From Design Decisions to Sustainable Development: Exploring Textile and Fashion Designers’ Challenges in the Portuguese Textile and Fashion Industry

Abstract

Textile and fashion designers play a strategic role in sustainable development within the textile chain. Several studies highlight the decision-making role of designers, emphasizing how their choices influence the entire production sector. The aim of this research is to examine how design decisions within the Portuguese textile and fashion industry influence the implementation of sustainable development principles by exploring designers’ perceptions, practices, and the challenges they encounter throughout the design process. To achieve the proposed goal, semi-structured interviews were conducted with 11 designers from the industry. The collected data were qualitatively evaluated using NVivo software, highlighting the complexity of incorporating sustainability into the design process. The findings revealed that daily challenges are primarily related to fashion business models, greenwashing, limited knowledge of raw materials and finishing processes, cost constraints, lack of transparency and traceability in the supply chain, and low consumer awareness. By examining both the conceptual understanding and practical application of sustainability in the design process, this research provides strategic lines into designers’ decision-making processes, highlights barriers to sustainable practice, and underscores the importance of design education. The study contributes to academic debate and identifies opportunities for advancing sustainable practices and circularity in the textile and fashion industry, in alignment with the Sustainable Development Goals, especially SDGs 9, 12, and 13, to transform the current industrial and consumption models.

1. Introduction

Textile production, one of humanity’s oldest and most traditional activities, plays an essential role in society and the environment [1,2]. The United Nations Alliance for Sustainable Fashion—comprising United Nations agencies and allied organizations—is an initiative to support projects and policies that work towards achieving the Sustainable Development Goals in the fashion sector (including clothing, leather, and footwear. Available at: https://unfashionalliance.org, accessed on 20 November 2025), which highlights the global economic and social importance of the textile sector: it contributes US$2.4 trillion to global production and employs 300 million people. In contrast, the sector generates many environmental impacts from its activities: it is responsible for an estimated 2–8% of global greenhouse gas emissions, it consumes approximately 215 trillion liters of water per year, and results in annual material losses of US$100 billion due to underutilization, as well as approximately 9% of annual microplastic losses in the oceans. The economic, social, and environmental paradox that marks the textile and fashion industry increasingly highlights the unsustainability of current production and consumption practices and prevailing business models [2].

The term sustainability first appeared in 1972, and a decade later, the World Commission on Environment and Development consolidated this idea by defining sustainable development [3,4] (sustainable development, “meeting the needs of the present generation without compromising the ability of future generations to meet their own needs” [4]). Following these principles, the United Nations (UN) proposed the 2030 Agenda for Sustainable Development, establishing 17 Sustainable Development Goals (SDGs) as guides for transforming the current production and consumption model [5]. Although the concept of sustainability is widely disseminated globally, its practical implementation still faces numerous limitations, often being treated superficially, in a fragmented way, or merely rhetorically.

Several studies have discussed the multiple challenges associated with sustainable development in the textile and fashion industry, which coexist with a significant set of emerging opportunities. Among these opportunities, the following stand out: the advancement of sustainable design practices [2,6,7,8,9,10], the development of new materials [8,11,12,13,14], innovation in production processes [3,6,15], the integration of digital technologies [1,9,16], and the creation of strategies oriented towards more circular business models [1,3,8,14,15,16,17,18,19,20,21]. Furthermore, strong global coordination is essential, including collaboration between different professionals along the value chain [10], the development of professionals focusing on new AI skills and competencies [9,10], as well as continuous efforts to strengthen consumer awareness and engagement [3,14,22].

This study focuses on a particularly relevant stage: the design process. The growing interest in sustainable design reflects the urgency to rethink traditional product development models [1]. Sustainable design, or design for sustainability, aims to reduce environmental, climate change, and social impacts throughout the entire chain by integrating different design approaches based on the principles of the circular economy [8,11,16]. Circular design is a comprehensive—and widely disseminated—concept that integrates other complementary approaches, such as eco-design, aimed at reducing environmental impacts at all stages of the product life cycle. The circular economy approach in fashion—which focuses on recycling, reuse, repair, waste management, and product life cycle assessment [11]—aims to develop a more sustainable design, production, and end-of-use system [1].

Several professionals participate in the design process, with designers particularly central at this stage. Their decisive role in the textile industry is widely recognized in the literature, which highlights, above all, how their choices have a direct impact on the entire textile chain. This investigation does not intend to attribute exclusive responsibility to these professionals in the sustainable transition of the sector, but rather to highlight the relevance and complexity of their actions in this context.

This study adopted a qualitative research methodology as it aims to explore the perceptions, practices, and challenges faced by designers throughout the design process in the Portuguese textile and fashion industry (Portuguese TFI). The Portuguese TFI has a well-established historical tradition in Portugal, with the Northern region playing a particularly important role as one of the main national centers of textile production [22]. The Portuguese TFI comprises approximately 12,000 companies, employs around 128,000 workers, and generates a Gross Value Added (GVA) of 2.7 mil M€. Predominantly composed of Small and Medium Enterprises (SMEs), more than 70% of companies operate in the fashion and apparel segment. Internationally, Portugal ranks 27th in global textile and apparel exports; in 2023, the fashion and apparel sector accounted for 59.6% of total exports [23].

This study employed semi-structured interviews as the data collection technique, applied to a sample of 11 designers from the Portuguese TFI. The number of participants was determined based on the principle of theoretical saturation, widely recognized in qualitative research [24]. Data analysis was conducted iteratively and simultaneously with the data collection process, with the support of NVivo software, which allowed for the progressive identification of recurring patterns and the verification of theoretical saturation. This saturation indicates that the collected data provide little or no new or relevant information, and that the relationships between the study themes are adequately developed and understood [24]. Thus, the sample of 11 designers proved adequate to meet the research objectives.

The insights resulting from this study enabled the formulation of strategic lines, systematized into a set of key topics and/or actions, with the aim of supporting designers in the process of conceiving and developing sustainable products. Although these guidelines were developed from gaps identified by designers in the specific context of the Portuguese TFI, it is understood that they have the potential for application in other geographical contexts, since they are based on strategies that are transversal to the design process.

2. Methodology

The qualitative research approach proves to be appropriate for achieving the objectives of this study, as it allows for an in-depth exploration of phenomena, enriching data interpretation and enabling the generation of new insights [25]. In this approach, researchers interpret the subjective and socially constructed meanings that emerge from the collected data [24]. In practice, the qualitative research involves the simultaneous collection, analysis, and interpretation of data—an interrelated and interactive process [24]. A variety of data collection techniques and analytical procedures may be applied depending on the research objectives. In this study, semi-structured interviews were employed for data collection, and thematic analysis was applied for the interpretation of qualitative data, as presented in Figure 1. The first step involved developing the interview guide based on the research themes and the pilot test. The second step involved the sampling design, which included identifying, selecting, and recruiting the participants. Subsequently, the interviews were conducted, and the resulting data were organized and processed using NVivo software (NVivo Windows Release 1 version). Finally, thematic analysis was employed to identify and interpret key patterns and themes within the data.

I.

