By Daniel Bradlow
PRETORIA, South Africa, May 18 2023 – Zambia defaulted on its debt in November 2021 but has not yet reached an agreement with its creditors. Its president recently warned that this situation is hurting its citizens and undermining its democracy because “you cannot eat democracy”.

Given their adverse economic, social, and political impacts, it should be expected that human rights considerations would play an important role in sovereign debt restructurings. Unfortunately, this is not the case, even though all negotiating parties have human rights responsibilities or obligations.

It is unclear why these actors pay so little attention to human rights in the sovereign debt restructuring context. One possibility is that they are not sure how to incorporate human rights into their transactions.

This should not be surprising. It is difficult to understand the causal linkages between a sovereign debt crisis and the deteriorating human rights situation that follows. There can be multiple such linkages and the lines of causation can run in different directions.

Consequently, a human rights consistent debt restructuring will be fact and context specific and will require the parties to understand their role in both creating the situation and in mitigating or eliminating the adverse human rights impacts.

This requires the parties to have a common approach to analysing the debt crisis and its anticipated economic, financial, human rights, environmental, social and governance impacts. Thus, they could benefit from having a mutually acceptable set of principles that incorporates all these issues.

In 2021, I received a grant from the Open Society Initiative for Southern Africa to explore the feasibility of my proposal to establish a DOVE (Debts of Vulnerable Economies) Fund. This fund would buy the debts of sovereigns in distress and state that it would only support sovereign debt restructurings that were consistent with widely accepted international norms and standards.

My work on this project revealed shortcomings with all the existing international standards and led me to develop the DOVE Fund Principles. The principles are based on 20 existing international norms and standards developed by states, international organisations, industry associations and civil society organisations. They can provide a common framework for the negotiations between states and their creditors. They are now set out and explained.

The DOVE Fund Principles

Principle 1: Guiding Norms: Sovereign debt restructurings should be guided by the following 6 norms: Credibility, Responsibility, Good Faith, Optimality, Inclusiveness, and Effectiveness.

• Credibility: The Negotiating Parties and the Affected Parties are confident that the restructuring process can produce an Optimal Outcome. The “Negotiating Parties” are the sovereign debtor, its creditors and their advisors. The “Affected Parties” are the residents of the debtor country and those individuals whose savings either directly or indirectly finance the debt being restructured.
• Responsibility: The Negotiating Parties seek an agreement that respects their respective economic, financial, environmental, social, human rights and governance obligations and/or responsibilities.
• Good Faith: The Negotiating Parties intend to reach an agreement that takes account of all their rights, obligations and responsibilities.
• Optimality: The Negotiating Parties seek an “Optimal Outcome”, that addresses the circumstances in which the transaction is being negotiated, the parties’ respective rights, obligations and responsibilities, and offers them the best possible mix of economic, financial, environmental, social, human rights and governance costs and benefits.
• Inclusiveness: All creditors can participate in the restructuring process and the Affected Parties are able to make informed decisions about how it will impact them.
• Effectiveness: The Negotiating Parties should seek an Optimal Outcome in a timely and efficient manner.

Principle 2: Transparency: The Negotiating Parties and the Affected Parties should have access to the information that they need to make informed decisions regarding the debt restructuring.

The creditors have access to sufficient information that they can make informed decisions about the scope of the sovereign’s debt problems, the options for their resolution and their potential economic, financial, environmental, social, human rights and governance impacts.

The Affected Parties should also have access to sufficient information, subject to appropriate safeguards, that they can make informed decisions about how the restructuring may affect their rights and interests.

The creditors should inform the debtor and the Affected Parties about their environmental, social, and human rights obligations and responsibilities.

Principle 3: Due Diligence: The sovereign debtor and its creditors should each undertake appropriate due diligence before concluding a sovereign debt restructuring process.

The Negotiating Parties should utilize a debt sustainability analysis which credibly determines the sovereign’s debt restructuring needs and their impacts.

Principle 4: Optimal Outcome Assessment: At the earliest feasible moment, the Negotiating Parties should publicly disclose why they expect their restructuring agreement to result in an Optimal Outcome.

