Connect with us

Published

on

Forests are vital for people everywhere. They cover about 4.14 billion hectares, roughly a third of the world’s land, and store 714 gigatons of carbon. They also support 80% of land-based biodiversity. However, we are losing 11 million hectares each year to deforestation, and the World Bank expects demand for forest-based products to rise by 400% by 2050. Many industries, from construction to textiles and automotive, are turning to wood fiber to replace fossil-based materials. Yet, a 2023 Circularity Gap Report found that over 90% of materials entering the global economy come from nature and end up in landfills. This approach is not sustainable. If we do not change how we use and reuse fiber, forests will be depleted faster than they can recover.

Today’s guest, Loa Dalgaard Worm, leads the Forest Stewardship Council’s Circularity Hub. This innovation team, launched in 2023, is updating a certification system that was originally designed for a linear economy 30 years ago. Her team is working to add circular business models, like take-back, repair, and leasing, to FSC’s chain-of-custody standard, which already includes 70,000 companies worldwide. They are also creating a framework to certify agricultural leftovers, such as wheat straw, rice husks, and coffee chaff, as alternative fibers for pulp-based products. This helps reduce the need for new forest fiber.

Loa Dalgaard Worm, Circularity Hub Lead at the Forest Stewardship Council, is our guest on Sustainability In Your Ear.

Loa’s boldest idea is a royalty system that would pay forest owners a small fee each time fiber from their forest is reused or recycled into a new product. Currently, forest owners are paid only once, when they harvest a tree, and do not receive ongoing rewards for protecting ecosystems, conserving biodiversity, or supporting communities. Companies buying recycled fiber would pay for verified origin data, which they increasingly need to meet the EU Deforestation Regulation and other international standards. The pieces for this plan are coming together. FSC already runs FSC Trace, a blockchain-based traceability platform, and works with World Forest ID on isotope testing that can identify a fiber’s origin within about 15 kilometers. They also partner with esri to improve earth observation capabilities.

“We used to be able to do this,” Loa says about circularity, pointing out that remembering old habits, not just inventing new ones, is key to sustainability. “Our parents knew how to repair things. My grandmother knew how to mend all of her clothes.” FSC’s circularity work is focused on rebuilding the systems needed to help us relearn how to reuse and repair on a large scale. Loa hopes to test the royalty system within two years and present it to FSC’s General Assembly for discussion by 2029. The big question is whether institutions and markets will move quickly enough to protect forests. To learn more about the FSC Circularity Hub, visit fsc.org/circularity or email the team at circularity@fsc.org.

Interview Transcript

Mitch Ratcliffe  0:09

Hello, good morning, good afternoon, or good evening, wherever you are on this beautiful planet of ours. Welcome to Sustainability In Your Ear. This is the podcast conversation about accelerating the transition to a sustainable, carbon-neutral society, and I’m your host, Mitch Ratcliffe. Thanks for joining the conversation.

Today we’re going to talk forests, wood fiber, and the circular economy. The world’s forests cover about 4.14 billion hectares, which is about a third of all the land on Earth. And they store 714 gigatons of carbon, support 80% of land-based biodiversity, and supply materials for everything from buildings to delivery boxes. The World Bank projects a 400% increase in demand for forest-based products by 2050, driven by the shift away from fossil-based materials. And at the same time, the Circularity Gap Report shows that more than 90% of materials entering the global economy are still virgin. Even as we look to forests to replace plastics, steel, and concrete, we’re losing an additional 11 million hectares a year to deforestation.

The Forest Stewardship Council, or FSC, is the best-known certification program for responsible forest management. FSC-certified forests now cover more than 171 million hectares in nearly 90 countries, and the system is unique because it gives equal say to environmental groups, social organizations like indigenous peoples and trade unions, as well as economic interests such as timber companies and retailers. For 30 years, FSC has focused on one main question: Where does this wood come from?

Today’s guest, Loa Dalgaard Worm, leads the Forest Stewardship Council’s Circularity Hub. This is a new innovation team launched in 2023 that explores what happens to timber after it leaves the forest, and how we can keep it in use longer to reduce pressure on our natural ecosystems. Loa has been with the FSC for over 18 years, working in both national and global roles. As director of FSC Denmark, she grew the group from 12 members to 140 companies and NGOs, and helped raise public awareness for FSC from almost unknown to 65% recognition amongst Danish consumers. She also played a big part in FSC’s digital transformation, and now she leads a team working on what may be FSC’s most ambitious project since it first started chain-of-custody certification—that is, redesigning a system made for a linear economy so that it works in a circular one. She also hosts the Forest for the Future podcast, which I urge you to check out. She talks with experts about topics like verifying the origin of fiber products and how the EU taxonomy affects green finance.

The Circularity Hub has published two papers with new proposals that are a first for FSC. One idea is a royalty system that would pay forest owners over time as the fibers from their forest are reused and recycled through many product life cycles. Companies would fund this by paying for verified origin data to meet ESG and regulatory needs. FSC also wants to certify reused and repaired forest products—not just recycled ones—using another new label. They’re also creating a voluntary set of tools to help companies determine if they’re using high-quality wood fiber for disposable packaging that might be better used in construction or furniture, amongst other things.

We’ll talk with Loa about how certification systems created 30 years ago for responsible extraction can change to support circular material flows, and how the royalty system’s financial model will track fibers through many product life cycles and across complex supply chains involved in the modern production environment. We’ll also look at how these proposals fit with new EU circular economy laws and delays to the EU Deforestation Regulation. Finally, we’ll discuss whether FSC can ensure fair access for forest owners in the Global South, or if it might end up mainly helping larger operations in the Nordic countries and North America.

You can learn more about the FSC Circularity Hub by visiting fsc.org/circularity. And if you’d like to contact the team, you can email them at circularity@fsc.org. So, can the world’s most trusted forest certification system become the foundation for a circular bioeconomy, and can it do it quickly enough to make a big difference? Let’s find out right after this quick commercial break.

Mitch Ratcliffe  4:50

Welcome to the show, Loa. How you doing today?

Loa Dalgaard Worm  4:52

Thank you, and I’m doing really well. The sun is out for the first time in a very long time in a very frozen Nordic. I’m in Denmark, so it’s really cold here these days. And we can feel spring coming around the corner, good.

Mitch Ratcliffe  5:07

We’re in the middle of our first snow here in Southern Oregon. So I envy you that you’ve already had winter and are about to exit. I think we’re entering it.

Let me start off with this question, kind of to set the stage. The Forest Stewardship Council was built 30 years ago for a linear economy. You wanted to track responsible extraction and use of wood fiber, and you have these consumer-facing labels on paper and other products that a lot of our listeners are familiar with. But what I wanted to know is, how is the organization and its membership changing as you enter the era of circular economies of wood fiber?

Loa Dalgaard Worm  5:38

I don’t really think that I would call it changing. I would more call it evolving. Actually, the mission of FSC is the same as it’s always been. We want to safeguard the forests of this world for the present and future generations. So as consumption increases and more and more of us are looking towards forests, we need to make sure that we can still keep that promise, and that means having to add new services to the FSC systems, new business models, new tools, so that we can ensure that fiber stays in use for longer, so that we can get to a stage where we are not over-utilizing our forests, but we have healthy ecosystems, and that the people that depend on forests are thriving too.

Mitch Ratcliffe  6:23

Talk a little more about making fiber go longer. Each time we use or reuse fiber, it gets shorter and so less resilient and able to support the use. What does that look like in practice? Now, how are we reusing fiber, and where do you think we’re taking it?

Loa Dalgaard Worm  6:39

Well, there’s not one way, because reuse of fiber is going on in so many different industries. So it can be anything from the paper industry, where you would normally dissolve the pulp—so you would dissolve the paper, and then you would make it into this very wet mass that you can then add new wood fibers to, and then you can create new paper. And on average, you can do that 17 times in a row before the fiber becomes too short.

Essentially, in other areas, like in the construction sector, you could take the wood element just as it is and reuse it. So instead of recycling it and taking it through a whole manufacturing process, you could actually just reuse it as it is, especially if it’s part of a construction that has been isolated inside a construction. For example, you can easily just reuse it as it is, without making it shorter.

Then you have furniture. Furniture can have multiple lives and be repaired and refurbished and reused again. And we see that for high-quality furniture already. So it’s a question of getting more of those circular loops up and running, and then designing them so that we keep the products on as high a level of quality as we can for as long as possible. So essentially, actually setting up systems that avoid shortening the fiber. That’s what we’re after, so that we can use them for longer.

Mitch Ratcliffe  8:05

What would a system that avoided shortening fibers consist of that we aren’t potentially using today?

Loa Dalgaard Worm  8:13

Well, in essence, it’s about what are the rules? Which kinds of fibers do we allow for which types of use? For example, if you have a single-use product that you know will only have a very short lifetime—that could be food wrapping, that will be contaminated by food and therefore you can’t reuse the fiber afterwards. It could be paper straws, those kinds of things where you know it can only have one life—it’s asking ourselves, what fibers are we using for that one life? What is the quality of that fiber? What is the amount of recycled content that we require in that product?