Interview guide

The interview method for data collection allows researchers to understand the context and meanings associated with participants’ behaviors [26]. As a qualitative data collection technique, interviews provide a coherent and systematic framework for research, contributing to the generation of valid and reliable data [24]. Furthermore, according to Saunders et al. (2019) [24], the development of an interview guide should be grounded in the research objectives and incorporate key questions that address the central themes of the investigation.

The interviews presented in this study are part of an ongoing doctoral project “Strategies to Enhance Ecological Color Practices in Fashion Design: Sustainable Color” (available at: https://doi.org/10.54499/2022.10574.BD). However, given the scope of this project, this article is limited to the analysis of two specific themes: sustainability in the textile and fashion industry, and the design process. The questions in the interview guide were developed based on the themes and objectives of the research, as presented in

Table 1. Questions addressed in the interviews.

Theme	Main Objective	Question
Sustainability in the textile and fashion industry	To understand, from the participant’s perspective, the concept of sustainability as applied to the textile and fashion industry.	Q1. Could you tell me your point of view on sustainability in the textile industry, with a specific focus on fashion?
	To identify the challenges associated with sustainable development in the sector.	Q2. In your opinion, what are the biggest challenges to sustainable development in the fashion industry?
Design Process	To examine, from the participant’s perspective, which aspects of a product are sustainable (e.g., raw materials, accessories, color, packaging, distribution, among others).	Q3. During your work as a designer, what product variables do you consider/pay attention to when making the product sustainable? And how do you assess whether these variables are sustainable?
	To reflect on the designer’s role, their decision-making, and their responsibilities in relation to fashion business models.	Q4. Based on your professional practice, please describe in detail the steps of the design process, both for an own brand and private labels.
		Q5. During your professional practice, specifically in the design process, what are the points where you have responsibility and freedom to make decisions (for example, in the stages of choosing fabrics, in the color palette)?

. It should be noted that although this guide was applied in the context of the Portuguese TFI, it could be similarly applied in other geographical contexts.

As part of the data collection strategy, a validation procedure of the interview guide was undertaken. For this purpose, a pilot test was conducted with one participant, identified as “D1”. The interview was held face-to-face at the University of Minho, and aimed to assess the clarity, coherence, and adequacy of the interview questions in relation to the research objectives. Upon completion of the session, the participant was invited to provide evaluative feedback regarding the objectivity and comprehensibility of the questions. Concurrently, field notes were used to record the participant’s behavior and reactions throughout the entire process. The cross-analysis of these observational notes and the participant’s feedback revealed that the guide adequately met the intended criteria, without the need for substantive modifications. Thus, the pilot interview was considered valid, thereby reinforcing the reliability and methodological robustness of the data collection instrument.

II.

Sampling design

Participants in qualitative research are not seen as mere respondents [24]; therefore, the selection of respondents must be carefully defined. To achieve the research objectives, the participant selection criteria were identified based on the functions and characteristics of the fashion business models where they work. Regarding the designers’ roles, the criteria were: professionals in the Portuguese TFI with at least two years of experience who perform functions related to the design department, such as fashion design, trend forecasting designer, textile designer, and development designer. The selection of professionals, based on fashion business models, was strategically designed for this study. Regarding these models, companies focused on prioritizing Northern Portugal were identified, operating in the textile and apparel production sectors, encompassing both fabric production—including knits and woven fabrics—and textile treatment segments, such as dyeing, printing, and finishing, as well as garment manufacturing units. The companies were identified using the “Fashion from Portugal 4.0—Directory 2019—ATP Portuguese Textile and Apparel Association” (available at: https://atp.pt/wp-content/uploads/2019/06/ATP-Diretorio-2019.pdf, accessed on 10 October 2022). Following this, the search and identification of professionals was conducted through the LinkedIn platform. Subsequently, a personalized invitation containing detailed information about the research was sent to the professionals selected through the platform. However, during the initial sample selection, due to low participation rates among the identified professionals, it was necessary to resort to a non-probability voluntary sampling procedure using the snowball sampling method. In this method, new participants are referred by the initial study participants [24]. It is important to emphasize that the recommended participants were evaluated to validate the sampling selection criteria defined at the beginning of the research. Participants were coded, to protect the anonymity of professionals, using the letter “D” followed by the corresponding session number, as shown in

Table 2. Characteristics that describe the interviewees.

Interviewee	Sample Selection	Company Type	Position in the Company	Academic Background	Work Experience (Years)
D1	Snowball	OCP	Fashion Designer	M.Sc. in FDC	10
D2	LinkedIn	TCP	Forecast Designer	TC in FD	6
D3	Snowball	TCP	Fashion Designer	B.A. in FDM	3
D4	Snowball	OCP	Fashion Designer	M.Sc. in FDC	4
D5	Snowball	TCP	Fashion Designer	M.Sc. in FD	3
D6	Snowball	OCP	Fashion Designer	B.A. in FDM	5
D7	Snowball	OCP	Development Designer	B.A. in FDM	16
D8	Snowball	HTP	Textile Designer	B.A. in DM	3
D9	LinkedIn	TCP	Fashion Designer	TC in FD	5
D10	LinkedIn	TCP	Fashion Designer	M.Sc. in FD	3
D11	LinkedIn	TCP	Fashion Designer	TC in FD	4

Legend: Company types, OCP: outsourcing clothing production; TCP: textile and clothing production; HTP: home textile production. Academic backgrounds, TC in FD: technical course in Fashion Design; B.A. in FDM: degree in Fashion Design and Marketing; B.A. in DM: degree in Design and Multimedia; M.Sc. in FD: Master’s degree in Fashion Design; M.Sc. in FDC: Master’s degree in Fashion Design and Communication.

.

The fashion business models in which the designers participating in this study operate present distinct structural, operational, and strategic characteristics. For the analysis in this study, the companies were categorized according to their structure as outsourcing clothing production (OCP) or textile and clothing production (TCP),and according to the brand: own brand or private label. The sample for this study does not include designers who work simultaneously in OCP and with their own brand. Therefore, the analysis focuses exclusively on OCP and private labels. The analysis of TCP, however, includes own brands and national or international private labels.

III.

Interview sessions

The data collection method, through interviews, involves an intentional conversation between the interviewer and interviewee. During the interview, the researcher must be able to listen actively, establishing a relationship of trust and empathy. The interviewer must maintain maximum attention to explore points of interest during the conversation, clarifying and confirming meanings. Furthermore, the development of a concise script is essential [24]. In this study, the interviews were conducted primarily on Zoom Workplace (online) between September 2022 and January 2023, with an average duration of 60 min. All participants answered all questions and demonstrated considerable openness to discussing the topics. The audio of all interviews was recorded, with the consent of participants (an informed consent form was sent to them for signature). The study adhered to GDPR principles of purpose limitation, data minimization, confidentiality, and storage limitation (Article 5 GDPR—Principles relating to processing of personal data. Available at: https://gdpr-info.eu/art-5-gdpr/, accessed on 12 September 2022). To support the transcription process, Trint software (online) was employed as it provided an efficient and standardized mechanism for generating preliminary transcripts. However, to ensure the accuracy of the collected data, all transcripts were subsequently reviewed and corrected. An iterative review of the transcripts was conducted throughout the data collection and analysis process. This allowed for the progressive identification of points of theoretical saturation.

IV.