An Optimal Outcome requires the Negotiating Parties to assess the expected impacts of their proposed agreement on the economic, financial, environmental, social, human rights and governance condition of the sovereign borrower and the Affected Parties.

Principle 5: Monitoring: The restructuring process should incorporate credible mechanisms for monitoring the implementation of the restructuring agreement.

The Negotiating Parties should audit the financial aspects of the agreement and monitor its economic, social, environmental, human rights and governance impacts. This information should be published periodically.

Principle 6: Inter-Creditor Comparability: The restructuring process should ensure that all creditors make a comparable contribution to the restructuring of the sovereign’s debt.

The process should give creditors the confidence that all other creditors are making comparable contributions to an Optimal Outcome.

Principle 7: Fair Burden Sharing: An Optimal Outcome should share the burden of the restructuring fairly between Negotiating Parties and should not impose undue costs on any of the Affected Parties.

Both the debtor and the creditor bear some responsibility for causing debt crises and should absorb some of the restructuring costs. Moreover, they should seek to limit how much of the restructuring costs the Affected Parties will have to bear, considering their relative wealth and ability to absorb losses.

Principle 8: Maintaining Market Access: The restructuring agreement, to the greatest extent possible, should be designed to facilitate future market access for the borrower.

It is an unfortunate reality that debtor countries must seek financing from international financial markets. Thus, the Optimal Outcome should help the debtor regain access to financial markets as quickly as possible.

As the Zambian case demonstrates, the current arrangements for restructuring sovereign debt are sub-optimal. The DOVE Fund Principles seek to overcome this problem by offering both Negotiating and Affected Parties a common conceptual framework that facilitates a fair resolution of the crisis incorporating all its social, environmental, human rights, economic, financial and governance impacts.

They therefore can promote an Optimal Outcome.

Daniel D. Bradlow, Professor/Senior Research Fellow, Centre for the Advancement of Scholarship, University of Pretoria, South Africa
SSRN Author Home Page
www.chr.up.ac.za

For further information on this ongoing project, contact: danny.bradlow@up.ac.za
Business and Human Rights Journal articles for further reading:
1) “Social Bonds for Sustainable Development: A Human Rights Perspective on Impact Investing” Stephen Kim PARK Journal: Business and Human Rights Journal / Volume 3 / Issue 2 / July 2018 pp. 233-255
2) The Record of International Financial Institutions on Business and Human Rights
Jessica EVANS Journal: Business and Human Rights Journal / Volume 1 / Issue 2 / July 2016

IPS UN Bureau

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By Emilio Godoy
MEXICO CITY, May 18 2023 – Mexico’s development banks have violated their own socio-environmental standards while granting loans for the construction of the Mayan Train (TM), the flagship project of the presidency of Andrés Manuel López Obrador.

The National Bank of Public Works and Services (Banobras), the Nacional Financiera (Nafin) bank and the Foreign Commerce Bank (Bancomext) allocated at least 564 million dollars to the railway line since 2021, according to the yearbooks and statements of the three state entities.

Banobras, which finances infrastructure and public services, granted 480.83 million dollars for the project in the Yucatan peninsula; Nafin, which extends loans and guarantees to public and private works, allocated 81 million; and Bancomext, which provides financing to export and import companies and other strategic sectors, granted 2.91 million.

Bancomext and Banobras did not evaluate the credit, while Nafin classified the information as “confidential”, even though it involves public funds, according to each institution’s response to IPS’ requests for public information.“(The banks) are committing internal violations of their own provisions in the granting of credits, in order to give loans to projects that are not environmentally viable and that do not respect the local communities.” — Gustavo Alanís

The three institutions have environmental and social risk management systems that include lists of activities that are to be excluded from financing.

In the case of Bancomext and Nafin, these rules are mandatory during the credit granting process, while Banobras explains that its objective is to verify that the loans evaluated are compatible with the bank’s environmental and social commitments.

