The sustainable era of Vietnamese fashion from the cradle of processing and manufacturing

Eco-fashion, ethical fashion, healing fashion. Vietnam may not have coined these phrases. But when we set aside the marketing gloss, we uncover that the essence of these trends lies deep in the country’s cultural memory. Reuse is not new here. It is a natural rhythm of life passed through generations.

What once arose from necessity is now being recognised as one of the most straightforward and effective approaches to sustainable living.

Sashiko/boro is a Japanese material processing technique, referred to in Vietnam by names like tich ke, patch, dap, and punch. It involves reinforcing remnants of fabric, sometimes worn, sometimes forgotten, and transforming them into new textiles that are both durable and aesthetically rich. Primitive, improvised, occasionally awkward or naive, but always touched by time. These patchwork pieces become fabric paintings, stitched with soul.

In Vietnam, the technique has been embraced by names such as VUN, Khau, and Archive Sashiko. Their pieces, whether carefully composed or joyfully accidental, carry emotion, pairing contrasting hues and forms with a distinct sense of familiarity.

Behind this humble act of mending lies an intricate repertoire of material processing techniques—dyeing, bleaching, tearing, threading, abrading, embroidery and more. That is why, when standing before a piece created using sashiko, one feels not only admiration but also quiet reverence for the hands that laboured over it and the imagination that shaped it.

There is a common misconception that sustainable materials must be natural, excluding anything man-made, including synthetics or plastics. In truth, nearly every material around us can be reused: from industrial and domestic refuse, to fashion remnants and even waste from unrelated industries. Leftover fabrics, packaging scraps, these too can find new life.

Dong Dong is a pioneering local brand in utilising non-fashion waste to create fashionable accessories. Unused canvas and tarpaulins are collected by Dong Dong and transformed into vibrant, functional accessories such as handbags, backpacks, wallets, pencil cases and more. These recycled materials, with their inherent waterproof properties, offer practical appeal, especially in the rainy climate of Saigon.

The new generation of Vietnamese consumers is increasingly familiar with labels such as Moi Dien and Khaar.world. Based in Ho Chi Minh City, where both designers reside, these brands are celebrated for their creative flair. However, the region faces challenges in sourcing native, natural fabrics.

Yet, the city's well-developed garment processing sector provides an unexpected benefit: a rich supply of textile remnants. In some cases, up to 35% of fabric allocated to a brand or factory ends up as leftover. Disposing of these materials, whether discarded or abandoned in storage, would be a missed opportunity.

While Moi Dien stands out with genderless, streetwear-inspired silhouettes, Khaar.world takes a softer, more feminine approach, with thoughtfully refined materials. Their use of patchwork is often enhanced by hand techniques—pleating, embroidery, knitting, crochet, or print, adding both texture and distinctiveness to their collections.

Each sector contributes differently to global emissions, yet the fashion industry is often singled out, responsible for around 4 per cent of greenhouse gases, a figure that rivals the combined output of Germany, France and the UK (earthday.org).

In recent years, both state authorities and local communities in Vietnam have embraced campaigns urging: “Vietnamese people use Vietnamese products.” What began as a simple slogan has evolved, giving rise to a generation of designers and makers inspired by national identity. Labels now proudly display phrases like “Crafted in Vietnam” or “Designed in Vietnam”, no longer content with simply “Made in Vietnam”.

It is not only a declaration of origin, but of ingenuity and skill. By localising the fashion supply chain, Vietnam is asserting its creative independence while gaining greater control over emissions, waste, resources and economic resilience. Brands like Timtay, More Than Blue, La Pham and Comay embody this philosophy, committed to materials sourced entirely within the country, crafted with care by local artisans.

Vietnam’s cultural depth and its agricultural and forestry resources are increasingly securing the country’s position on the global fashion supply chain. No longer confined to a small, niche market, players like Ecosoi, Greenyarn, Viramie and Tpramie are expanding their reach. With a combination of sustainable material research and modern technology, these companies are emerging as trusted suppliers of eco-friendly textiles, both at home and abroad.

Read more: Fashion photo series: Flow state—sublimate with the flow

The fashion industry, particularly fast fashion, has operated with minimal oversight for decades, leaving behind a trail of environmental damage. From polluted waters and degraded air quality to deforestation, microplastics in oceans and diminishing biodiversity, the consequences are stark. Across the supply chain, human rights abuses remain widespread, with exploitative labour and unsafe working conditions still alarmingly common. The effects are not confined to any one region; they ripple outwards, deepening the climate crisis and threatening long-term global sustainability.

The meaning of creativity in fashion today has shifted. It no longer hinges solely on daring concepts, headline-grabbing designs or dazzling runway shows. Increasingly, it is defined by the ability to regenerate. Designers such as Vu Ta Linh and Xavan are recognised not only through sustainable design awards but also for their day-to-day commitment to modern, emotionally attuned fashion. Their work in restructuring and reshaping design reflects a broader movement, one that revisits once-proven concepts and adapts them for an evolving context.

As luxury markets worldwide veer into excess, Vietnam is seeing the rise of a quieter, more purposeful wave—independent labels producing socially and environmentally responsible designs. Across the country, small and medium-sized brands are taking form with the goal of transforming the fashion system: sourcing ethically, manufacturing mindfully, distributing with intention, and inviting new modes of consumption.

In Vietnam, we speak passionately about a time of ascent, even as the crises facing both nature and humanity grow increasingly complex. Fostering a spirit that is at once resilient and transformative is no easy feat. But perhaps the way forward is not to charge ahead, but to begin by tending to the damage already done.

Responsible designers—eco-angels, some might say—have appeared not by chance but as the first step in a long, demanding journey. One that offers promise, if not ease. So be hopeful, and move swiftly.

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