Data treatment

After all interviews were completed, the data processing began using computer-aided qualitative data analysis software (CAQDAS). CAQDAS are used to support coding, optimize the analysis process, and ensure transparency and methodological rigor in the study [24]. There are several CAQDAS programs; in this study, NVivo software was used, including its tools for revising codes and automatic coding. The coding process is fundamental in data analysis, as it allows for the organization of data with similar meanings, facilitating subsequent analyses [24]. The coding strategy adopted in this study combined a priori codes “coding I”—anticipated keywords identified during the development of the interview guide—and emergent codes, identified inductively throughout the transcription (Coding II) and automatic coding in NVivo (Coding III). Coding II was performed as the transcripts were reviewed when new codes emerged to represent new patterns, meanings, and nuances that had not been initially anticipated. In Coding III, NVivo’s automatic coding feature was applied to validate and detect new recurring terms and expressions (codes) throughout the dataset. Subsequently, all identified codes—through the different coding processes applied in this study—were systematically reviewed and compared to ensure consistency, eliminate redundancies, and refine their scope.

The final coding structure was established, as illustrated in Figure 2, with the example of the design process. For this theme, two categories were defined: sustainable product and designer’s role. For each category, its unit codes were defined; for the sustainable design category, three unit codes were defined: methods, materials, and technology. It should be noted that the nomenclature of the unit codes was defined based on concepts from the literature and will be presented in the following Results Section (Section 3). For each unit code, different codes were grouped; for example, the codes for materials comprise textile fibers, cotton, sustainable cotton, and organic cotton.

V.

Data analysis

Thematic analysis was chosen for this study because it offers a systematic yet flexible approach to integrating the collected data, identifying key themes or patterns, and developing apparent thematic relationships [24]. Some illustrative excerpts from the interviews were created for the interpretation of the collected data, presented below in the Results Section. These excerpts were carefully selected to exemplify the participants’ perspectives and provide direct evidence of their experiences, opinions, and reasoning regarding the themes investigated.

3. Results

The Results Section presents, for each thematic approach—sustainability in the textile and fashion industry, and the design process—the main insights obtained from data collection and analysis.

3.1. Sustainability in the Textile and Fashion Industry

The theme of sustainability in the textile industry was divided into two lines of investigation, perspectives and challenges, as illustrated in Figure 3. The codes identified during data collection, related to perspectives, were linked to three concepts from the literature: sustainable actions, fashion business, and greenwashing. Regarding the challenges of sustainability in the Portuguese TFI, designers mentioned issues widely discussed in the literature related to consumer behavior, raw materials, transparency, and supply claims.

3.1.1. Perspectives

As mentioned earlier, the sustainability perspectives in the Portuguese TFI were related to sustainable actions, fashion businesses, and greenwashing.

I.

Sustainable actions

The unit code for sustainable actions highlights that the concept of sustainability has become a cross-cutting requirement in all the companies analyzed. The designers emphasize that there is simultaneously an institutional expectation for the presentation of sustainable solutions and a growing demand from customers.

D1 […more and more companies have to look at this aspect…It’s already happening in many places… nowadays there are already processes… We already know that this exists and that it’s applied…]

D3 […the biggest concern for customers, or the greatest demand, was sustainability, sustainable solutions…. it’s really trying to change, it’s trying to work towards being more sustainable, more eco-friendly, less polluting…]

Designer D10 adds a particularly interesting point by mentioning that all brands—even those without the financial resources to bear the costs associated with sustainability—are showing interest in adopting sustainable practices and creating sustainable products. This phenomenon suggests that sustainability is no longer just a competitive advantage, but an element perceived as essential in today’s market.

D10 […all brands are looking for this, even those that can’t afford it, they all want to have this difference…]

This finding reveals two important points:

(i)

Sustainability has gained symbolic and commercially relevant value;

(ii)

There is increasing market pressure leading companies to seek sustainable solutions, even if these do not always translate into fully consistent practices.

This scenario, therefore, demonstrates that sustainability is perceived as inevitable within the current competitive landscape. However, it also raises questions about the extent to which this widespread demand results in effective actions or whether, in some cases, it may contribute to superficial practices, bordering on greenwashing.

II.

Fashion Businesses

Although there is a recognized concern for sustainability aspects—as evidenced in the unit code for sustainable actions—the strategies defined by business models in fashion continue to be strongly driven by the logic of profit and the costs associated with materials and processes. Thus, the unit code “fashion businesses” highlights how these structural impositions directly influence designers’ decision-making, often limiting the implementation of sustainable solutions.

This reality is particularly associated with the fast fashion model, characterized by extremely short production and distribution cycles, which require the rapid introduction of new products to the market, often at reduced costs and with less durability [3]. Such dynamics put pressure on the production chain and create an environment in which design decisions are largely conditioned by deadlines, prices, and market expectations.

D5 […the textile industry… as an industry, I think it ends up leaning a bit more towards what’s cheaper, what’s more profitable, what yields more than what’s more sustainable, unfortunately. But I think this is changing little by little, gradually…]

D6 […in terms of production, price almost always takes precedence over environmental concerns, since it is usually more expensive. Once it becomes more expensive, the sustainable aspect becomes secondary…]

Furthermore, designer D8 highlights an additional aspect that increases this complexity: production methods and the urgent need for innovation in the sector. This professional points out that many industrial processes are still obsolete, which hinders the implementation of more responsible alternatives. Thus, the challenge lies not only in the costs of materials or processes, but also in the investment needed to modernize production systems to allow for production with less environmental impact.

D8 […I think there’s still a long way to go, because the industry still has rather traditional methods and I think it will take some time for them to change to more innovative things…]

III.

Greenwashing

The multiplicity of concepts associated with sustainability contributes to many professionals experiencing uncertainty and confusion about what can, in fact, be considered a sustainable practice. The unit code “greenwashing” clearly highlights this concern, revealing the frustration of designers when they realize that the concept of sustainability is often disseminated in a distorted way, both within the industry itself and in the communication directed at consumers.

D5 [… I think sustainability is a bit relative; sometimes I see that what they say is sustainable is actually the same thing…]

D2 […I think sustainability is used nowadays as a marketing tool, little more than that…]

The term greenwashing has become widely known in the discourse on sustainability, being used to designate practices in which companies highlight specific or superficial actions with the aim of deceptively promoting an environmentally responsible image [27]. Although this approach appears to have a positive meaning, it can distort social perception and generate confusion for most consumers, compromising the credibility of truly sustainable initiatives [15].

Even more worrying is the account presented by designer D5, who describes the case of a brand that calls itself “sustainable” despite adopting the term only as a marketing tool. In practice, the company’s actions were minimal and insufficient to reflect the essential principles of sustainability.

D4 […they defined themselves as a brand that tried to work with sustainability, but they chose, for example, either to only use sustainable material for the T-shirt fabric, or they tried to use it in the packaging. But I see that even though they tried to use this title of sustainable brand, it was minimal. So, I think it’s a term that’s very much in vogue, but perhaps brands still can’t use it much…]

This example reinforces not only the fragility of communication practices in the sector, but also the risk of trivializing the concept, which hinders its understanding and consistent application, both for professionals and consumers. Thus, it becomes evident that conceptual clarification and regulation of communication practices are essential steps to mitigate the impact of greenwashing.