Bancomext prohibits 19 types of financing; Banobras, 17; and Nafin, 18. The three institutions all veto “production or activities that place in jeopardy lands that are owned by indigenous peoples or have been claimed by adjudication, without the full documented consent of said peoples.”

Likewise, Banobras and Nafin must not support “projects that imply violations of national and international conventions and treaties regarding the indigenous population and native peoples.”

The three entities already had information to evaluate the railway project, since the Superior Audit of the Federation, the state comptroller, had already pointed to shortcomings in the indigenous consultation process and in the assessment of social risks, in the 2019 Report on the Results of the Superior Audit of the Public Account.

The total cost of the TM has already exceeded 15 billion dollars, 70 percent above what was initially planned, mostly borne by the government’s National Fund for Tourism Promotion (Fonatur), responsible for the megaproject.

Mexico’s three state development banks are partially financing the Mayan Train, for which they have failed to comply with the due process of the evaluation of socio-environmental risks that are part of their regulations. The photo shows the clearing of part of the route of one of the branches of the railway line in the municipality of Playa del Carmen, in the southeastern state of Quintana Roo, in March 2022. CREDIT: Emilio Godoy / IPS

Violations

Angel Sulub, a Mayan indigenous member of the U kúuchil k Ch’i’ibalo’on Community Center, criticized the policies applied and the disrespect for the safeguards regulated by the state financial entities themselves.

“This shows us, once again, that there is a violation of our right to life, and there has not been at any moment in the process, from planning to execution, a will to respect the rights of the peoples,” he told IPS from the Felipe Carrillo Port, in the southeastern state of Quintana Roo, where one of the TM stations will be located.

Sulub, who is also a poet, described the consultation as a “sham”. “Respect for the consultation was violated in all cases, an adequate consultation was not carried out. They did not comply with the minimum information, it was not a prior consultation, nor was it culturally appropriate,” he argued.

In December 2019, the government National Institute of Indigenous Peoples (INPI) organized a consultation with indigenous groups in the region that the Mexican office of the United Nations High Commissioner for Human Rights questioned for non-compliance with international standards.

Official data indicates that some 17 million native people live in Mexico, belonging to 69 different peoples and representing 13 percent of the total population.

INPI initially anticipated a population of 1.5 million indigenous people to consult about the TM in 1,331 communities. But that total was reduced to 1.32 million, with no official explanation for the 12 percent decrease. The population in the project’s area of ​​influence totaled 3.57 million in 2019, according to the Superior Audit report.

The conduct of the three financial institutions reflects the level of compliance with the president’s plans, as has happened with other state agencies that have refused to create hurdles for the railway, work on which began in 2020 and which will have seven routes.

The Mayan Train, run by Fonatur and backed by public funds, will stretch some 1,500 kilometers through 78 municipalities in the states of Campeche, Quintana Roo and Yucatán, within the peninsula, as well as the neighboring states of Chiapas and Tabasco. It will have 21 stations and 14 other stops.

The Yucatan peninsula is home to the second largest jungle in Latin America, after the Amazon, and is notable for its fragile biodiversity. In this territory, furthermore, to speak of the population is to speak of the Mayans, because in a high number of municipalities they are a majority and 44 percent of the total are Mayan-speaking.

The government promotes the megaproject, whose locomotives will transport thousands of tourists and cargo, such as transgenic soybeans, palm oil and pork – key economic activities in the area – as an engine for socioeconomic development in the southeast of the country.

It argues that it will create jobs, boost tourism beyond the traditional attractions and energize the regional economy, which has sparked polarizing controversies between its supporters and critics.

The railway faces complaints of deforestation, pollution, environmental damage and human rights violations, but these have not managed to stop the project from going forward.

In November 2022, López Obrador, who wants at all costs for the locomotives to start running in December of this year, classified the TM as a “priority project” through a presidential decree, which facilitates the issuing of environmental permits.

Gustavo Alanís, executive director of the non-governmental Mexican Center for Environmental Law, questioned the way the development banks are proceeding.