It’s those kinds of things that I think we will need to have both regulatory rules on—so legislation, essentially—but we will also need to have systems, both in terms of what do certification systems like FSC do, but also, what does industry do? What are the industry standards? How will we circulate fiber? So it’s very big and it’s very fluffy, but it’s those kind of things that we will need to start getting this more circular setup and running.

Mitch Ratcliffe  9:22

You make an important point. This is not a clear, bright, linear explanation. It’s a fuzzy, circular system that we are seeking to evolve as we continue to become a more industrialized society. So let me ask you a question about how you’re talking with industry about this. Are you positioning circularity as a way to respond to and manage that 400% demand surge that we’re expecting over the next several decades, or is this a mechanism to, in their eyes, actually reduce total extraction?

Loa Dalgaard Worm  9:52

Oh, it’s not about reducing harvest. Actually, in reality, the hardcore reality of this is that there just will not be enough. We keep pretending that forests are this infinite resource that we can just go in and take as much out of as we want, but the reality is that we’re just using up forest resources far, far faster than the forest can actually regenerate and grow new trees. And with more and more industries pivoting towards forest-based fibers—in particular, that’s anything from the construction sector to the textile industries to even the car industry—all of them are looking towards forests because they have to replace their fossil fuel–based products. So we know that the demand is only going to go up. You’ve mentioned the number, the 400% increase. That’s the projection from the World Bank.

So we just need to be realistic about this and have ends meet, in essence, so that we don’t get to a point where we’re taking out trees so fast that the ecosystem can’t keep up. Because if we’re taking out trees from the forest faster than the ecosystem can keep up, that forest will be much more vulnerable to all of the climate-related events that it will also have to withstand. So the forest fires, the droughts, the beetle attacks, et cetera. If the ecosystem is weakened, it can’t withstand those other alternative threats that it’s going to be exposed to.

So for me, it’s just common sense. We have to get to a point where we are on a level of harvest that the forest can withstand, and we can only do that if we circulate fibers more and if we take better care of the things that we have. And the thing is, we used to be able to do this. If you look back to the ’30s, the ’20s, the ’40s, the ’50s, we knew how to repair things. Our parents knew how to do this. My grandmother knew how to mend all of her clothes. My father knew how to repair a broken radio or a bicycle or a light. And it’s an ability that we lost because of just an abundance of access to things. So we need to get back to being able to have those circular loops and being more respectful about the resources that we are getting, and that is both as individuals and as societies.

Mitch Ratcliffe  12:13

That’s such an important point—that we know how to do this, that we’ve done it before, but we’ve been trained out of this. How do you see FSC—and you mentioned this earlier—coaching people on the effective ways of making fiber last longer? Is this going to be a big messaging undertaking? Is it better labeling? How do you describe that challenge?

Loa Dalgaard Worm  12:35

Everything at once? Yeah, it’s everything at once. It’s both how we communicate, how we position the value of forest products, how we position the value of a healthy ecosystem, how we reintroduce pride in repairing stuff and keeping things in loop. But it’s also a question of, what do we have in terms of our standards? How do our standards support companies and encourage companies in setting up circular business models? How do we guide companies to moving towards more products-as-a-service, where it’s not the actual product that you sell, but it’s the service that the product gives? How do we create tools that make that transition easier?

So it’s a lot of different elements that we have to provide, and it’s for a lot of different audiences. People often come to me and say, “Well, nobody’s asking for circularity, so therefore it’s not a thing. People don’t want FSC to work on circularity.” And then I say, “Well, they want us to safeguard ecosystems. They want us to support them in upcoming regulation on extended producer responsibility, for example. They want us to help them adhere to the waste directives that are coming out, not only in Europe, but also in Latin America and North America in some states of the US, and it’s also there in Canada. They want us to help them figure out how they’re going to handle the fact that they can’t get the same amount of raw materials that they used to be able to just buy from any of their suppliers that they wanted, because all of a sudden half of it is gone in a forest fire. They want us to take care of all of that, and all of that is very closely tied to circular economy.”

Mitch Ratcliffe  14:17

An important point too is that it’s going to get more expensive as resources are strained, and that seems to be the underlying driver. But then you get back to the question of, how do you certify reuse? And you’ve got—it’s no simple task. It requires a royalty system for forest owners, recognition of non-forest bio-based fibers blended with bio-based fibers, cascading use tools—you know, in other words, things to track that fiber through multiple uses. What’s the state of the technology? What of those things are on track to have an impact in the next half decade, for instance?

Loa Dalgaard Worm  14:53

Oh, many of them are. Some are, of course, much more doable than others. So for example, the lowest-hanging fruit for companies in FSC is to introduce circular business models into our chain-of-custody standard. That standard covers 70,000 companies around the globe already. So if we enable in that standard that they are able to do take-back, or they’re able to do repair and leasing, and we guide them and give them best practices as to how they can do that—well, that’s very easy and straightforward, and in fact, we’re doing that already. It’s in consultation right now, set to be implemented by the end of this year.

The other one that we’re also already working on is, what is the role of agricultural residues in FSC-certified products? So could we enable agricultural residues? Think wheat straw. Think rice husks—so the shells around rice. Think coffee chaff—from after you’re done with producing coffee, you have all the silver skin lying back. All of that is being used right now primarily for local energy production. What if all of that could actually replace virgin forest fibers in all of the pulp-based products? What if we could require that that was certified to a credible agricultural standard, and we could then give it a different value? That’s what we’re also building a framework for right now, and we’ll be piloting so that we could enable those products to have a longer life, while also reducing the requirement or the demand for virgin forest fiber, and therefore reducing pressure on forests. So those are some of the really low-hanging fruits.

Then, of course, the whole cascading principles, which is for a lot of people a tricky word—because what does that mean? In essence, it means, how do we make sure that fibers stay in as high a quality for as long as they can possibly be? It’s quite easy when you explain it as: if you think of a wooden log, how can you keep that wooden log in long, long timber beams for as long as possible before you break them down into smaller pieces of wood, then into wood chips, potentially, then into fiber pulp? Essentially, because once you’ve broken them down, you can’t put them back together.

That is a more tricky thing, because we don’t have rules in FSC right now about what we do on this. So essentially, you could, if you wanted, take a tree straight out of the forest and make it into wood chips and burn it for energy production. So one of the things that we’re looking into is, well, how can we create incentives so that isn’t the way that it’s done? How can we create tools that would enable companies to actually communicate to their supply chain which type of fibers that they want and which kind of quality, so that it matches the type of product that they’re creating—both in terms of what are the technical specifications of that product, like what is the strength of the fiber that they actually need in the product for that product to perform well, but also, what is the expected lifetime duration for that product? Because if it’s a very short-lived product, we shouldn’t be using very high-quality fibers to produce it. And then, of course, also, what would the role be of recycled fiber in those particular products? And should there be rules? Should there be incentives for increasing the use of recycled fiber in them? So all of these things are things we’re working on right now.

Mitch Ratcliffe  18:26

Let me double-click on something that you were just talking about—this notion of the producer, the initial producer, benefiting over the course of many generations. And that royalty concept, I think, is really one of the most novel things that is called out in the papers you shared with me. It envisions a forest owner—a Weyerhaeuser or Boise Cascade, for instance—thinking of a tree as an annuity, to a degree. But then there’s this challenge of how you track it through the entire life cycle, which in my mind is a lot like some of the discussions we’re having about intellectual property in the age of AI. This stuff kind of has a tendency to disappear into the industrial economy and be forgotten. But this royalty system—how can that be implemented? And what’s the incentive for a company to pay the fee that creates the annuity for the original producer?

Loa Dalgaard Worm  19:22

So first and foremost, maybe we need to back up a second and explain what the royalty system is, because I’m assuming that the listener won’t actually know. So the royalty system is the most pie-in-the-sky concept that we have in the things that we’re working on. So this is my baby, my big dream. I don’t know whether we will ever be able to implement it, but I really want to get there.

So essentially, what the concept is, is that we are right now paying forest owners only for harvesting trees. But in reality, they’re taking care of so much more. When they’re managing their forest sustainably, they’re making sure that the ecosystem is healthy. They’re protecting biodiversity. They’re protecting wildlife. They’re taking care of a lot of social elements—for example, indigenous peoples’ rights as part of that forest management. But we don’t pay them for that. We don’t reward them for all of that work, all of what they’re doing that actually helps us fight climate change in quite a significant way.

So the whole concept is, if we imagine a world where fibers are circulating for more than one use, what would the incentive be for a forest owner to actually maintain their forest healthy, because we only pay them when they cut the tree? Well, what if we could pay them every single time that product—the fiber from their forest—goes through another use round, another recycled loop, or another reuse loop? What if they could get a small fee as a token for their continued protection of that forest ecosystem and the social safeguards? That is the big dream, the overarching concept.

