Waste Colonialism
In the shadow of fashion's global supply chain, a quiet but pervasive form of colonialism persists. Known as "waste colonialism," this practice sees vast amounts of low-quality cast-offs from the Global North—disguised as charitable donations—flooding the Global South. Non-profit organisations, predominantly in the US, UK, Canada, and Germany, collect secondhand garments under the guise of 'keeping clothing out of landfill'. Yet, only 10% of donated clothing ends up resold locally within these markets; the remaining 90% is shipped to countries like Ghana, where nearly 40% of each bale ultimately becomes waste, unable to be repurposed. In Ghana in particular, home to the largest secondhand market in the world, Kantamanto, these discards have earned the name obroni wawu, or "dead white man’s clothes", a stark reminder of an overbearing colonial presence, that though seemingly 'a thing of the past', remains burdensome today. The weight of this environmental crisis falls heavily on communities that bare the least responsibility for fast fashion's excess, shifting the problem from the consumerism of wealthier nations to regions already grappling with limited resources (Mensah, 2023).
The Global South is often critiqued for utilising many of the same practices that earned the 'developed world' its economic rise; exploiting natural resources such as fossil fuels (Nartey, 2024). Meanwhile, the wealthiest regions, despite having greater economic means to invest in renewable energy, remain slow to adopt these changes, still leading global demand for fossil fuel consumption.
As the Global North's appetite for disposable fashion grows, so too does the need for true solutions that stop treating waste as someone else’s problem. At present, less than 1% of textile waste is fibre-to-fibre recycled due to a lack of scalable infrastructure to enable sorting and processing (McKinsey & Co, 2022). Keeping existing garments in circulation for longer, while offered as an alternative solution, is often rendered ineffective as new clothing continues to be produced.
While donating to charity and thrift shopping can, in such cases, create an often false narrative of sustainability, many African societies have mastered the art of resourcefulness instead. Their traditions of repair, repurposing, and upcycling—driven by necessity and self-sufficiency—showcase a circularity that often goes far beyond the surface-level solutions touted by Western recycling efforts. Their upcycled goods are valued for their originality and durability, offering a stark contrast to the fast fashion imports that fuel this waste crisis (Ellen MacArthur Foundation, 2023).
Published: 25th October 2024
Words: Lydia Oyeniran
Reclaiming the narrative
Across the diaspora, this enduring approach to repair and reuse has been passed down for generations, extending across borders into Black communities around the world. Whether it’s that ice cream tub in the freezer, refilled with mum’s homemade stew, or the cupboard brimming with plastic bags (long before 5p charges were a thing), an anti-waste mentality has been a cornerstone of many Black households. Prior to upcycling having its fashion moment, clothing was passed from sibling to sibling, meticulously mended, and reworked until it was truly beyond repair. Rooted not only in necessity but a deeply ingrained culture of creativity and resilience, this ingenuity has shaped today’s Black fashion designers, now at the forefront of transforming sustainable fashion from bland to bold. From trailblazers like Dapper Dan, who pioneered the remixing of luxury fashion with streetwear, to the emerging talents featured below, this legacy of innovation continues to thrive. In celebration of Black History Month, we’re spotlighting the visionary designers who are reclaiming the narrative on waste through their heritage and homage to streetwear culture, revamping and re-working circular fashion with their upcycled creations—one stitch at a time.
GBADEBO
Founded by Kemi Gbadebo in the depths of lockdown at her parents' kitchen table, GBADEBO has quickly risen from humble beginnings to become a force in the streetwear world. After winning BBC’s The Drop in 2022, Kemi launched her eco-conscious streetwear line in Flannels in 2023. Her vision? To make sustainable fashion more accessible, transforming how we think about consumption. By working with deadstock materials and upcycling garments, GBADEBO merges nostalgic 90s streetwear silhouettes with contemporary design, proving that fashion is an art form, not a disposable commodity. Kemi’s brand is not just about style; it’s about shifting attitudes and redefining the boundaries of self-expression.