3.1.2. Challenges

Regarding sustainability challenges in the Portuguese TFI, the designers mentioned issues related to consumer behavior, raw materials, transparency and traceability, and the supply chain.

I.

Consumer behavior

In the consumer behavior unit code, the designers highlight the decisive influence of consumers in advancing more sustainable practices within the fashion industry. In convergence, the designers recognize that the adoption of informed and responsible behaviors by consumers acts as a direct pressure factor on brands, driving the supply and development of sustainable products.

Designer D1 emphasizes the need to inform and educate consumers about the characteristics of new materials—citing, for example, recycled textiles—since a lack of technical knowledge can generate distrust or devaluation of the properties of these materials. This educational effort becomes essential for consumers to understand the environmental and performance advantages associated with sustainable alternatives.

D1 […it’s necessary to educate the customer, educate ourselves, and also understand to what extent this is… initially the brand will offer a quality piece, even if it’s recycled, that recycled material is tested and initially the quality will respond in the same way, if not exactly the same, but it will try to be as good as the other one, isn’t it…]

Complementarily, designer D7 highlights the relevance of garment care, pointing out that simple practices, such as washing at appropriate temperatures or proper drying, contribute significantly to extending the lifespan of products. This argument reveals that sustainability is not limited to the act of purchase, but extends throughout the usage cycle, depending directly on the user’s behavior.

D7 […in the process of daily use, because I also believe it should be sustainable…]

In contrast, designers D2 and D3 express a more critical perception of consumer maturity regarding sustainability in fashion. Designer D3 observes that a significant portion of consumers continue to place little value on quality, favoring low prices and resorting to fast fashion consumption. This preference limits the adoption of more responsible purchasing and disposal models, hindering the expansion of sustainable practices at the industrial level.

D3 […Now quality doesn’t matter as much; the average consumer wants novelty more and doesn’t value quality as much. That’s why the fast fashion industry has grown so much and so fast…]

D2 […And I think that the end consumer, the people who are going to buy the clothes, are still not sensitized to sustainability. I think they are still somewhat indifferent to whether the pieces are made with sustainable materials or not. Yes, there are people who are concerned about this, but we are not talking about the majority, we are talking about a niche market. As long as the end consumer doesn’t change this mentality, our clients, which are the brands, won’t change either…]

Designer D2 adds, however, that the market responds to changes in consumer behavior. Thus, the greater the demand for sustainable products, the greater the incentive for brands to invest in responsible solutions. This perspective highlights the strategic role of the consumer as a driver of the sector’s transformation: although not yet fully aware, their potential for influence is significant and growing.

II.

Raw materials

In the raw materials unit code, the designers comprehensively discuss textile fibers and the multiple factors that influence their sustainability, highlighting that the choice of materials remains one of the most critical—and simultaneously most complex—points in the fashion industry. The reflections presented include aspects related to the availability and cost of fibers, as well as issues related to the environmental impact of production processes and the addition of sustainability narratives associated with specific materials.

From a market demand perspective, designers D6 and D7 describe a significant increase in demand for raw materials labeled as sustainable. However, this movement has been generating a side effect: a shortage of certain fibers, which tends to inflate the final cost of materials. This dynamic highlights that sustainability is deeply intertwined with market logic—it can stimulate innovation and accelerate the transition to more responsible practices, but it can also favor the emergence of greenwashing strategies, in which companies seek to capitalize on this trend without promoting structural changes.

D6 […Sometimes there isn’t enough raw material and the responses customers want aren’t quick enough… Then there’s the issue of demand; there’s immense demand right now, and nowadays buying a meter of organic fabric costs, on average, 40% more than buying a meter of conventional cotton fabric…]

D7 […Everyone nowadays is looking for sustainable cotton, organic cotton. It’s very difficult to find organic cotton. I’d venture to say that, most likely, 50% of the cotton that we see regulated as organic is not actually organic; it’s just a reaction to the market….]

Regarding production processes, designers D2, D4, and D6 express critical concerns about the actual sustainability of widely promoted materials, such as recycled polyester and organic cotton. While often presented as greener solutions, the designers question both the origin of raw materials and the accumulated impact of their production processes, mentioning factors such as intensive water consumption, the use of pesticides and fertilizers, and the need for additional processing steps. These elements reveal that material sustainability is more complex than simply labeling items as “recycled” or “organic,” requiring a more rigorous and contextualized assessment.

D2 […we have some more sustainable products, namely recycled polyester, which is, to a certain extent, sustainable in quotation marks, because we know that there are many factories that produce only plastic bottles to make recyclable polyester, and that’s even worse, isn’t it?…]

D4 […Even though it’s a material that claims to be sustainable and all, it often ends up harming the environment a lot, because it requires more processes, more water, or some other processes.]

D6 […organic cotton, which is grown more sustainably, without chemicals, but at the same time something that doesn’t have chemicals and needs other things, such as more water…]

Material selection is a highly relevant topic in the fashion industry, encompassing compliance with brand standards, chemical requirements, production conditions, and the entire supply chain, as well as the aesthetic expectations of designers [28]. Distinguishing which materials are more sustainable is a challenge given the complexity involved in textile production processes [15].

III.

Transparency and traceability

The unit code transparency and traceability describes the uncertainties designers face regarding the origin, environmental impact, and demand and cost issues of raw materials that directly result from the lack of verifiable and reliable information throughout the production chain. In this sense, designers emphasize that the implementation of traceability systems, articulated with effective transparency practices, constitutes a strategic path to combat greenwashing practices and consolidate the credibility of sustainable initiatives in the textile sector.

D5 […Now there are so many, so many stories surrounding this, aren’t there? About traceability and the possibility of the thread being traced, meaning there’s no chance of suppliers being deceived by each other. And I think the biggest challenge is really having that truthfulness, that transparency, and the price–quality ratio…]

D7 […There may be many people being misled here. Therefore, products labeled as organic or sustainable, but which in reality are not. This is what creates this unsustainability, or this false or disguised sustainability. Therefore, I think the biggest challenge is for us to be able to distinguish what is truly sustainable throughout the entire production chain…]

The concepts of traceability and transparency are interconnected. Especially in the context of the textile and fashion industry, traceability involves the ability to track a product’s journey throughout the entire production chain, from the origin of raw materials to the end consumer. For this to be effective, transparency is necessary, that is, the disclosure and accessibility of information about materials, processes, labor practices, and environmental impacts [18]. Transparency and traceability require the establishment of policies and regulations at a global and/or governmental level. There are several internationally recognized standards and guidelines that, while not directly obligating companies to adopt such practices, highlight traceability and transparency as recommended paths for conducting responsible business [18].

IV.

Supply chain

The unit code for the supply chain brings together a set of fundamental aspects for the textile production chain to operate in a truly sustainable way. While directly addressing previously identified challenges—such as traceability, transparency, and raw materials—this unit broadens the discussion by highlighting the importance of the social aspects that condition the functioning of the industry.

Designer D11 emphasizes social dimensions, with a specific focus on the place of production and the associated working conditions, such as issues like fair wages and adequate working conditions. These factors are inseparable from a truly sustainable approach, since the social impact of the textile and fashion industry goes far beyond environmental indicators.