You’re then asking, well, why would companies pay for that? Well, because companies are faced with increased legislative requirements, not just in the EU but globally. We see bioeconomy frameworks, we see extended producer responsibility. We see waste and resource management requirements. We see social compliance data being required from them. Green claims—which is, how are you promoting your products? We see requirements for product data and origin data as part of digital product passports. And on top of that, we see an increased amount of required data from impact investors and from sustainable finance.

So if you’re using a secondary product—something that has already been in use once—how would you know all of those core data points, unless you have some way to get access to them? So the whole theory is that these companies would be willing to pay a small fee for access to the origin data about that product. That could be data about the social compliance, pesticide use, chemical use, the origin, the status of the biodiversity where it originates from, et cetera. So that would be things that they would pay a small fee for into an automated system, and the fee that they pay then actually goes back to the forest owner as a payment for their continued protection of the forest.

Mitch Ratcliffe  22:29

So in the long term, obviously the price of wood fiber is going to increase. It just does. But by paying this fee, we can reduce the pace at which the price rises—is that the basic mechanism that we’re talking about?

Loa Dalgaard Worm  22:46

No, I don’t think so. Not necessarily, no. It doesn’t actually have to do with the first use round. What it would be doing is that you introduce this fee, and it gives an additional value for the forest owner to safeguard the forest over time, but it also removes a very big data barrier for the company who pays the fee. And we’re not talking large fees here. The whole concept is that it should be very, very small, so it should still be worthwhile for the company buying access to the data to pay that fee. So it’s similar to the FSC fees that we have for certification today, which is also only a fraction of their annual turnover for the wood-based products.

So the fee should be small enough that you would pay for access, but when you aggregate that over all of the times that the forest has harvested, then it also becomes a significant sum for the forest owner. So that’s the whole concept—that’s not actually meddling with the price for the raw material in the first instance.

Mitch Ratcliffe  23:53

Okay, we have opened—well, let’s call it an FSC-certified box—and there’s a lot inside. I think we’ve laid the foundation for the rest of the conversation, but folks, we’re going to take a quick commercial break and we’re going to be right back. Stay tuned.

Welcome back to Sustainability In Your Ear. Now, let’s get back to my conversation with Loa Dalgaard Worm. She is Circularity Hub Lead for the Forest Stewardship Council. Loa, what we’re describing is FSC acting as a central data hub and a payment facilitator in this royalty environment that you’re describing. Basically, you become a platform company as well as a certification body. So the question I’m wrestling with is, how do you make sure the platform costs don’t ultimately consume the fees that are intended to become the royalty payments for forest owners?

Loa Dalgaard Worm  24:43

Well, the truth is that we are already, as FSC, on this trajectory of becoming a platform company. So we have a lot of the infrastructure already. We already run FSC Trace, which is a blockchain that can carry all of the data points that I was talking about before. We also already do earth observation and fiber testing. So we’re already collaborating with partners like World Forest ID, who is the leading entity in the field of doing fiber testing and forensic testing of where fibers come from. We already do work with Esri, who is an earth observation company.

So what we would need to build on top is the payment system and the automated systems. And as I have pointed out before, this is just a big dream. So I don’t know whether this will be a reality, whether we will succeed in the end. And I’m very much aware that we will need the right people around the table to help us build this elegantly so that we don’t see admin costs eating up the whole thing. Because for me, this is very important, but actually that is what I’m least worried about. It’s not that cost will eat it up.

I think actually one of the things that will be more tricky is getting forests around the world mapped with isotope testing in a grid that’s fine enough for us to tell where a product likely comes from in a second or a third loop. So let me explain that a bit.

If you think about forest-based products, the easy ones are like the chairs, the tables, where it’s solid wood, and those you could just slap a barcode on, and once they’re being reused, you can scan that barcode, and it’s not that difficult to figure out where it was from. But if you have a mixed-fiber product, or if you have a pulp-based product, that means that you have reduced the fiber into being very, very short pulp segments. If you then need to figure out in the second or third loop which forest actually delivered pulp into this product, you will need to do fiber testing to figure out where it came from, and you could do that through what is called isotope testing.

Every living thing on this planet, even plants and animals, have isotopes in them. We also have them as human beings. And the beauty of isotopes is that roughly every 15 kilometers they shift slightly, which means that if you have enough samples from around the globe, that sort of creates a grid of what an isotope looks like in every single 15-kilometer grid of the globe. Then if you do a test of a product, of a fiber batch, then you can tell what isotope shows up there, and where it belongs on the globe.

And for me, getting that fine grid of the reference samples—that’s the real challenge. That’s where we will really need to roll up our sleeves, because there’s nothing even close to it. And the beauty of it is that if we manage to create that grid, we could not only implement the royalty system, we could also make that grid available for all of the competent authorities—the authorities around the globe—to help combat illegal logging, because all of a sudden you could see where forest products are coming from, and therefore whether they are from an illegally logged area.

Mitch Ratcliffe  28:01

There’s a lot of benefits in this. Are these technologies proven only in the lab, or are any of them in use in the field now?

Loa Dalgaard Worm  28:09

No, they’re already being used and have been used for quite a while. So I mentioned World Forest ID. They’re the leading entity in this. FSC helped institute them, I think five or six years back. But even before then, these technologies were being used very widely. So big companies use them to test whether the products that they’re buying, especially from some regions in the world, are actually from where they’re said to be, and that they’re actually containing the type of forest-based fiber that they’re set to contain. So for example: Is it the species that I’m thinking that I’m buying that I’m actually buying?

Then authorities are also using it for law enforcement around the world already. So that could be from the American Lacey Act, which has a lot of different wood species that you cannot import into the US. It could also be the Australian ban, which is also a ban on specific species that cannot be used in Australia. And then there’s the European Timber Regulation, which requires that you know what type of species is in your products before you place it on the EU market, and they’re already using them in their everyday operations.

Mitch Ratcliffe  29:16

That’s really good to hear. We have the technologies. It’s organizing the information, as you’ve described, that’s the key. You know, I visited the United States Forest Service Forest Products Lab last year, and one of the things that they were showing us was compressed wood products made from a lot of scrap. I can imagine the kind of tracking you’re talking about for early in the multiple-reuse life cycle being pretty easy to identify, but when things get mixed up, like the fibers in paper—will this also be applicable?

Loa Dalgaard Worm  29:47

Yeah, see, and that’s the tricky part, right? So the easy part will be for us to start out with the solid wood products, and the benefit of doing that is it would also benefit the forests of the Global South, where we really need this system up and running as fast as we can to safeguard those forests from deforestation, because a lot of those fibers end up in solid wood products.

For the fiber products that you talk about—so paper or compressed wood and fiberboard, et cetera—it’s more difficult. What we are contemplating there is, well, what if it isn’t this exact forest that we can track back to, but it’s this region, it’s this approximate area? Because we can tell that. It’s just that for paper products, it might be a thousand forests. But what if we could create a system where the fee that you get is proportional to the likelihood that part of the product was delivered from part of your forest, essentially? So that it becomes more of a credit system or a mass balance system in the end—which, and maybe we would need a combination of both—so that there’s still a better, bigger benefit for the ones who have solid wood products. But that’s a lot of the stuff that we have to figure out. Like I said, it’s early stages. We’re still in dreamland for this one.

Mitch Ratcliffe  31:05

It is, but that probabilistic analysis that you’re describing is what we’re working towards with quantum computing as a processing platform for this kind of information. It’s interesting to think about whether or not we’ve already been inventing the solutions to the problems we have and just haven’t found the applications for those solutions yet. You’re describing one that I hadn’t thought of before.

Loa Dalgaard Worm  31:26

I hadn’t thought of quantum computing in this context either, but it’s really interesting.

Mitch Ratcliffe  31:32

One of the assumptions that I hear in the conversation and in the papers that I read is that transparency requirements are going to continue to get more stringent. But the current regulatory momentum in Brussels may shift, and obviously in Washington, it already has. How robust do you see the business case for these solutions if the regulatory tailwind stalls?

Loa Dalgaard Worm  31:54

Well, there’s a very—perhaps a subtle but a very important—detail about the deregulation that’s happening right now. Because it is true that we’re seeing deregulation happening and seeing a lot of legislation being changed or pulled back or adapted. But what we’re seeing being adapted through deregulation is very much focused on what we can call the “do good” regulation—so the ambitious regulations that are pushing the world in a more sustainable direction. That is very unfortunate. They’re being impacted big time right now and being dismantled in many different regions, many different countries of the world.