“They are committing internal violations of their own provisions in the granting of credits, in order to give loans to projects that are not environmentally viable and that do not respect the local communities. They are not complying with their own internal guidelines and requirements regarding the environment and indigenous peoples in the granting of credits,” he told IPS.

Groups opposed to the Mayan Train protest along a segment of the megaproject in the municipality of Carrillo Puerto, in the southeastern state of Quintana Roo, on May 3. CREDIT: Arturo Contreras / Pie de Página

Trendy guidelines

In the last decade, socio-environmental standards have gained relevance for the promotion of sustainable works and their consequent financing that respects ecosystems and the rights of affected communities, such as those located along the railway.

Although the three Mexican development banks have such guidelines, they have not joined the largest global initiatives in this field.

None of them form part of the Equator Principles, a set of 10 criteria established in 2003 and adopted by 138 financial institutions from 38 countries, and which define their environmental, social and corporate governance.

Nor are they part of the Principles for Responsible Banking, of the United Nations Environment Program Finance Initiative, announced in 2019 and which have already been adopted by 324 financial and insurance institutions from more than 50 nations.

These standards address the impact of projects; sustainable client and user practices; consultation and participation of stakeholders; governance and institutional culture; as well as transparency and corporate responsibility.

Of the three Mexican development banks, only Banobras has a mechanism for complaints, which has not received any about its loans, including the railway project.

In this regard, Sulub questioned the different ways to guarantee indigenous rights in this and other large infrastructure projects.

“The legal fight against the railway and other megaprojects has shown us in recent years that, as peoples, we do not have effective access to justice either, even though we have clearly demonstrated violations of our rights. Although it is a good thing that companies and banks have these guidelines and that they comply with them, we do not have effective mechanisms for enforcement,” he complained.

In Sulub’s words, this leads to a breaching of the power of indigenous people to decide on their own ways of life, since the government does not abide by judicial decisions, which in his view is further evidence of an exclusionary political system.

For his part, Alanís warned of the banks’ complicity in the damage reported and the consequent risk of legal liability if the alleged irregularities are not resolved.

“If not, they must pay the consequences and hold accountable those who do not follow internal policies. The international banks have inspection panels, to receive complaints when the bank does not follow its own policies,” he stated.

By SWAN
PARIS, May 18 2023 – Some movie scenes keep replaying in one’s mind long after one has left the cinema, and this is certainly true of Moon Over Aburi, a short film shot in Ghana that has been gaining accolades since its release earlier this year.

Based on a story by the prize-winning Ghanaian-Jamaican writer and poet Kwame Dawes, the film addresses subjects such as sexual abuse, society’s view of women’s roles, and the gender-based perspectives from which experiences are recalled and retold. It will have a special screening this month at the prestigious Calabash International Literary Festival in Jamaica (May 26-28), and while viewers can expect to be moved by the whole story, they will be haunted by one stunning, unexpected scene.

In its minimalist mise-en-scène, Moon Over Aburi is reminiscent of a play, with two main actors in the spotlight, or rather the moonlight, playing off each other – Ghanaian-British actress Anniwaa Buachie and her Ghanaian compatriot Brian Angels (whose credits include the 2015 feature Beasts of No Nation, starring Idris Elba).

Buachie plays a mysterious woman, the owner of a small food kiosk who seems tied to something in her past. Angels plays the man who visits the kiosk on a moonlit night and asks for a meal. As the two exchange cryptic words and stories, it becomes clear that the man knows more about her than he lets on, and the colossal secret she carries is gradually revealed, as enigmatic shots of the full moon emphasise the mystique.

Anniwaa Buachie. Credit: Courtesy of the film.

Buachie, who produced the film and co-directed (with Sheila Nortley), has a background in both cinema and theatre, having performed at London’s Old Vic and other venues. She has also appeared in guest roles in popular television series such as Eastenders. But making Moon Over Aburi was not a shoo-in for her, she says. She and her team had to overcome certain obstacles for the work to see the light of day – because in a world where the number of films seems to be ever growing, only a selected few filmmakers acquire the resources to pursue their art.