D11 […the manufacturing process itself, that is, who our suppliers are, where it’s made. Because part of sustainability isn’t just about materials or pollution, it also has to do with social sustainability, which, at least in my understanding, is part of it. So, knowing where it’s made, by whom it’s made, whether people are being paid properly, whether they work decent hours. All of these are things that need to be taken into account…]

Designer D10 draws attention to particularly relevant challenges in the Portuguese context, highlighting the high cost of national production and the gradual loss of specialized technical knowledge. These factors reveal not only operational weaknesses but also a threat to the future of the industry, as traditional skills and qualified labor become progressively scarce.

D10 […Having production done here in Portugal also ends up being a challenge, because it’s also more expensive, and I don’t know to what extent that will be possible in the future, because we’ll also have fewer and fewer seamstresses and everything else. And that ends up being a challenge, this loss of know-how, which perhaps will eventually end…]

These perspectives reinforce the urgency of rethinking working conditions and promoting strategies that ensure the continuity and appreciation of local know-how, recognizing that sustainability in the supply chain depends on both environmental and social practices.

3.2. Design Process

The theme of the design process was divided into two lines of investigation, sustainable product and fashion businesses, as illustrated in Figure 4. The codes identified during data collection related to sustainable products were linked to three concepts from the literature: design methods, materials, and technology. Regarding the designer’s role, for a coherent comparative analysis, the data were divided according to the business model—OCP or TCP—and whether they were a private label or own brand.

3.2.1. Sustainable Product

Regarding the sustainable product category, the designers mentioned issues related to design methods, materials, and technology.

I.

Design methods

In the unit code design methods, designers highlight the application of methodologies geared towards solving specific problems in the fashion industry, with a special focus on pre- and post-consumer waste management. The reflections reveal the adoption of approaches associated with circular design and eco-design, as well as the use of methods such as upcycling, understood as a strategy for adding value to materials and reintegrating waste into the creative and production process.

Designer D9 highlights the importance of incorporating, from the initial stages of the design process, a strategic reflection on product characteristics, arguing that products should be designed to extend their lifespan and allow for adaptations to different uses, contexts, and user needs. In this sense, the potential of modular design stands out as an approach that prioritizes characteristics and allows for product adaptation.

D9 […it involves making models that are more versatile, that work for all seasons, that can be worn in both summer and winter…making more versatile models…]

D7 […in the post-consumer recycling aspect, taking products that are no longer used and trying to recycle them as much as possible or reuse them, we are talking about upcycling…it would be the reuse of a product that has already been created…]

D10 […I think the most sustainable way to create is by not creating new things, but by using this waste…And then there’s the whole eco-design aspect, trying to create a piece that can be multifunctional…]

Designers D10 and D7 reinforce the relevance of integrating pre- and post-consumer waste as raw material in the development of new products, highlighting the role of design in reintroducing these materials into the production cycle. Post-consumer textile waste results from the use and disposal of clothing, household textiles, and accessories, such as sheets, towels, scarves, belts, and footwear [29,30]. According to the European Commission (2022) [30], approximately 800,000 tons of household textile waste were collected in 2020.

The design phase is crucial for a product’s environmental performance, accounting for up to 80% of its impact throughout its life cycle [31]. Therefore, product design is fundamental to extending the lifespan of textile products and, consequently, reducing the resulting environmental and climatic impacts [30]. Both designers advocate practices approved by the principles of the circular economy, in which creative reuse emerges as a strategy to reduce the valorization of existing materials and minimize the need for new resources. These approaches demonstrate how design can actively contribute to mitigating the environmental impacts of fashion, while encouraging creative, innovative, and contextualized solutions.

II.

Materials

The unit code related to materials brings together a critical reflection on the different components that make up a textile product, including textile fibers, dyeing processes, accessories, and packaging. By consensus, all designers recognize the importance of material selection in the development of sustainable products, with special emphasis on textile fibers.

In the context of textile fibers, designers express a critical reflection on material certification, emphasizing that certification alone is not sufficient to define a product’s sustainability since the textile fiber represents only one part of the production system. Sustainable design, as emphasized by designers, must consider all the factors that make up the product, including the production processes and finishing processes—such as dyeing or printing, accessories, logistics, and its life cycle.

D9 […I focus more on the fiber, then I try the fiber, and then that will influence the durability of the product…]

D11 […The fiber, first and foremost the textile fiber… the manufacturing process itself, that is, who our suppliers are, where it’s made… the packaging, that is, the box, the perfect materials, the way it’s packaged…]

D7 […It’s not just about having a GOTS label or a GRS label, or a BCI label; in my opinion, that alone shouldn’t define whether a product is sustainable or not…]

Beyond textile fibers, designers D1 and D3 emphasized the relevance of dyeing processes, recognizing their significant impact on the overall sustainability of the product. Designer D10 also highlighted the importance of accessories and advocated prioritizing the acquisition of materials domestically as a strategy to reduce travel, shorten the supply chain, and mitigate the environmental impacts associated with transportation.

D1 […To be quite honest, today in my job it’s the choice of raw materials… Then, I would try to do the printing part, if necessary…]

D3 […The composition of the fabric, the dyeing…]

D10 […The choice of accessories is also always made locally, as close as possible.]

Regarding textile coloration, conventional dyeing processes are responsible for a significant portion of the environmental impact in the textile industry, due to the high-water consumption, use of potentially toxic chemicals, and energy expenditure involved in the various stages. Therefore, the conscious choice of dyes and dyeing methods should be considered an important aspect of sustainable design, allowing for a reduction in environmental impacts and promoting more efficient and responsible production. Finally, the accessories that make up the garment—such as zippers, buttons, and velcro, among others—should also be considered since they influence the recyclability and overall environmental performance of the product.

III.

Technology

In the technology unit code, designers highlight the increasing integration of digital technologies in the development of sustainable products. In particular, digital design tools—such as 3D technologies—have been increasingly used to conceive, design, develop, and produce three-dimensional products. However, the adoption of these technologies is gradual, as their implementation is directly conditioned by the business model of companies, as well as the necessary investments. Furthermore, the effective use of these tools requires the development of specific technical skills on the part of professionals, which represents an additional challenge in the context of the sector’s digital transformation.

Designer D3 highlighted the use of CLO (available at: https://www.clo3d.com/pt/, accessed on 5 December 2025) software, emphasizing its advantages in reducing the number of physical samples produced and facilitating collaborative work with the modeling sector. Furthermore, he mentioned the growing interest of some brands in adopting this type of tool.

D3 […CLO is a 3D design software that designs, that is, we are implementing this in the company to try to avoid the first samples, since that is also a big waste. So, we are trying to introduce this, we are trying, but this only normally works with larger brands. Larger brands, that is, those that produce a lot, that have larger quantities. I haven’t had any clients who wanted to go that way yet, but we’ve already had a lot of demand, and I think it has been a differentiating point in the company, which is that it’s from CLO, it comes already, the designer is in communication with the pattern maker…]

D10 […there’s the whole issue of 3D and the immense, immense possibilities…]

Technological innovation has established itself as a driving force in the transition of the textile and fashion sector towards more sustainable practices [11]. The creation of products through digital technologies allows designers to develop more detailed and accurate representations, optimizing subsequent stages of the process and minimizing errors and misinterpretations. In addition, this process contributes to reducing development time and material consumption, favoring more efficient, sustainable, and environmentally responsible production [1].