But at the same time, we have a geopolitical situation which means that every single region of this world wants to become resource resilient. They want to be self-reliant, both in terms of their financial stability and in terms of their trade, but also in terms of their access to raw material and the continued ability to produce the goods that are needed in a given region. That creates a very strong push for circular business models. So that could be recycling, that could be reuse, it could be looped material, raw material handling, so you have to use products again and again. And we’re seeing more and more legislation coming up pushing for reuse.

But when you reuse the product or fiber the second time, you still need to know that it’s safe. You need to know that it’s not from illegal sources. You need to know that it hasn’t contributed to human rights violations, and you need to know which kind of pesticides and chemicals were used in it. And those are the legislations that we are actually seeing being firmed up right now and implemented faster right now, instead of being removed. So the whole transparency rollback actually isn’t happening for these types of more circular loops.

Mitch Ratcliffe  33:46

You point out in the papers I read, too, that there’s at least a dozen EU regulations or global standards that the royalty system could actually support and streamline compliance reporting for. And that, of course, is what a lot of companies are looking for—greater efficiency in that kind of reporting. But there are stalled regulations as well, like the EU Deforestation Regulation, which would require you track the wood coming into the continent. Practically speaking, what are the specific reporting burdens that you can help reduce by adding this data to the circular economy information flow that we’re trying to build?

Loa Dalgaard Worm  34:23

So the whole beauty of what we’re trying to do here, both with the royalty system but also with the circular economy module that we’re looking into—with the FSC, we have an EUDR add-on module which is called the regulatory module. And the beauty is that a lot of data points that companies need for adherence to these legislations—and it’s not just European ones. I gave European examples. It could also be the new Brazilian Circular Act. It could be the Mexican new legislation that was just enforced here in January—a lot of the data points that they’re asking for are data points which we’re already monitoring.

We already have audits in every single forest, in every single factory that is working with FSC. But what we don’t have is a system for connecting those data points with the product that is then again tied to an origin. So in other words, we don’t have a fiber test which can already prove—or, it’s not that we have the fiber test, but it’s not a systemic part of our system—that can prove automatically that this piece of timber came from that forest and has been exposed to these chemicals or to these pesticides, et cetera. And here is the audit report that shows how the workers were fairly paid or safe, and that no indigenous peoples were harmed and that they gave consent to their land management.

So that’s the piece that we’re missing—that we need to have that system. And if we have that system for the first use case, which is what we are implementing with FSC Trace and with the regulatory module, we really are very close to being able to also use that system for multiple use cycles. Which means that the admin burden for the companies is actually relatively low, because a lot of the data points are things that they’re already giving to us as part of their annual audit. We just have to use it better and put it to more uses than we’re doing today.

Mitch Ratcliffe  36:27

We’re building a very complex network. And obviously you and I are speaking halfway around the world, but in the Global North. And as I think about what you’re saying—how do we ensure that we don’t create a mechanism that primarily benefits the well-resourced forest operations in the Global North? I mean, will you have a subsidy or a low-cost onboarding solution for organizations and communities in the Global South to help them participate in this economic opportunity?

Loa Dalgaard Worm  36:54

So this is one of the key focus areas of FSC as such, and something that’s really close to our hearts—how do we constantly have alternative ways so that we don’t add a burden for the Global South, and that we give them access, and that we have something that’s attractive all around the globe, not just in the more digitally driven Global North?

The reality is that right now, most fibers actually don’t travel continents. And in the future, with the geopolitical situation, I don’t think that they will travel continents more than they do today. So there are some things that FSC won’t be able to fix. In terms of Global South–Global North, we need to have stronger legislation and stronger enforcement, especially in the Global South, to safeguard the ecosystems there even more.

But what we can do as FSC is we can make systems that automate as much of the data requirements and data gathering as we can, and that do not add on additional data elements—like the ones I was talking about before—that we need to utilize what we’re actually already out there gathering. And then I think we need to really think about the fact that we have boots on the ground every single year as part of our audits. How do we utilize those boots elegantly? How much of the data could an auditor actually contribute as part of the audit, instead of asking the forest owner or the company in the Global South to do it, unless their systems already do it?

Because let’s not stigmatize and say that everyone in the Global South is not using computers and doesn’t have elegant systems. Some of them are more advanced than we are. But for the ones that are small, the ones that are community-driven, the ones that are much more analog—and where this is difficult—well, what is the role of the auditor who’s there anyway to help ensure that that information gets on the systems that it needs to get on?

Then, of course, a lot of it is also about making it mobile-first. Because while they might not have fancy LIDAR systems and earth observations and integration with harvesting machines, et cetera, like we see in the Global North, all of them have cell phones. So how can we make sure that the cell phone, the smartphone in their hand, can be actually utilized to access the very same systems in an elegant way that does not require a lot of additional time, but gives them access to the benefits?

Mitch Ratcliffe  39:28

You’re correct. There are a lot of communities in the Global South that leapfrog the hard-wired infrastructure that the North built first, and therefore are ahead of us in a lot of ways. But could I have a couple more questions on that? They require an impressionistic answer. And the first is, can you describe a program that would support an indigenous community working to care for their forest and its biodiversity? How would that potentially be enabled by the system that you’re building?

Loa Dalgaard Worm  39:57

Well, in many senses, the indigenous communities are already doing what we’re asking for. They’re safeguarding 80% of the remaining biodiversity that we have on this globe, regardless of the fact that they’re only 10% of the population. So they are already taking care of the ecosystems in a way that all of the rest of us are not doing.

What we have in FSC is we really have an embedded adherence to the concept of free, prior, and informed consent, which is actually a human right, but we’re one of the few entities actually enforcing it—making sure that indigenous people are not only informed about what is going on on their land, but that they’re done so in advance, before something happens on their land, and that they give consent and also have the right to withdraw that consent.

Well, what if these systems could also make sure that we capitalize what they’re already doing on the ground? The way that they are protecting the biodiversity—what if we could get more of the data and the impact and learn from them, and take some of that learning and use it in other forest areas around the world, which is something that we’re not totally bad at doing? So what if we could learn from some of the data elements that they have, and that they have the exact same access as the rest of the forest owners, the rest of the stewards, to some of the fees that are being paid back? It won’t be a silver bullet, but at least we could give some more payment for the protection of ecosystems that they’re already stewarding on behalf of essentially the globe.

Mitch Ratcliffe  41:44

That’s a very forthright answer. I appreciate it. It is such a challenge to integrate the kinds of indigenous understanding of the environment that we lost because we have treated the environment as something separate from us—that these indigenous communities continue to preserve. You’ve been very generous with your time and your thinking. One last question: How would you describe a fully circular fiber economy changing global supply chains, and when do you think that becomes common?

Loa Dalgaard Worm  42:16

Well, it really depends on what we mean. Because fully circular global supply chains can come in many shapes and forms.

Okay, well, if you’re asking about the royalty system, which I know is one of the things that you’re really interested in—I do hope that we have something to pilot within the next two years and can make it into a more mature concept at our next General Assembly in FSC in three years, for debate. Because FSC is a membership-driven organization, so everything has to go to debate there before we implement at scale.

But the royalty system isn’t the only thing that can push for this shift towards circular supply chains. It’s just a small fraction of what we’re doing. So if you’re asking more broadly about the way that the world uses fibers and how we view fibers, I think if we had this conversation in five years, we would have a fundamentally different perspective on fiber use, fiber value, and how we so easily throw things out right now. I think in five years, that will be fundamentally different, both from organizations but also from consumers.

I think that global supply chains will be forced to look much more locally when they’re focusing on fiber sourcing. And they have to really both use more local fibers and look very carefully into redistributing and enabling closed-loop systems, because geopolitics is just pushing very rapidly in that direction. So it’s going much faster than anybody was expecting.

So I think if we look ahead just within a year, we will start seeing these circular business models having an uptake in FSC. If we look five years ahead, hopefully all of our different initiatives that I’ve been talking about today are either in pilot mode or implementation mode, so that we can become an enabler for a circular economy. And for me personally, that is the end goal. We have to enable a circular economy so we can reduce pressure on forests, so forests can help us fight climate change, and we have a realistic chance of having a climate that we as human beings can survive in.

Mitch Ratcliffe  44:42

Loa, I hope that all of that is something that comes to pass. Thank you for your time today. It’s been a fascinating conversation.

Loa Dalgaard Worm  44:48

Well, you’re most welcome.

Mitch Ratcliffe  44:56

Welcome back to Sustainability In Your Ear. You’ve been listening to my conversation with Loa Dalgaard Worm, who is the leader of the Circularity Hub at the Forest Stewardship Council. Her team is taking on the biggest expansion of the FSC mission since the chain-of-custody certification program it started 30 years ago. And to find out more about the Circularity Hub, you can visit fsc.org/circularity, or contact the team by email at circularity@fsc.org.

We heard one thing clearly in this conversation, something that’s reiterated by many of our guests: data can help us plan and transform the economy. We can see into the complexity that we’ve created around ourselves and, to a degree, are being carried away by. The future of materials, forests, and the circular economy depends on data platforms that can help manage information about everything that we produce and use, and that—at least until now—we throw away.