In the following, edited, interview, Buachie speaks with SWAN about the film’s journey to the screen.

SWAN: Moon Over Aburi is a shocking, thought-provoking film that is beautifully made. How did it come about?

Anniwaa Buachie: As an actor, I provided the voice of the audiobook in the anthology Accra Noir, edited by Nana Ama Danquah [and published by New York-based publisher Akashic Books]. I fell in love with the story Moon Over Aburi by Kwame Dawes.

I remember when I started reading this story, I immediately had goose bumps. The story was honest, visceral, poetic, chilling… a dance of cat and mouse between two people, a man and woman, secret and lies, making one question whether two wrongs can make a right.

It sat with me, it was in my heart, my mind, my body. I had never read a story that highlighted the vicious cycle of domestic violence, but also explored how a woman ruthlessly and unapologetically takes back her power.

Society tends to excuse the faults of a man and blame the women in that man’s life. The woman who raised him, the woman who married him, the woman who rejected him. Power is given to a woman to birth and nurture a child, yet it is taken from her as soon as she seeks equality, acknowledgement, and respect. It is a story that pushes the brutal subject matter of domestic violence into the light, a much-needed conversation that often lies in the shadow, swept under the carpet. I had to bring this story to light.

SWAN: What were some of the challenges in adapting the short story to suit the demands of a different medium, film?

A.B.: Kwame Dawes’ writing is beautiful, lyrical and poetic, and it was important to me to ensure that the film produced stayed true to the mystical element of the original.

Many stories are written in the first person, and the reader already is biased as they often

attach themselves to the main narrator / protagonist. However, with Moon Over Aburi, Kwame had already written it in a dialogue format. The story was a script in the first instance, so adapting it to film was a joy, to be honest.

What was tricky was deciding how much detail to pack from a 20-page short story into a 10-page script. The world that Kwame had created was so intricate, intimate through words, and heavily reliant on the reader’s interpretation. However, with a screenplay, you have to make definitive decisions and find ways to utilise camera shots, sounds, and the colour palette to influence the viewer’s perspective.

Film also demands a particular structure that a short story can forego. Screenplays require scenes that establish each character and a clear breaking point in the middle of the script that take characters to the emotional extreme – into fight or flight mode. The audience needs to be taken on an emotional ride, and this is influenced by the whole creative team: producer, director, cinematographer, etc.

Personally, it was a challenge for me to maintain a balance between being an actor and being the producer, and co-directing.

The actor inside me wanted to play forever and fully immerse myself in the character. However, there was a part of my brain that, as the producer, always had to be focused on the practicalities, thinking about if the budget is being used effectively, if everyone is happy on set, if cast and crew have been fed and have what they need to maintain a high quality!

Also, once a film project is done, an actor can switch off and think about their next project, whereas the role of the filmmaker doesn’t stop there – now it’s about implementing, marketing, sourcing additional finance, distribution. Good thing I am a great multi-tasker!

SWAN: The shots of the landscape, the moon, and the setting overall, are artistic and evocative. Can you tell us more about the photography and where it took place?

A.B.: The story takes place in the Aburi, the eastern region of Ghana, and in Accra, the main city. Whilst the story leaves room for the imagination, I am so thankful to Ghanaian-based cinematographer extraordinaire Apag Annankra of Apag Studios and art director Godwin Sunday Ashong. Their knowledge of the neighbourhood and the scenery enabled us to find places within Aburi and Accra that provide a magical realism.

A.B.: It is important to me, as an artist, to present situations that encourage conversations, a reflection of self and to identify how one contributes or blocks the development of girls and women. The best teaching is when the viewer has space for analysis themselves, as opposed to being force fed an opinion.

I simply ensure that the films I produce have in-depth perspectives, of extreme impactful situations, drawing the viewer in on an emotional, human level.

SWAN: What are some of the difficulties in making a film without major studio backing, and are things changing?