3.2.2. Designer’s Role

Regarding the designer’s role, the data collected were divided according to the fashion business model: OCP and private label, TCP and own brand, and TCP and private label. It is worth noting that private labels can be national or international brands.

I.

OCP and private label

In the OCP and private label unit code, designers unanimously reported that there was freedom to suggest raw materials, although customers often present specific preferences or requirements, such as fabric type (e.g., knits), textile composition, target audience, and price range. Designer D1 added that, specifically in their process, there was freedom to develop graphic elements, mainly prints. Designer D4 mentioned that although they made a preliminary selection of fabric samples to present to the brand—which they tried to influence the choice of—the suggestion was not always accepted.

D7 [… Usually, brands already have this defined or an idea of what they want. Our job is to help them find the raw materials that meet their needs…]

D1 […The first step is the quality of the fabric, which is generally fleece or jersey for a teen audience. So, it’s always within that framework. I choose the raw material, then the designs. I have an inspiration, which I sent to them as options, they choose from those, and I create the design the way I want…]

D4 […Normally when the brand wants organic, they say so right at the beginning, so we only look for organic… Sometimes they send us a technical sheet, they send us a model, they tell us more or less the type of material they want to use. And we try to make a selection from our fabric suppliers, of what fits. Of course, always taking into account the client’s quality parameters, the price target they give us, that kind of thing…it was really in the choice of materials. But only up to a certain point, because I made the first selection and I chose, but in the end, for example, I would send three samples and the client would ultimately choose. But I always tried, like, to talk, to write something for them trying to get them to choose what I thought was best. And sometimes it worked, sometimes it didn’t…]

In the OCP business model, designers generally follow predefined directions established by clients, which limits their autonomy in decision-making. Their role usually focuses on interpreting briefs, adapting designs, and coordinating product development according to established technical, aesthetic, and cost requirements. Despite these restrictions, designers maintain a significant degree of creative autonomy. Within the parameters defined by clients, they can propose alternative materials or suggest adjustments to pattern making or textile processes, with the aim of introducing more sustainable design solutions. In this context, the designer’s contribution lies not only in execution but also in their ability to engage in dialogue towards more responsible practices.

II.

TCP and own brand

In the TCP and own brand unit code, designers are directly involved in the conception of products that will mostly be produced internally. In this context, professionals identify several challenges associated with their professional practice, particularly limitations related to the availability and cost of raw materials. Faced with these constraints, designers emphasize the central role of creativity in the design process as a strategic resource for overcoming difficulties, adapting proposals, and finding viable solutions. Simultaneously, the importance of integrated and collaborative work between different areas of the company is highlighted, since this articulation contributes to the exchange of knowledge, the enrichment of the creative process, and the generation of fundamental insights for product development.

Designer D5 mentions the difficulty currently observed in obtaining certain raw materials in specific colors. To overcome this limitation, the participant explains that whenever possible, they use raw materials available in the company’s stock. It is important to highlight that the valorization and reuse of existing materials constitute a particularly relevant aspect within the scope of sustainable design, since they contribute to the reduction in waste, the optimization of available resources, and the decrease in the need to produce new raw materials. This practice reveals not only a more environmentally conscious approach, but also a capacity for creative adaptation to the limitations of the industrial context, highlighting the importance of the designer’s role in promoting more responsible solutions aligned with the principles of the circular economy.

D5 […I’ve noticed that lately it’s been difficult to find yarns in certain colors because we don’t have them in stock; we have to buy them or have them dyed. And then that process is very time-consuming, or there’s no yarn available, that kind of situation…. To make decisions, we in the collection department, to try to speed up the process and to try to make the most of the stock we have internally, which is still quite a lot, our colleagues who design also do this process at the beginning of building the collection. They do this process of researching stock yarns, looking for colors that are close to the palette we initially made, and trying to see what can be used….]

Designer D5 highlights that collaboration with other professionals allows for the creation of current products using stock materials, meaning they are framed within the inspirations of the new collection. Similarly, D11 emphasizes the importance of collaborative work with professionals from the sales department to align design results with market objectives and business strategies.

D11 […we are the ones who choose the colors, we are the ones who make the designs… We are also in contact with our sales teams to understand a little bit about what the market is experiencing or not…]

Designer D8, who works with the home textile production (HTP) business model, explains that the product creation and development process generally begins with the conception of a collection intended for their own brand, which may later be marketed in its original form or adapted according to the specific needs of end customers.

D8 […when projects come to us, we already know what we have to develop, taking into account the budget… imagine he asks for something super complex, but has a super small budget, okay, he’s not going to accept this, we have to adapt a design that the client can afford, with far fewer colors,…but always trying to respect the client’s wishes so he doesn’t say no…]

In this context, the professional identifies the difficulties associated with developing exclusive products when the end customers select a particular pattern—often inspired by the owner’s collection—but defines a budget that compromises the viability of the new proposal. Faced with this scenario, the designer seeks to establish technical and aesthetic compromises, resorting, for example, to reducing the number of colors and, consequently, to decreasing the use of yarns, while simultaneously prioritizing the creation of patterns that maintain visual value and aesthetic similarity to the reference product.

This example clearly highlights the active role of the designer in formulating creative solutions to the demands and limitations imposed by the market, as well as their importance in managing the balance between cost, aesthetics, and production viability. The difficulties related to cost extend beyond the specific context of the HTP business model, having also been mentioned in the sustainable textile and fashion industry theme as one of the main factors conditioning the implementation of more sustainable practices, particularly in terms of the selection of textile raw materials.

III.

TCP and private label

In the TCP and private label unit code, the importance of collaborative work is equally evident, highlighting its positive contribution to the development of products or fabrics aligned with customer needs. However, in this context, the negative effects of superficial or poorly articulated collaborations are also pointed out, which can compromise the coherence of the design process. Although in this TCP model, creation and production occur internally—which, in theory, could increase the autonomy of designers compared to the OCP model—participants indicate that decision-making continues to be largely conditioned by customer directions.

Designer D9 exemplifies collaborative work with private labels, proposing suggestions at the level of pattern making, manufacturing, or finishing (related to textile processes) and, when necessary, developing new raw materials that directly meet the customer’s needs.

D9 […we suggest the raw materials to send them, or they say, “Look, this material is selling very well, send me options for it.” Or, for example, during the pattern making phase, “Look, maybe it’s better if we do it this way, or this finish looks better in the final product, should we switch?” It’s always a collaborative effort… we look for materials in that sense, we propose them, and they choose, or sometimes we have to develop them as well. It’s a whole joint process…]

However, in this context, some collaborative practices refer to superficial situations, which can trigger reflection in less efficient practices, involving rework and/or failures related to product development. Designer D2 mentions a situation—related to the cost of raw materials in product development—that demonstrates how superficial collaborative practices can trigger future problems.