The economics of forest fiber won’t work under the current linear system, and the cost is rising. You can see it everywhere. For example, the Trump administration recently announced plans to open old-growth forests in Oregon to logging. We are literally preparing to mow down the last reserves of biodiversity in the United States. This is insanity.

Loa is right. We act as if forests are endless resources, but we’re taking fiber much faster than forests can recover. Weakened ecosystems cannot withstand the fires, droughts, and beetle outbreaks that are being made worse by climate change every year. This outdated way of thinking from past centuries is leading us toward disaster. We have to face this reality in our supply chains. If industries don’t start reusing, repairing, and recirculating fiber, they will run out of the material that they hope will replace plastics. The sad truth is that if the green transition doesn’t face up to this problem, the forest loss will actually accelerate, because we haven’t changed the basic economic models behind reuse.

Loa’s idea for a royalty system is one of the most creative approaches that I’ve seen in certification design. Right now, forest owners are paid only once, and that’s when they cut down a tree. The royalty idea would give them a small payment each time fiber from their forest is reused, whether as solid wood in construction, repaired furniture, or as paper that’s recycled many times. Loa called this her “pie-in-the-sky” idea. But tracking technology is advancing fast. FSC already uses a blockchain-based system called FSC Trace, works with the World Forest ID program to use isotope testing that can pinpoint a fiber’s origin to within about 15 kilometers, and partners with Esri to improve earth observation systems so we can predict forestry outcomes instead of just reacting to what happens.

For solid wood, tracking through several uses is fairly simple. The real shift is moving from just enforcing rules and catching illegal timber—which is always going to be needed—to actually rewarding the ongoing care that keeps forests healthy. FSC needs to make sure that incentives reach the Global South too, or the circular economy could end up mainly helping large forestry companies in the North.

Because of geopolitics, fiber sourcing is shifting toward local and regional supplies. Countries are putting up walls, so most fiber will stay within continents. FSC can support inclusion for indigenous peoples by automating data collection to avoid creating extra work for local communities, using existing auditors to gather information that small or community-run forests can’t easily digitize, and by creating mobile tools that work on smartphones. Indigenous peoples already care for 80% of the world’s remaining biodiversity, and they don’t need lessons in circular forest management, because they’ve practiced it for dozens of generations. But the royalty system Loa is developing could finally pay those communities for their stewardship, instead of treating it as a free benefit to the global economy—which corporate finance so loves to overlook.

So here’s what I want you to leave with after this conversation. Loa said something that I think we all know but too often ignore due to the industrial way of thinking: we once knew how to live in a circular way without sending so much waste to landfill every year. Our grandparents fixed clothes. They repaired radios. They kept things in use. FSC’s circularity work aims to rebuild the systems we need to relearn reuse and repair.

The question is whether FSC’s royalty system will move from idea to pilot within Loa’s two-year goal. That will show whether or not certification organizations can adapt quickly enough to help create a circular bioeconomy, instead of just recording the failure of the old, wasteful system. The ambition is there, the tools are ready, and the real question is whether institutions and markets will act fast enough for the forests.

So stay tuned. We’re going to have more discussions about this, especially about the solutions that can make a difference on Sustainability In Your Ear. And I hope you’ll take a moment to check out our archive of more than 540 episodes, because there’s something here. We’re in our sixth season, and I guarantee you that there’s an interview you’re going to want to share with one of your friends. Writing a review on your favorite podcast platform will help your neighbors find us. Because folks, you are the amplifiers that can spread more ideas to create less waste. Please tell your friends, family, and co-workers. They can find us on Apple Podcasts, Spotify, iHeartRadio, Audible, or whatever purveyor of podcast goodness they prefer.

Thank you for your support. I’m Mitch Ratcliffe. This is Sustainability In Your Ear, and we will be back with another innovator interview soon. In the meantime, folks, take care of yourself, take care of one another, and let’s all take care of this beautiful planet of ours. Have a green day.

The post Sustainability In Your Ear: The Forest Stewardship Councils’ Path to a Circular Bio-based Future with Loa Dalgaard Worm appeared first on Earth911.

https://earth911.com/podcast/sustainability-in-your-ear-the-forest-stewardship-councils-path-to-a-circular-bio-based-future-with-loa-dalgaard-worm/

Continue Reading

Green Living

Best of Sustainability In Your Ear: Making Billions of Square Feet of Commercial Space Sustainable with CBRE’s Rob Bernard

Published

on

The built environment, particularly office buildings other urban facilities, are responsible for 39% of the global energy-related emissions, according to the World Green Building Council. About a third of that impact comes from the initial construction of a building and the other two-thirds is produced over the lifetime of a building by heating, cooling, and providing power to the occupants. Our guest today is leading a key battle to reduce the impact of the built environment. Tune in for a wide-ranging conversation with Rob Bernard, Chief Sustainability Officer at CBRE Group Inc., which manages more than $145 billion of commercial buildings, providing logistics, retail, and corporate office services across more than than 100 countries.

Rob Bernard, Chief Sustainability Officer at the commercial real estate giant CBRE, is our guest on Sustainability In Your Ear.

Rob cut his sustainability teeth at Microsoft, as its Chief Environmental Strategist for 11 years, as the company was developing its world-leading approach and collaborating with other tech giants to lobby for policy and funding to accelerate progress. He discusses CBRE’s Sustainability Solutions & Services for commercial building owners, as well as the accelerating progress for renewables, carbon tracking, and economic, health, and lifestyle benefits of living lightly on the planet. You can learn more about CBRE and its sustainability services at cbre.com

Take a few minutes to learn more about making construction and building operations more sustainable:

Editor’s Note: This podcast originally aired on April 15, 2024.

The post Best of Sustainability In Your Ear: Making Billions of Square Feet of Commercial Space Sustainable with CBRE’s Rob Bernard appeared first on Earth911.

https://earth911.com/podcast/earth911-podcast-making-billions-of-square-feet-of-commercial-space-sustainable-with-cbres-rob-bernard/

Continue Reading

Green Living

Sustainability In Your Ear: Zena Harris Brings a Green Spark to Hollywood

Published

on

An average big-budget movie creates about 3,370 metric tons of CO₂, according to the Sustainable Production Alliance’s 2021 report. That’s like driving over 700 gas-powered cars for a year, or about 33 metric tons of CO₂ for each day of filming. A single TV season can have the same impact as 108 cars. With thousands of productions happening every year in North America, Hollywood’s environmental impact is hard to overlook. Zena Harris, founder and president of Green Spark Group, has spent more than ten years helping the industry turn sustainability goals into practical steps that productions can track. On this episode of Sustainability In Your Ear, she shares how to build sustainable practices into film and TV projects from the very start, instead of adding them at the end when most waste has already been created. Zena started Green Spark Group in 2014 after earning a master’s in sustainability and environmental management at Harvard. She pitched Vancouver’s major studios on a simple idea: sustainability can save money. Her first big project, the X-Files reboot, managed to divert 81% of its waste across 40 filming locations. Since then, her certified B Corp consultancy has worked with Disney, NBCUniversal, Amazon, and other major studios, and she founded the Sustainable Production Forum, which is now in its tenth year.

Zena Harris, founder and president of Green Spark Group, is our guest on Sustainability In Your Ear.

This conversation comes at an important time. Soon, California’s climate disclosure laws will require studios to report emissions from every vendor in their production supply chain, both before and after filming. Zena points out that while studios are getting ready, most of their suppliers—like small companies that rent generators, handle waste, or provide lumber on tight schedules—are not prepared. The Sustainable Entertainment Alliance has released Scope 3 guidance for productions, and updated Scope 1 and 2 guidance came out in August 2025, but there is still no single tool that everyone uses. The real challenge over the next two years will be closing the gap between what studios must report and what their suppliers can provide. Zena also makes a bigger point about culture. After 12 years in the industry, she sees sustainability experts facing the same obstacles again and again because the way content is made hasn’t changed. The day-to-day work is important, but the bigger opportunity is in climate storytelling. Only about 13% of recent top-rated films mention climate change at all. Tracking the carbon footprint of a TV season is important, but what really matters is how a billion viewers see what’s normal on screen. That’s the influence Hollywood hasn’t fully used yet.

To follow Zena’s work, visit greensparkgroup.com. You can also learn more about the conference she started at sustainableproductionforum.com, or listen to her podcast, The Tie-In, which she co-hosts with Mark Rabin.

Interview Transcript

Mitch Ratcliffe  0:00

Hello, good morning, good afternoon, or good evening, wherever you are on this beautiful planet of ours. Welcome to Sustainability In Your Ear. This is the podcast conversation about accelerating the transition to a sustainable, carbon-neutral society, and I’m your host, Mitch Ratcliffe. Thanks for joining the conversation today.