A.B.: Budget. A studio-backed film would have a large budget and with that the creative team has space to make mistakes, to experiment, to spend hours on a scene taking multiple shots. With a big budget you can secure your ideal location, block off streets and build a set if needs be, to get the right look for the film.

Whereas when you are working on an independent or a low budget, everything you do has to be specific, and with the right intention, because the repercussions are greater. Planning is key, and ensuring everyone in the crew and cast understands the overall vision of the film is important. There cannot be a weak link, everyone needs to work together to bring their A-game. You cannot go back and re-shoot, money is tight, which also means time is limited. You just have one chance to make sure you get the right shots, the right lighting, etc.

I do think things are changing but not quickly enough. Independent filmmaking is an art that is not given the same respect as the big studio movies and TV. Which is a shame, because independents are a great way to platform new and upcoming talent and inject society with stories that are often forgotten, hidden, or discarded. But nowadays the art of filmmaking is more about the return on investment, and for that reason independent filmmaking is always a risk, but that is what makes it exhilarating and rewarding… if you make people’s heads turn in an age where attention is so competitive, you know you have something really special.

SWAN: What do you hope viewers will take away from Moon?

A.B.: This film focuses on giving attention to overlooked narratives, concerning social issues such as: gender-based violence, misogyny and gender inequality, which shroud many cultures. It will open doors to a diverse audience offering intelligent insight into the social and political consciousness of the invisible and the marginalised. While this story is in a fiction anthology, it is a reality that most women face. Through the screenings, I am hoping viewers can identify how cultural constructs contribute to the way in which women are viewed, and how this can change, how this MUST change and, ultimately, that it’s down to us, the new generation to take control and rewrite the social narrative. A narrative that allows us, me, as a woman, to learn from the present, and construct a future that uplifts gender equality, suppresses elitism, and eradicates poverty. This is the foundation of social cohesion and the start of a new African legacy.

SWAN: What’s next for you?

A.B.: Kwame and I are touring with this short in many film festivals in the UK, Ghana, and the States as well, developing Moon Over Aburi into a full feature and exploring production companies and talent. Personally, I have my show coming out on the BBC (teen drama Phoenix Rise), and I have a couple other things in the works that I can’t announce yet, but it’s an exciting time! – SWAN

By Baher Kamal
ROME, May 18 2023 – Once the money-making businesses have turned Asia and Africa into their low-cost factories, to produce and market at higher prices their clothes and footwear, obtaining more profits by selling to these two continents around 90% of all their used and textiles waste.

Not only: such a business alleviates the harsh environmental impacts of the lucrative clothing and fashion industry, and the cost of recycling and eliminating the leftovers of these products.

Textile consumption causes the third largest land use and water use in the value chain, and the fifth largest material resource use and greenhouse gas emissions. Also, textiles cause pressures and impacts from their chemicals on the environment and climate

Just know that textiles are on average “the fourth-highest source of pressure on the environment and climate change from a European consumption perspective,” the European Environment Agency (EEA) on 26 April 2023 reported.

Consequently, “Europe faces major challenges managing used textiles, including textiles waste.”

Europe exports much more than textile waste

Lars Mortensen, EEA expert on circular economy, confirms that textile production and consumption in the European Union have significant impacts on the environment and climate.

“Textile consumption causes the third largest land use and water use in the value chain, and the fifth largest material resource use and greenhouse gas emissions. Also, textiles cause pressures and impacts from their chemicals on the environment and climate”.

The poisoning plastic

A 27 January 2023 EEA briefing focusses on another big problem: plastic.

“Plastic-based — or ‘synthetic’— textiles are woven into daily lives in Europe, in the clothes we wear, the towels and the bed sheets, in the carpets, curtains and cushions. And they are in safety belts, car tyres, workwear and sportswear.”

Synthetic textile fibres are produced from fossil fuel resources, such as oil and natural gas, the briefing goes on, adding that their production, consumption and related waste handling generate greenhouse gas emissions, use non-renewable resources and can release microplastics.

EU consumers discard about 5.8 million tonnes of textiles annually – around 11 kg per person – of which about two-thirds consist of synthetic fibres, according to the briefing.

