The United Nations Conscious Fashion and Lifestyle Network June 2023 Annual Meeting – Key Lessons and Takeaways
June 21, 2023
In contemporary fashion discourse, the concept of circularity has become central to conversations about sustainability, resource management, and design innovation.
Circularity promotes a closed-loop system in which materials are continually reused, repurposed, or regenerated, thereby minimizing waste and environmental impact. Within this framework, Ghanaian luxury fashion brand Christie Brown offers an exemplary case study through its creative use of old jute packaging bags repurposed into mini skirts for their Resort ’25 collection. This practice not only redefines the aesthetic potential of discarded materials but also positions Christie Brown at the forefront of sustainable design practices within African fashion.
Christie Brown’s approach reflects a growing recognition that sustainability is not merely a trend, but a responsibility embedded within the design process. By transforming a functional, utilitarian material such as jute into a refined fashion statement, the brand bridges the gap between environmental consciousness and high fashion. The decision to reuse existing jute bags highlights a core principle of circular fashion: extending the lifespan of materials already in circulation. Instead of sourcing new textiles, the brand looked inward, utilising resources that were once considered obsolete and in doing so, generated new value from what was previously seen as waste.
This transformation underscores a shift in how fashion brands can engage with the materials around them. In traditional linear production models, garments are created, consumed, and ultimately discarded, leading to enormous waste across the industry. Christie Brown’s circular practice challenges this linearity, emphasising instead a regenerative process. The jute bags, initially designed for packaging and transportation, carry their own textures, histories, and cultural significance. When reimagined as mini skirts, these materials retain their raw authenticity while gaining new meaning within a luxury context. The result is a product that is both aesthetically compelling and ethically grounded.
The symbolic aspect of this design choice also cannot be overlooked. Jute, as a material, holds historical and economic relevance across many African contexts, particularly within systems of trade and agriculture. By incorporating it into a fashion collection, Christie Brown reclaims a material tied to labor and functionality, repositioning it within a narrative of creativity and empowerment. This transformation mirrors the broader evolution of African fashion, where local materials, craft, and sustainability intersect to form a uniquely modern identity.
Furthermore, this practice aligns with global sustainability goals, particularly the emphasis on resource efficiency a
nd responsible production.
In a time when the fashion industry contributes significantly to global pollution and textile waste, such practices demonstrate how brands especially those in emerging markets can lead with ingenuity rather than excess.The brand’s ability to merge artistry with environmental awareness suggests that sustainable fashion does not have to compromise on beauty or sophistication. Instead, it proposes that innovation often emerges from limitation: the challenge of working with what is already available.
For fashion students and designers, this case highlights an important lesson in design thinking and material ethics. The Christie Brown example illustrates that sustainability begins with intention. It requires a willingness to question the origins, purposes, and afterlives of materials. Rather than perceiving sustainability as an external requirement imposed by market forces, it should be viewed as an intrinsic aspect of design practice, one that informs both creative and ethical decision-making.