Between the thread and the current – a conversation with Justyna Rożek about fashion that respects water

Aesthetics that do not drain resources. Form that does not pass away. And clothes that have not only visual value, but also environmental value. Justyna Rożek – fashion designer and winner of this year’s Designers Play Sustain competition – talks about working with second-hand materials, creating things that truly last, and why the most valuable gesture to the planet can be… repairing instead of buying. In an interview with Agnieszka Hobot, she explains how love of clothes can be translated into concrete actions for water conservation, and not tomorrow, but today.

A.H.: You have been implementing projects since 2019. – Where did the idea for circular fashion come from and what environmental values accompany your work?

J.R.: When designing, I am primarily driven by quality, durability and a careful approach to materials. As of 2019, I specialize in designing accessories. It is in this field that I best realize the values I hold dear: creating things that are well-designed, sturdy and made with respect for raw materials. Earlier this year, the opportunity arose to create a collection of clothes exclusively from second-hand materials as part of the Designers Play Sustain competition. I took it as an interesting challenge and a chance to experiment with a new form of work. The Eternal Bloom collection is my attempt to show that second-hand fashion can not only be eco-friendly, but also aesthetic and avant-garde. This experience has only reinforced my belief in the importance of responsible fashion that combines aesthetics, sustainability and respect for resources.

A.H.: Fashion is responsible for the consumption of huge amounts of water – at what point did you understand the magnitude of this phenomenon and did it change anything in the design process?

J.R.: From the very beginning of my design adventure, I set myself a clear goal: to create things that are timeless, functional and at the same time avant-garde, which will serve a person for a long time. I know that fashion cannot be just a momentary pleasure, but should have lasting value. Over time, as I became more familiar with the scale of the fashion industry’s impact on the environment, especially when it comes to water consumption, I became even more convinced that my work must move toward sustainable design. That’s why I make sure that every design is not only aesthetically pleasing, but above all sustainable and repairable.

A.H.: In practice, your activities are upcycling, refashion and repair. Which of these do you consider most effective in protecting the environment?

J.R.: Each of the items mentioned has its own value, but from the perspective of a designer and user, it is the repair that seems to me to be the most accessible and real to the environment. For me, the key is to design with the future in mind, so that the item can be easily refurbished, transformed or passed on. It’s a seemingly small change, but the effect can be significant if it becomes common practice among brands and consumers. A well-designed product – be it an accessory or a piece of clothing – made of high-quality materials and maintained in a timeless form can last for years. All you have to do is take care of its condition and take advantage of renovation opportunities.

A.H.: Do you observe that sustainable fashion is becoming a priority for brands and consumers, or is it still sometimes treated marginally, such as in comparison with the fight against plastic?

J.R.: On the one hand, I see a growing interest in sustainable fashion, both in brand communications and in consumers’ daily choices. On the other hand, I feel that the topic is being pushed to the background, especially when juxtaposed with the fast and cheap fashion that still dominates the market. The problem of plastic is more obvious and visible. It’s easier to give up disposable packaging than to look at one’s habits of buying, wearing and throwing away clothes. In fashion, the challenge is not only the material itself, but also the speed, quantity and method of production. That’s why it’s so important to educate and talk about quality, durability, repair and a responsible approach to things.

A.H.: What one change – concrete and possible to implement even today – do you recommend: in the closet of an ordinary consumer, in a designer’s atelier or in a company policy, in order to translate the love of clothes realistically into water conservation?

J.R.: Instead of buying more and more, it makes sense to start with what we already have. Take care of clothes and accessories, give them a second life through repair and conscious use. Designers can play an important role by creating things with longevity in mind, so that the form is not only aesthetic, but also functional, durable and timeless. Also, big brands should consider reducing the number of collections in favor of quality, fewer models, but made with more care. Each of these changes, while they may seem small, translates into real resource savings.