“In Europe, about one-third of textile waste is collected separately, and a large part is exported.”

Africa and Asia are therefore the largest destinations of these toxic fibres.

Simply put: by exporting European used clothes and textiles waste, their impacts necessarily fall on the shoulders of Africans and Asians.

A highly uncertain fate

Indeed, “as reuse and recycling capacities in Europe are limited, a large share of used textiles collected in the EU is traded and exported to Africa and Asia, and their fate is highly uncertain,” says the European Environmental Agency.

In fact, throughout the past two decades, Africa has been the main continent receiving used textiles from the European Union (EU), importing more than 60% of EU exports.

But while in 2000 Asia received only 26% of EU exports, by 2019 it had significantly increased its share to 41% of EU imports. This is almost equal to Africa, which still imported 46% of EU exports.

Where do second-hand clothes end up?

In the African countries studied, the EEA report says that the import of used textiles seems to be mainly meant for local reuse. This is because there is a demand for cheap, used clothes from Europe, which seem to be preferred to new items.

“What is not fit for reuse mostly ends up in open landfills and informal waste streams.”

In Asia, however, most of the used textiles are imported to so-called economic zones where they are sorted and processed. In the countries studied for this briefing, import for local reuse is restricted.

Instead, used textiles seem to be recycled locally, mostly downcycled into industrial rags or filling, or re-exported either for recycling in other Asian countries or reuse in Africa.

“Textiles that cannot be recycled or re-exported are likely to end up in the general waste management system, most of which is landfilling.”

The big figures…

According to this European Union (EU)’s agency that ‘delivers knowledge and data to support Europe’s environment and climate goals’:

• The amount of used textiles exported from the EU has tripled over the last two decades from slightly over 550,000 tonnes in 2000 to almost 1.7 million tonnes in 2019.
• The fate of used textiles exported from the EU is highly uncertain. The perception of used clothing donations as generous gifts to people in need does not fully match reality,
• Used clothing is increasingly part of a specialised and traded global commodity value chain,
• In 2019, 46% of used textiles ended up in Africa: Imported, used textiles on this continent primarily go towards local reuse as there is a demand for cheap, used clothes from Europe. What is not fit for reuse mostly ends up in open landfills and informal waste streams,
• In 2019, 41% of used textiles ended up in Asia. Most used textiles on this continent are imported to dedicated economic zones where they are sorted and processed,
• The used textiles are mostly downcycled into industrial rags or filling, or re-exported for recycling in other Asian countries or for reuse in Africa. Textiles that cannot be recycled or re-exported are likely to end up in landfills.

… The big exporting hubs

“Some EU countries, such as Germany, Poland and the Netherlands, have exported more than others and seem to have acted as import-export hubs for used textiles from the EU.”

There is no clear reason explaining why five out of 27 EU Member States and the United Kingdom account for around 75% of all EU used textile exports, adds the EEA.

Therefore, it is likely that the largest exporters have been sending used textiles abroad, collected locally and from other EU countries, says the European agency.

Thus, another reason for the concentration of exports in a few EU countries could be that these large exporting countries are acting as export hubs.

“In other words, they are importing used textiles from other EU Member States for re-export beyond the EU. Ports/harbours for international shipment in some of these countries make them logical export hubs.”

Belgium, Italy and the Netherlands have large export harbours.

… and the big increase

EU used textile exports have grown significantly over the last two decades, the EEA reports, explaining that exports of textile waste outside the EU have been steadily increasing to reach 1.4 million tonnes in 2020.

Still, another problem appears: how to avoid that waste streams are falsely labelled as second-hand goods when exported from the EU and in this way escape the waste regime?

EU used textile exports are characterised by a lot of uncertainty, adds the EEA. First, there is uncertainty around the types of textiles exported as well as their quality.

In other words, it says, if used textiles exported from the EU are of too low quality to be reused, or are not reused for very long or do not replace new clothing purchases, they may not really replace new production or benefit the environment.

“Instead, the exports will only lead to more textiles ending up in landfills.”