Photo credit: @kemidanielle on IG
“Creative vision and sustainability can go hand in hand and actually, they complement each other and you can create something incredible that is better for the planet.” —Patrick McDowell (for Bricks Magazine)
Tega Akinola
Tega Akinola’s journey from sports psychology student to sustainable fashion designer began as a lockdown hobby, upcycling her old clothes to save money and express her creative flair. During this time, Tega experimented with materials she had on hand, working with everything from faulty tech cables to deadstock fleece, transforming these unlikely items into distinct, street-ready pieces that quickly caught attention. Now, her knack for unconventional design has led her to a partnership with Nike for their Re-Creation collection, where she breathes new life into surplus products in her signature bold, experimental style. Through her work, currently available on ASOS, Tega promotes a vision for fashion that challenges wasteful norms, reflecting her resourceful approach to creativity and style.
Photo credit: @tegaakinola on IG
"I believe that everyone can contribute to a sustainable world, no matter how small it may be." —Tega Akinola
"Being environmentally and socially conscious is something that is very important to us, we want people to engage with the history of each garment, how it was made, where it has come from and, when they’re finished enjoying the piece, to be able to give it a new life." —Priya Ahluwalia
Ahluwalia
Priya Alhuwalia’s eponymous label is a celebration of heritage, craftsmanship, and sustainability. Drawing inspiration from the hand-me-downs and heirlooms of her Nigerian and Indian ancestry, Alhuwalia crafts pieces that carry emotional depth and cultural significance. Her work with vintage and deadstock materials, partnering with household names like Levi's and even launching a textile recycling program with Microsoft called 'Circulate' are all testaments of her dedication to environmental and community consciousness. With a commitment to preserving the stories behind each garment, Alhuwalia invites wearers to experience clothing that transcends trends, blending tradition and innovation in every piece.
Photo credit: @priya.alhuwalia.1 on IG
"When I was growing up watching fashion shows, I loved their craft and the beauty of them [which] were amazing... But I was watching shows coming out of Paris, Milan, London and New York, and say they would do an “African” collection, or the “Chinese” collection, or the “Indian” collection, and they would just be like glorified costumes." —Priya Ahluwalia via Soho House
Revival London
Rosette Ale, founder of Revival London, has always been drawn to the unique and one-of-a-kind. Growing up, she found her creative sanctuary in charity shops, where she developed a passion for vintage pieces that no one else owned. Today, Revival London transforms discarded textiles into bold, contemporary fashion, repurposing materials to reduce the industry’s staggering environmental impact. With millions of tonnes of textile waste exported to Nigeria and Ghana annually, the British-Nigerian and Ghanaian re-designer is passionate about confronting the global waste crisis and reclaiming discarded materials in a way that’s both impactful and fashion-forward. Her latest 'DAMI' collection is a masterclass in denim reworking and an ode to her roots.
“Kick the bloody doors in, destroy, redesign, create something new”
Photo credit: Alhuwalia
Photo credit: @thriftqueenlola on IG
As these upcycled brands prove, fashion can be both resourceful and richly innovative. These Black British designers continue to redefine what it means to be truly circular, breathing new life into materials with bold, inventive designs. For other brands looking to make a similar impact, the journey to sustainability doesn’t mean sacrificing creativity. With CircKit's intelligent design tools, fashion brands can make smarter choices—selecting low-impact materials, balancing cost with environmental responsibility, and transparently showcasing their sustainability achievements. The future of fashion is circular, and technology can pave the way. Explore CircKit today and join the movement toward a more resourceful circular fashion industry.
Further Reading:
Making the most of materials: Africa's skills in repair and repurposing point the way for the Global North by Laura Collacott - Ellen MacArthur Foundation
The Global South as a Wasteland for Global North’s Fast Fashion: Ghana in Focus by James Mensah - American Journal of Biological and Environmental Statistics
Africa doesn't have a choice between economic growth and protecting the environment - how they can go hand in hand by Lite Nartey - The Conversation
Sami Miro Vintage
Sami Miro