We’re going to talk about film and television, because every film and TV production starts the same way: with a creative vision, a budget, a shooting schedule, and a huge amount of stuff. Generators burn diesel all day and night at shooting locations. Trucks idle as they wait to move between locations. Sets are built from raw materials only to end up in the landfill when filming ends. Craft services rely on single-use items for literally everything that’s placed on the table for the production team.

Now multiply that by the thousands of productions happening in North America each year, and the scale of the problem becomes clear. The average feature film emits 3,370 metric tons of carbon dioxide, which is like driving more than 700 gas-powered cars for a full year. And a single season of a TV show can match the emissions of 108 cars — and that’s not even counting the supply chain, everything that comes onto a set and everything that leaves. Hollywood has promised to be more sustainable many times, and our guest today has spent the last 10 years figuring out what it really takes to make these promises come to life in practice.

Zena Harris is the founder and president of Green Spark Group, a certified B Corp sustainability consultancy that she launched in 2014 with a mission to change the environmental impact of entertainment. She holds a master’s degree from Harvard in sustainability and environmental management, and she came to this work not as an environmentalist, but as a systems thinker — someone who spent her early career in engineering and HR identifying where organizations were leaking efficiency and money. But when she moved to Vancouver and discovered that nobody was focused on sustainability in what had become one of North America’s largest film production hubs, she saw a gap and filled it.

For more than a decade, she’s worked with major studios — including Disney, NBCUniversal, and Amazon — helping them embed sustainable practices in video production projects, and she’s developed measurable goals and built cross-industry collaborations that make lasting change possible.

She also founded the Sustainable Production Forum, which is now in its 10th year and has become the industry’s premier gathering place for turning sustainability talk into coordinated action.

We’ll talk with Zena about what it looks like when a production plans for sustainability from the very beginning, instead of adding it on at the end of the process like we usually do with all of our waste. And she’ll explain her idea of radical collaboration and why making real progress in Hollywood requires everyone — that includes unions, guilds, city governments, power companies, and those top-talent stars — to work together. We’ll also discuss how she uses the circular economy on set, the accountability gap that remains even as California’s new climate disclosure laws start to roll out, and whether the same systems-thinking approach can help business outside the film world.

To find out more about Zena’s work and Green Spark Group, visit greensparkgroup.com — that’s all one word, no space, no dash. Hollywood has the power to change how people think about sustainability, but can it also change how it works behind the scenes? Zena Harris is tackling both challenges at the same time. Let’s see what she’s discovered, right after this brief commercial break.

Mitch Ratcliffe  3:49

Welcome to the show, Zena. How you doing today?

Zena Harris  3:50

Hi. Thanks for having me. I’m doing great. The sun is shining in Tacoma, Washington, and I’m happy to be talking with you.

Mitch Ratcliffe  3:59

Well, I’m so happy to hear that you live in Tacoma. I lived there for almost 50 years. It’s a beautiful place, and I’m glad you’ve inherited it. I really like it. But you started your sustainability career in Vancouver, and you had no entertainment experience, and your first project was helping The X-Files reboot series divert material at 40 shooting locations — and you reduced their waste by 81%. What gave you the confidence to, you know, just call and say, ‘Hey, can I make you more sustainable?’

Zena Harris  4:31

It was a little more than that. You know, there was a lead-up to it. I had studied the film and TV industry in graduate school — I did my master’s thesis on it — so I had a little bit of a background. And the reason I studied it in grad school: I was in a sustainability master’s program, and I wanted to figure out how to shift culture. The first thing I thought of was, okay, people watch TV, we all love movies — that’s where I should start digging in to see what they’re doing. And they weren’t doing a ton. They were doing a little bit, but not too much.

So I talked to all the studio reps and found out what was going on and created a whole framework, like you do in graduate school, and wrote it all up. And then I pitched it to every studio. I sent out a white paper, essentially, to all the studios, and I was like, ‘Hey, let’s talk about this.’ Flew to LA, met with people in person. And I’m like, ‘I’m in Vancouver. I know it’s a major film hub. Put me to work.’ And one person did. She said, ‘Hey, you know, The X-Files is coming. It’s a big show. We have room in the budget to make this great. Let’s see what we can do.’ And that’s what really got me going.

One of the first people I met in the industry was Kelsey Evans. She is the owner of Keep It Green Recycling, which is a local vendor in Vancouver. Now, I had studied the film and TV industry, I know management practices and sustainability and the science, and she knew — like, really knew — the industry. So we worked together on that production, and we still work together today. She’s a friend of mine. She’s fantastic.

We got a lot of stuff done on that show, and that was my introduction into the film industry in practical terms. Vancouver, because it’s a major film hub, has — let’s just say — 20 shows filming at any given time. Sometimes it’s a lot more. But I knew that the work I was doing on that one show could scale. We needed to do it on all the shows. We needed to engage the industry. We needed to train people. So I started Green Spark Group as a vehicle to do this in the industry more broadly.

I think my past experience — prior to even going to grad school — in HR for a multinational company, and I was also an executive director at an international nonprofit where we had working groups and people from all over the world coming together to solve problems and create programs, all that gave me confidence to step into the film industry, look around, learn from others, apply my skills, and build this momentum locally. The company, locally, ended up — now we work across North America and even in other countries. So it’s been a journey.

Mitch Ratcliffe  7:52

Well, you point out that they said, ‘We’ve got room in the budget to make this great,’ but that isn’t always the case. So what’s the pitch to a new client?

Zena Harris  8:00

Yeah, yeah. Well, those are the magic words: ‘We can save you money.’ That is it. That’s it. I mean, look, this has been a movement over the last, let’s say, 12 years — that’s how long I’ve been working in this space. And it’s rare for folks to say, ‘Yeah, we can figure this out in the budget.’ Sometimes it happens, but most people want to know how they can save money. So if you can show them very clearly that they can save money, that pushes the door open. And then you can talk about lots of other things too.

Mitch Ratcliffe  8:43

So tell us about The Amazing Spider-Man 2. You saved them a lot of money. How’d you do it, and how much did you save them?

Zena Harris  8:48

I did not work on that. A colleague of mine, Emellie O’Brien, worked on that. That was actually one of the first productions publicized for saving a lot of money. I think they saved something like — well, I have the number here — $400,000. The cool thing about what happened with that, and also what happened with The X-Files and some others shortly thereafter, is that the studio recorded behind the scenes. They interviewed crew members to talk about what they had done. Then they published some of the stats in a case study and a video.

People in our industry love watching videos, right? So we did a behind-the-scenes for The X-Files, which caught lightning in a bottle — really created a whole movement in Vancouver. We showed that little five-minute behind-the-scenes video to everyone, and they saw their peers in that video because they were crew members speaking about what they had done. Things like that really sparked action in people and this excitement that, ‘Wow, things I have seen and kind of felt uncomfortable with — like waste, nobody likes seeing waste — people saw solutions in those videos. People saw themselves, saw their peers, and that inspired action, awareness, intrigue — like all the stuff you would want to create a movement. I can’t say enough about those early videos. They really helped kind of put us on a trajectory for more awareness and more action.

Mitch Ratcliffe  10:42

A set is kind of like a microcosm of a city. A lot of stuff comes together and then disperses again. We actually did some consulting a few years ago with Hollywood about recycling the material on site — they use the PCs for the first time and then send them to recycling. It’s amazing how wasteful it could be. Tell us about what happens on a set. What’s the input, and what’s the output?

Zena Harris  11:10

Yeah, you are right. It is definitely akin to a city. I mean, if you think about it, for a large film or TV series, there can be 20 different departments working together to make that project happen. Each of those departments brings in some kind of material, some kind of input. The production office will have lots of office supplies, equipment, office equipment, furniture for the office — that kind of thing. Those things are coming in, and then you use them, and then they go out.

Then you can think of production design and construction. These two departments work really closely together, and they’re the ones creating and then building the sets in the sound stage. You can think about all the materials that might be associated with that. Construction is a big input department, where we’re bringing in lots of wood — and other types of material. It’s not just wood, but essentially we’re building a village inside a sound stage to shoot. And it’s all the wood and any other material that goes into that: wallpaper, paint, all sorts of props, set dressing that will go into that space.

So all that’s coming in, and then we use it for a short period of time, and then we have to do something with it. A lot of times, set walls are kind of standard — they can be reused. These are things that, if we recognize the patterns here, we’re using these things all the time. We’re breaking them down, and then we do something with them. A lot of times the breakdown is fast. You don’t have a ton of opportunity to really think. But if we know that there’s a pattern associated — prep, production, and wrap every single show — we know that we can disrupt that pattern. We can plan for it.

This is where thinking ahead and planning like, ‘Hey, we can reuse these walls. Got a lot of doors here — we’re going to reuse these doors. We’re going to send them to a place that will hold them temporarily, like a reuse center, and then those can be redistributed back into the industry.’ Some productions will store this stuff on their own if they have reshoots they think they might have, or another series they might come along. So all of these are options.