D2 […Since I don’t work so much with price lists because that also depends on the market, it depends on the client… Some say, ‘Oh, we don’t want more than €8/m or €10 or €12.’ Anyway, whatever price they’ve set, I usually talk to the sales representative in those cases just to try and understand. And they always tell me to send everything, because sometimes they have room to lower the prices or they see a design in one quality but can get it in another quality, maybe even cheaper. So, price ends up not being a limitation for me…]

Although the company this designer works for has a wide variety of raw materials with different price ranges, the support of the sales sector—which in this case focuses on future negotiations—can compromise the creative and productive process. In these cases, when the sales team acts in a supporting role (and not in conjunction with the designer in the design process)—that is, in an attempt to adjust prices—it suggests changing raw materials or alternative processes, which can accelerate and generate inconsistencies at the design level and cause errors and rework at the quality level. This scenario highlights that not all collaboration is automatically positive; interaction between sectors needs to be organized and balanced, ensuring that the principles of design, quality, and sustainability are not compromised during commercial negotiations.

Designer D3 stated that although the final decisions rested with the customers, he had the freedom within the company to present proposals and was committed to finding the best alternatives to best meet the brand’s needs.

D3 […I don’t make any decisions, the brand decides. But what I offer, what I present depends on me and my boss… and therefore I had that freedom. And I also had the intention of responding as best as I could to the request…]

In this way, the designer’s role as an active agent in proposing sustainable solutions is reinforced, assuming a strategic function as a driver of innovation and transformation in the textile industry.

4. Discussion

The Discussion Section outlines the main themes of convergence, highlighting their interrelationships, and concludes with the formulation of strategic lines to support designers at all stages, from design decisions to sustainable development practices.

4.1. Central Themes of Convergence

The designers’ perspectives on the challenges of sustainability in the Portuguese TFI present several points of convergence, highlighting the complexity of the topic and its cross-cutting nature, as shown in Figure 5.

The concept of greenwashing, for example, appears recurrently in designers’ discourse, both as a perspective and as a challenge. From the point of view of perspectives, many professionals express frustration with the diversity of concepts, narratives, and discourses associated with sustainability, which are often unclear or contradictory, ultimately generating confusion and discrediting the concept itself. In a similar study by Hur et al. (2019) [15], who investigated the perceptions, attitudes, and challenges of implementing sustainable design in fashion, the results also indicate that a lack of consensus on the concept of sustainability is one of the challenges for participants.

Regarding challenges, the ambiguity is reflected in consumer behavior. In the designers’ perception, the difficulty in distinguishing truly sustainable practices from merely communicational strategies negatively influences purchasing decisions. In this sense, the author Vassalo et al. (2024) [3] points out that the diversity of concepts, such as zero waste, circular economy, upcycling, ethical fashion, slow fashion, among others, or ambiguous terms, such as eco, organic, and sustainable—widely used in the communication strategies of fashion brands—can generate confusion among consumers, leading them to question whether these brands are, in fact, sustainable or whether such terms are used only as marketing, often associated with greenwashing practices. This trivialization of concepts not only compromises consumer confidence but also ends up discrediting brands that adopt truly sustainable practices, since it makes it more difficult to distinguish genuine initiatives from mere marketing strategies.

Considering that the fashion sector responds directly to consumption dynamics, designers emphasize that the demand for sustainable products tends to encourage brands to invest in solutions aligned with sustainability principles. In the study by Hur et al. (2019) [15], participants also mention the challenges related to supply and demand and consumer awareness. Thakker et al. (2023) [32] reinforce the importance of global actions to achieve more sustainable practices, contextualizing the 17 Sustainable Development Goals (SDGs) in the textile and fashion industry. Faludi et al. (2020) [7] highlight the relevance of SDG 12—which aims to ensure responsible production and consumption patterns [5]—emphasizing the urgency of a systemic transformation in which brands and consumers share responsibility for reducing environmental and social impacts throughout the entire textile chain.

Although the Digital Product Passport (DPP) was not mentioned by the designers interviewed, several authors highlight its relevance in addressing challenges associated with greenwashing and the role of the consumer, also identified in this study as challenges to sustainability in the Portuguese TFI. The DPP is an important tool proposed by the European Union—part of the Ecodesign for Sustainable Products Regulation—to register, process, and share in detail the digital product information [33,34]. The DPP includes information on materials and their origins, production details, repair, recycling, care instructions, and chemicals, among other information [34,35,36,37,38]. Specifically in the context of design, the focus of this study, these data contribute significantly to circular design approaches. Thus, the DPP has the potential to strengthen transparency and accountability throughout the value chain, significantly improve product traceability support and more informed consumer decisions [34,35,36,37,38], and strengthen mechanisms to prevent counterfeiting [39].

Similarly, the category related to materials reveals commonalities between perspectives and challenges. In terms of perspectives, designers acknowledge that decisions related to the selection of raw materials and production processes are heavily influenced by business models, which directly affect the costs and final prices of products. Furthermore, participants recognize that many of the uncertainties associated with the origin of materials, environmental impacts, and variations in cost and demand result from a lack of verifiable information. In this sense, they argue for the need to implement traceability systems, articulated with effective transparency practices. This is a strategy pointed out as a response not only to the challenge of raw materials, but also to combat greenwashing practices and reinforce the credibility of sustainable initiatives in the textile industry.

The research by Hur et al. (2019) [15] again identifies points of convergence with this study regarding the importance of collaborative work with other teams and suppliers, considered fundamental for the implementation of sustainability in design practice. Additionally, the authors highlight the relevance of organizational vision and philosophy at the business level, oriented towards the adoption of sustainable practices.

According to Ma et al. (2024) [11], the transition to sustainability in the global textile and fashion industry is characterized as multifaceted, highlighting the need to find a balance between the demands of sustainability and the economic viability of companies. Designers from the Portuguese TFI highlight the importance of specific strategies focused on innovation in the national production chain to meet the demands of both national and international brands. Faludi et al. (2020) [7] highlight the relevance of SDG 9—to incentivize innovation and promote sustainable and resilient industrialization [5,7]—applied to the context of the textile industry for investments in new technologies, alternative materials, and cleaner and more circular production processes.

Business models, by nature, tend to prioritize responses associated with economic efficiency and market competitiveness; when aligned with the principles of sustainability, these models can also encourage practices with less environmental impact, such as process optimization, waste reduction, and the adoption of materials with smaller ecological footprints. The research by Hur et al. (2019) [15] again identifies points of convergence with this study regarding the relevance of organizational vision and philosophy at the business level, oriented towards the adoption of sustainable practices. However, in this study, the designers emphasize that innovation in the fashion industry cannot be limited to just economic and environmental dimensions; it is equally essential to incorporate practices that promote social and cultural pillars. These include, for example, valuing local work, preserving traditional know-how, and improving working conditions. Thus, there are multiple ways to encourage social development and support culture in the fashion sector, whether through public policies, responsible business strategies, or design practices that recognize and integrate these values in the development of products and services.

Regarding the topics of sustainable product and the role of design, investigated in the design process theme, it was also possible to identify several points of convergence, as illustrated in Figure 6.

Both in the unitary codes associated with design methods and in the analysis of the role of designers, the relevance of multiple approaches to design practices oriented towards the creation of sustainable products is evident. In this study, participants emphasize that the conscious adoption of design methodologies and tools constitutes fundamental support for professionals to develop products with purpose. Circular design focuses on extending a product’s lifespan by keeping valuable materials in use for as long as possible before recycling and recovery [40]. Circular design practices were frequently mentioned by designers as central strategies, for example, to anticipate and mitigate the generation of textile waste and rethink the end-of-life of products. These practices encourage designers to critically reflect on the product life cycle from the initial stages of the project and to establish interdisciplinary dialogues with other professionals in the value chain, in the search for more sustainable solutions. As in this study, other investigations reinforce the importance of collaborative work between different professionals and departments [15,41] to overcome the barriers (management, financial, technological, logistical, and governmental, among others) in the transition to a circular economy [42,43]. Rehman et al. 2024 [44] highlight SDG 13—with aims to ensure sustainable consumption and production patterns [5]—as highly relevant to encouraging the implementation of actions related to waste reduction, recycling, and the circular economy.

