Forest, unless meaningful conservation plans are in place.
The company is committed to exploring research and development opportunities for alternative fiber sources and new technologies that reduce environmental impacts and will identify opportunities to support existing conservation solutions, agreements and further new initiatives to advance sustainable sourcing and forest protection.
Back on the brand side of the equation, Canopy is not the only NGO working to eliminate deforestation and associated human rights abuses from fashion: Last month, Rainforest Action Network launched its Out of Fashion campaign, urging the “Fashion 15” group of companies — Ralph Lauren, Prada, LVMH, Tory Burch, Michael Kors, Vince, Guess, Velvet, L Brands, Forever 21, Under Armour, Footlocker, Abercrombie and Fitch, GAIAM and Beyond Yoga — to develop strong, time-bound commitments to protect forests and human rights.