The default historically has been — because this is a dynamic industry, because timelines are short, people need to get out of their stage space — to use it, break it down, put it in the dumpster, get that thing out of here, and move on. So we’re saying there’s another way to do it, and just that alone saves the production a lot of money, because those big dumpsters at the end of it all are expensive to haul away. If we can reduce even a few of those, that is a cost savings, and then that material can be diverted and reused. So everything coming in — food, big material like construction material that people think a lot about, anything coming in — has an opportunity to be diverted, redistributed on the back end. And then that action saves money.

Mitch Ratcliffe  14:59

Well, you describe what’s needed as radical collaboration. I’m wondering if you can explain what that means, because Hollywood’s going through a lot of changes right now, and it sounds like sustainability may be the keystone of some new talent or new careers during the production process. So what are the hardest stakeholders in that radical collaboration to get to move from where they are today?

Zena Harris  15:22

Yeah. I think, like I said, I’ve been doing this for a really long time, and one of the things that I’ve picked up over the years is that people in the industry have been conditioned to point fingers. There are different stakeholders in the industry. Crew will point to the union or the studio, for example, and say, ‘You know, those folks need to do something so that I can integrate sustainable practices.’ The unions will point to crew or studios. The studios will point to production or unions. And so at the end of the day, that doesn’t get us anywhere. We’re kind of swirling in this finger-pointing. And nobody really knows what to do. They’re waiting for something. So progress is slow when you do that.

In order to move the needle, I think one of the things we need to do is actually work together in ways that might seem unconventional or radical. I keep reminding myself of the saying, ‘What got us here won’t take us forward.’ So we have to get over ourselves and do something differently. We know that there’s no single organization that’s going to solve all the problems or change the existing system. We need a different approach, a different narrative around all of this — not just kind of deferring to another stakeholder.

This is what I call radical collaboration, because it’s different. Collaboration between crew and unions and studios and creatives and suppliers and industry organizations — in ways that have been different than we’ve tried before, that really haven’t worked so well, or not to the degree we wanted them to work. So instead of reinventing the wheel on that, we need a whole different tack. I think that in order to see success, we need positive reinforcement for people. We need to actually say, ‘Yes, this worked,’ and in increments too — not just the big things. When people see that positive reinforcement, they actually lean in. They actually have more confidence in what they’re doing. And then this increases momentum. That’s kind of my view of radical collaboration and what I think is needed to keep the ball rolling.

Mitch Ratcliffe  18:07

Well, you’re making a really interesting point, which is that people don’t dislike change. They may be a little afraid of it, but they want to see that the extra effort involved in making the change actually is paying off. As the orchestrator of the sustainability activities on set, how do you communicate that to them so that the Teamsters and the members of the Screen Actors Guild all say, ‘Oh, I’m in’?

Zena Harris  18:37

Yeah, yeah. Well, you know, it’s interesting. You mentioned a couple of different positions there — Teamsters and actors and these sorts of things. Everybody is coming to the production with a different perspective, a different viewpoint, kind of a different mandate within their department. Like, their job is to do this. So everybody sees sustainability in a slightly different way.

One of the things we really strive to do — and I would say this is kind of a standard practice, but what we’re trying to do as a team at Green Spark Group — is go beyond surface-level conversations. Not just say, ‘Here are a few things you could do,’ but really try to have a deeper conversation with people in each of these departments and ask them what they see, what they need to be successful in doing any one of the things that they might want to do differently, and really help them get there. If they’re afraid to talk to someone, well, we’ll help them do that. We will have their back. We will go with them and be a backstop for anything they may not know or feel confident talking about. If it is finding a vendor and they don’t have time to look around, we’ll help them do that.

You know, people say, ‘Meet you where you are.’ But it’s really going beyond surface-level conversations. It’s really tapping into people’s wants, needs, level of confidence, and helping them grow that and helping them shine in their role — whatever it is. I think that sort of human-centric approach is really helpful, and what really moves the needle, or actually builds trust. Because at the end of the day, we can go in there and talk about all sorts of gear. There’s a lot of gear out there. There’s a lot of batteries out there that are going to save emissions. But I have seen multiple times where batteries have been rented, they sit in the gear truck, and people are afraid to use them. Why is that? Let’s talk about that. Let’s really unpack it, and let’s find a safe space to do it. Maybe it’s that lightweight one over there, and we want to just test it out. Totally cool. Let’s make that happen. What’s it going to take to get there?

Mitch Ratcliffe  21:24

This very meta moment — talking about telling stories to storytellers to get them to change their behavior — is a great place to take a quick commercial break. Folks, we’re going to be right back to continue this really interesting conversation.

Welcome back to Sustainability In Your Ear. Let’s get back to my conversation with Zena Harris, founder and president of the Hollywood sustainability consultancy — although Vancouver, too — Green Spark Group. Zena, your mission is to change the climate of entertainment, and that has a double meaning that clearly was deliberate. But I’m wondering, in the current environment and thinking about the stories we tell about why we do things, with all the whiplashing political winds of the last couple of years, how has that changed your message and your perception of what Hollywood’s trying to accomplish?

Zena Harris  22:16

Yeah, I mean, I’ve said this a few times. We have a lot of momentum. Right now, in 2026, there are more organizations, there are more people thinking about sustainability, there are more tools out there for people to use. There’s a lot of momentum in the industry. So for us at Green Spark Group, we are on a mission to change the climate of entertainment, and it’s incremental, year over year, year over year — and so we’re still working on it. It’s very relevant for us today.

We have had a hand in changing a lot in the entertainment industry over the last 12 years. We started programs, we’ve created strategic plans for industry organizations and training in the C-suite, and started the industry’s first conference. We’re uplifting people and trying to give a platform to people to collaborate and share their ideas. But there’s a lot of opportunity out there. There are still a lot of people who are new to sustainability, and they need someone to help them make sense of it all. It’s taking all this wonderful information that’s been created by various organizations — and we’ve contributed as well — and distilling it and helping them make sense of it all, make decisions that are in line with their values, and implement the things that they want to implement. Save the money that they can save, that they know they can, when they start doing the math.

Mitch Ratcliffe  24:11

Is the money the key thing right now? Is it the sustainable savings, or is it still a commitment to the climate, in the context of, again, all the backlash against the idea of environmentalism?

Zena Harris  24:24

Yeah, I mean, the idea of environmentalism, I think, is kind of in the broader ethos. I think when you get down to talking to people one on one, they want solutions to things — waste they’ve seen, or emissions they’ve encountered on production, or food waste, or whatever it is. Whether they call themselves an environmentalist or they just are a caring and concerned person, everybody wants a positive working experience. And they don’t want that tension internally between, ‘I’m doing this great, creative, wonderful thing in my job, and then I look over here and some negative thing is happening environmentally or whatever.’ People want a holistic, positive work experience. So I think that’s core at the end of the day — to tap into that, and, like I said, just go beyond surface-level conversations and really help people figure that out.

Mitch Ratcliffe  25:35

Let me ask about the other side of that equation, about changing the climate of entertainment. Hollywood has enormous cultural reach, but we did a little research and found that only about 10%, 13% was the number we came up with, of recent top-rated films even acknowledge the idea of climate change on screen. Do you hear creatives on the content side talking about climate? Do they ask you? Do they say, ‘You know, this is interesting, I’d like to learn more, and I might tell a story about it someday’?

Zena Harris  26:05

Yeah. I mean, this idea that the industry reach is certainly enormous — the cultural influence of the industry, wherever you’re interacting with it, whether you love a character on screen, whether you follow an actor in real life and kind of just like what they do, whether you follow — like, I’m an operations kind of person, I like looking at how things work and trying to improve that. But this idea of climate storytelling, a lot of people are thinking about it right now. It’s a huge lever. You will hear that batted around a lot. A lot of industry organizations are doing research on it and trying to get into writers’ rooms and in film schools.

There’s a lot of momentum in that space. We have been engaged a few times in that effort, and it’s proven beneficial. So I would say that 13% — there’s a lot of momentum around this subject, and I can see that number increasing over time. People want stories that reflect the current reality they’re feeling in real life. There are a lot of people working in environmental jobs, or in some shape or form, and I think those kinds of professions will be reflected on screen a lot more in the future. So, yeah, I think there’s a lot of momentum in that space.

Mitch Ratcliffe  27:52

I can see a film about a ranger saving a family from a fire.

Zena Harris  27:57

You can think it, they can do it.

Mitch Ratcliffe  28:00

Let’s turn back to the operational question, as you pointed out you focus on that. One of the common problems that production has, along with every other business, is trying to fully measure what’s going on. Like we were talking about, this set is this midpoint in a very complex supply chain where stuff has flowed in, now it needs to go somewhere in order to either be reused or appropriately recycled, but we can’t fully measure all that. What’s still in the invisible category of information? In the same sense that Scope 3 emissions are hard for a typical corporation to measure, is there a comparable issue with production sustainability?