Regarding materials, designers present convergent perspectives related to the conception of sustainable products and the role they play in the decision-making process. In the study by Hur et al. (2019) [15], similar to this study, the designers also emphasized the choice of materials (e.g., the use of recycled and renewable materials). The choice of materials goes beyond a merely aesthetic or functional logic, assuming a strategic characteristic in product design. Textile fibers, in particular, directly influence the technical and functional properties and simultaneously condition the circularity of the product. Therefore, the conscious selection of materials is affirmed as one of the fundamental pillars in the design process, since it directly influences the possibility of recycling, reuse, and disposal at the end of its life cycle.

Despite many points of convergence with the study by Hur et al. (2019) [15], the authors mention that sustainable design strategies are heavily focused on recycling, and that designers should include dye materials and textile dyeing processes, packaging, and strategies oriented towards upcycling and sharing to take advantage of the end of the product life cycle. In this study, designers emphasize that the development of a truly sustainable product requires an integrated analysis of multiple materials beyond textile fibers. Each product must be thought of individually, considering not only the raw materials, but also aspects such as dyeing processes, accessories, packaging, and garment construction, such as pattern making. In this way, participants emphasize that sustainability cannot be reduced exclusively to the choice of materials considered “sustainable,” but must result from a balance between several variables that, together, determine the overall impact of the product.

4.2. Strategic Lines—From Design Decisions to Sustainable Development

Based on the insights derived from the findings of this study, a set of strategic lines was formulated to support designers in the conception and development of sustainable products. These guidelines encompass cross-cutting actions, principles, and recommendations that may be implemented either individually or in a coordinated manner across different stages of the design process.

• Adopting Circular Design Methodologies: Applying approaches such as eco-design and upcycling, among others.
• Integrating Digital Technologies into the Design Process: Using AI tools, 3D design tools, and others to reduce physical samples, optimize processes, and support more sustainable decisions.
• Treating Material Selection as a Strategic Decision: Evaluating textile fibers, dyeing processes, finishes, accessories, and packaging based on environmental, economic, functional, and circularity criteria, going beyond merely aesthetic decisions.
• Valuing Materials in Stock and Optimizing Supply Logistics: Prioritizing the use of existing raw materials and local suppliers whenever possible, reducing waste and impacts associated with transportation.
• Critically Reflecting on Certifications: Recognizing the relevance of certificates but avoiding treating them as an absolute guarantee of sustainability, preventing greenwashing practices.
• Demanding Greater Transparency and Traceability in the Production Chain: Encouraging systems—such as the digital product passport (DPP)—that allow tracking the origin of materials, production processes, and working conditions, reinforcing the credibility of sustainable practices.
• Promoting Collaborative Work between Different Sectors: Stimulating effective collaboration between designers, sales teams, suppliers, and customers, ensuring that commercial decisions do not compromise quality, innovation, and sustainability.
• Considering the Impact of Dyeing and Textile Finishes: Integrating the choice of dyeing and finishing methods into the design process, taking into account water, energy, and chemical consumption.
• Acting in Raising Consumer Awareness and Education: Developing communication strategies that inform about materials, processes, use, and maintenance of products, promoting the extension of the useful life of garments.
• Valuing the Social and Cultural Dimensions of Sustainability: Encouraging practices that strengthen local work, preserve traditional know-how, and promote fair working conditions, especially in the context of the Portuguese textile and fashion industry.
• Stimulating Innovation in the Production Chain: Contributing to the development of creative and innovative solutions that balance economic viability, environmental responsibility, and positive social impact.

The application of these strategic guidelines requires further investigation. In this regard, the authors are currently developing a study within the framework of strategy 8—considering the impact of dyeing and textile finishes—with the aim of promoting skills related to sustainable color education among designers. Therefore, these strategies can also serve as a reference for researchers and other professionals in planning studies or initiatives in the field of education. It is important to emphasize that education in sustainable fashion design is essential to promote a change in students’ perceptions, the development of more comprehensive skills, and the dissemination of new approaches that allow them to broaden their field of activity [45].

5. Conclusions and Future Trends

This study explores designers’ perspectives on sustainability in the Portuguese TFI, identifying the main challenges associated with sustainable development in the sector. The perspectives identified are directly related to the growing demand, from brands and customers, for the adoption of practices—especially materials and processes—with a lower environmental impact. This search is associated with, and potentially influenced by, the business models, which condition design decisions. Designers demonstrate concern and difficulty in distinguishing truly sustainable practices within the context of the Portuguese TFI, referring, for this reason, to the recurrence of the concept of greenwashing. Regarding the challenges of sustainability in the Portuguese TFI, these relate to the need to raise consumer awareness, the dynamics of supply and demand that influence the cost of materials, as well as the complexity associated with evaluating the sustainability aspects of materials. Additionally, uncertainties regarding the origin of materials and the characteristics of production processes stand out, stemming from a lack of transparency and traceability throughout the supply chain.

Additionally, it investigates the variables considered by designers in the process of creating sustainable products, which are associated with the adoption of circular design methodologies and the selection of materials and finishing processes with less environmental impact. The designers also emphasize the importance of considering materials such as packaging, evaluating the management of existing stocks, boosting national production, and addressing social concerns. Based on the data analysis, the study proposes, as a contribution, a set of strategic lines aimed at supporting designers in the different stages of the design process. These strategic guidelines aim to contribute to the advancement of knowledge by articulating design practice with the theoretical frameworks of sustainability and circular design. These guidelines offer a conceptual model that can be explored, tested, and refined in future studies.

Although this study focused on the Portuguese TFI, its results can be extrapolated to a broader scale since this sector operates in an integrated way with national and international brands. In this sense, the designers’ perspectives highlight challenges that, while contextualized within the Portuguese TFI, reflect dynamics and problems common to the textile and fashion industry globally. For this reason, the strategic lines proposed in this study could be used by designers in other geographical contexts, as their focus is to support professionals in the critical evaluation of the multiple factors involved in the design process.

Furthermore, this study reinforces the importance of global actions, such as the 17 Sustainable Development Goals (SDGs), to achieve more sustainable practices. Specifically, in the textile and fashion sector, SDGs 9, 12, and 13 are particularly relevant. SDG 9 encourages technological innovation—both in production processes and in actions to ensure traceability and transparency—as well as the development of new textile materials. SDG 12 reinforces the importance of increasing consumer awareness and strengthening ethical production throughout the textile supply chain. Similarly, SDG 13 aims to strengthen circular design practices to promote waste reduction, recycling, and proper end-of-life management for textiles. Moreover, this integration is essential to train designers capable of acting as agents of transformation, enabling them to question established industry practices, propose innovative solutions, and act strategically in different contexts of the textile and apparel supply chain.