In a water-scarce SA, inefficient textile production poses environmental, financial and reputational risks for fashion businesses.
Globally the textile industry is a major consumer of water and contributes significantly to industrial water pollution worldwide.
Textile wet processing, including dyeing, printing and finishing, consumes substantial volumes of water, with research showing that dyeing alone can use around 100 to 125 litres per kilogram of fabric. A lot of this re-enters the environment as contaminated wastewater, carrying leftover dyes and harmful chemicals.
These inefficiencies translate directly into higher production costs and increased exposure to sustainability-related scrutiny for local businesses.
Operational efficiency through digital printing
Digital textile printing is transforming how designs come to life on fabric.
Unlike traditional dye-based processes, which involve multiple stages of washing and rinsing, Epson’s Monna Lisa ML-13000 printer uses advanced pigment inks that can reduce water use by up to 97%. It eliminates the need for pre-treatment and constant rinsing, while maintaining colour vibrancy and detail.
This shift from analogue to digital enables designers to print shorter runs while customising designs and producing only what’s needed, cutting down on overproduction and waste.
Businesses can now align production volumes with market demand, reducing unsold inventory and maximising profitability.
Because Epson’s printers are compact and adaptable, local studios can print high-quality fabrics on demand, respond faster to seasonal trends and avoid the environmental toll of long supply chains.
This approach aligns with the growing sustainable fashion movement in SA, from small ateliers reworking fabric offcuts to designers creating limited collections inspired by heritage prints. Technology allows businesses to integrate sustainability into their operations without compromising design or commercial agility.
Circular economy
Epson’s research extends beyond printing. Its Dry Fiber Technology prototype defibrates used textiles into reusable fibres, which can then be transformed into non-woven fabrics without using water, requiring only moderate humidity for the transformation.
Applied at scale, it could help solve not only the problem of excessive water consumption, but also another global fashion industry challenge: the low rate of textile-to-textile recycling. Currently only around 1% of materials are made into new fabrics.
Dry Fiber Technology enables Japanese designer Yuima Nakazato, a longtime Epson collaborator, to pursue a lower-impact production process that supports material circularity while still delivering high-quality, custom-made clothing.
Nakazato proved at Paris Haute Couture Week A/W 2025/26 that circular fashion can be couture. His Glacier collection featured digitally printed pieces crafted from non-woven fabric produced using this method from African-sourced secondhand clothing.
South African fashion businesses can reduce operational costs, improve production efficiency and meet growing sustainability expectations from both regulators and consumers by embracing digital textile printing and innovative recycling methods.
Technology, in this way, can be a driver of growth, competitiveness and long-term resilience.
To learn more about Epson’s sustainable innovations for the textile industry, visit the brand’s website.
This article was sponsored by Epson.