Zena Harris  28:36

Oh yeah, 100%. Look, there are always more things to measure. As an industry, we have focused a lot on carbon emissions from things like utilities, fuel, air travel, and accommodations. We have a really good handle on that. But those are, like, four categories, right? And, as you said earlier, materials are coming onto production — food, wood, office supplies, you name it, it comes onto production. So those are the things we don’t have a solid handle on. There’s embedded carbon and all that stuff.

There are also lots of industry tools, industry carbon calculators out there — some measure more than others.

Mitch Ratcliffe  (interjects)

Are any of them any good?

Zena Harris  (continues)

Yeah, yeah, they’re good. But some have more inputs than others. Some will only measure those four categories that I mentioned. For years, for example, everybody in the industry wants to know the waste diversion rate, right? But nobody focuses on the carbon emissions associated with that material. We just get a diversion rate, and we call it good. So you have to choose: if you want to know all of that, you have to choose a tool that will allow you to input more of that information. And we don’t have a standard tool yet in the industry that everybody uses, so we can compare apples to apples.

We have guidance in the industry, and that’s really helpful. The Sustainable Entertainment Alliance, which is an industry consortium, has put out guidance on Scope 1, Scope 2, and Scope 3. Their Scope 3 guidance is the most recent, and with new information, new methodology, a lot of people don’t really know what to do with that, and maybe aren’t sure which tool to use to capture some of that stuff. So there’s a lot of uncertainty even around the guidance that’s out there. That’s where you can seek out professionals to help you understand all that stuff.

Mitch Ratcliffe  31:11

One of the characteristics of the change we’re undergoing right now is the recognition of externalities. And in Hollywood production generally — I have some friends who are in the industry — it seems to me that they focused almost entirely on who was in front of the camera and who was behind the camera, and only now are starting to recognize that they’re part of this deeper supply chain. And now California’s new climate disclosure laws are going to require studios to report indirect, upstream and downstream emissions from every vendor by this year. How’s that going to change? And is the industry actually getting the traction on trying to respond to that requirement?

Zena Harris  31:47

The studios are very aware of this. They’ve been preparing for this. The suppliers upstream, downstream are not as [prepared].

Mitch Ratcliffe  31:58

So how are they not prepared? What do we need to do?

Zena Harris  32:00

Well, they haven’t been tracking.

Mitch Ratcliffe  32:10

So they’re the typical company.

Zena Harris  32:13

They are a typical company. These are small companies servicing these projects, these productions. And we’ve been so focused in the industry on pre-production and production — that piece of the content creation process. So if you think of a book that has 10 chapters, we’ve been essentially focusing on one chapter. So you’ve got all of the other ones, and all of the service companies and suppliers and all of that that still incorporates the book, and all of those are contributing in some way.

Now we’ve been collecting data from waste haulers. We’ve been collecting data from people who supply equipment, and even those folks are still trying to get organized with their data. So you can imagine, like every other company, they all have their own operations. So that’s one thing. You can incorporate sustainability into your own company operations, and then you can provide data associated with the product or service that you are providing. And that’s going to matter. Those things roll up into this production reporting, and that production reporting rolls up into the larger studio, who’s going to have to incorporate that into their corporate reporting.

Mitch Ratcliffe  33:54

So do you see this regulation as catalyzing the potential for sustainability at scale in entertainment production?

Zena Harris  34:05

Yeah. I mean, I think it provides people a solid talking point to go up and shake the tree a little bit and say, ‘Hey, we’re going to have to be doing this.’ Look, they’re not going to have all the information they need, probably, in year one. So they’re going to take what they do have, and they’re going to estimate probably across their slate. And then they’re going to work really hard to make that better, more accurate in the coming years. So if you’re not asked in year one as a supplier for certain information, you might be in year two and three. It would be wise, I think, to kind of get your house in order and be able to start reporting on these things, even if you’re never asked. It’s good for you as a company, because you start to understand where your waste is, where your emissions lie, and then you can start making changes accordingly. And yes, that stuff saves money. So it’s good for everyone to be thinking about this, whether you’re asked by a studio or not.

Mitch Ratcliffe  35:16

Well, that’s really the key — that it’s also rewarding to make that kind of additional positive impact, as well as save some money and make more profit in the long run. I mean, that’s what’s rewarding about progress in general.

Zena Harris  35:30

Totally, totally. It’s a ripple effect, right? And then we just get better as an industry, and then an industry that contributes to broader society.

Mitch Ratcliffe  35:40

So after 10 years, how far has the industry come toward the vision that you had when you started Green Spark Group?

Zena Harris  35:50

Oh, gosh. Well, there’s a lot that has happened over these years. Like I said, more people are aware, more people are engaged. But I think that we are swirling within the existing system. Sustainability practitioners that started working on production like I did years ago — we just entered this existing content creation system. And what I’m noticing now is that we’re swirling within the same system. We’re all running up against similar challenges around the world with regard to implementing sustainable practices. So we’re coming up against consistent hurdles, barriers within this system.

For me, that’s an opportunity to look a little bit bigger and say, ‘Okay, well, if we keep running into the same barriers, what if the system shifted? What if the entire system shifted? What are the incentives involved in the system to keep it the way it is?’ And there’s a lot — that’s a whole separate podcast — but all to say, this is where we need to be thinking: how we shift the system, how we have that radical collaboration, how we shift the needle on what suppliers are doing and reporting, and these sorts of things. And that’s what’s going to take us to the next level. We’re going to get over the hump.

Mitch Ratcliffe  37:34

So, given that, imagine that you are Zena, goddess of sustainability, and can put your finger on one thing and change it. What would it be, in order to drive much more rapid transition to a more sustainable production environment?

Zena Harris  37:51

I mean, I think it all comes down to the people — the people in the system that are either allowing or not allowing, either making excuses or open to possibility. It all comes down to that. There are some core elements associated with people, behavior change, these sorts of things. I think mindset is core, absolutely core. I think courage — even to talk about this stuff within your small team or your department, or even in a larger conversation — is pretty critical, to voice some things you’re noticing, or what ideas you have for doing things differently. I think that collective confidence — once you do that, people get on board. They come together. Confidence is critical as well. If you don’t have it, you’re not going to take the next step, right? So there are fundamental human elements that need to be developed, to be encouraged, to be demonstrated. And I think that is going to shift the needle.

Mitch Ratcliffe  39:08

It’s a storytelling challenge in a lot of ways. There’s some carrot, there’s some stick, there’s a lot of nuance to that tale that we need to really make embedded into everybody’s approach to thinking about the work. Zena, thanks so much for your time today. How can folks follow both Green Spark Group and the work you’ve done with the Sustainable Production Forum?

Zena Harris  39:28

Sure. You’re always welcome to check out our website, greensparkgroup.com. We post insights there monthly and have a lot of great information for folks. Also on social media at @greensparkgroup — pick a platform, we’re probably on it. And then the Sustainable Production Forum is online as well, sustainableproductionforum.com, and from there you can get to all of their content, videos, anything you want to know is there too.

And I’ll also just give a quick plug for my podcast that I co-host with my longtime friend Mark Rabin. It’s called The Tie-In, and so folks can also check out stories from crew members, from people doing amazing work behind the scenes. We talk to them all there.

Mitch Ratcliffe  40:21

Zena, thanks so much. It’s been a fascinating conversation. Really enjoyed it.

Zena Harris 

Thank you.

Mitch Ratcliffe  40:31

Welcome back to Sustainability In Your Ear. You’ve been listening to my conversation with Zena Harris, founder and president of Green Spark Group, the certified B Corp sustainability consultancy she launched in 2014 to change the climate of entertainment. You can find Zena and her team’s work at greensparkgroup.com — that’s all one word, no space, no dash. And check out their conference, the Sustainable Production Forum, now in its 10th year, at sustainableproductionforum.com, also all one word, no space, no dash.

I think the headline from Zena’s work is a pitch, not a principle: ‘We can save you money.’ That’s how she opens a conversation with a studio, and it’s why The Amazing Spider-Man 2 became an early case study, based on the work of a colleague of hers at Green Spark who helped that production save roughly $400,000 through sustainable practices. The implications of these savings are clear when you stand next to the dumpster at the end of a chute and watch a village’s worth of lumber, furniture, wallpaper, and props get hauled away to a landfill because the stage needs to be empty by Monday.

The sustainability opportunity in film and TV isn’t a values problem — the industry’s values are already stated on the record. It’s an operational capacity problem, and Zena’s work is translating aspiration into line items a production accountant can track. And that’s to the benefit of the environment, even if it’s not visible on the bottom line.

California’s new climate disclosure laws are about to change the equation, too. Beginning this year, studios will have to report upstream and downstream emissions from every vendor in their production supply chain. That’s the chapter of the book, as Zena put it, that the industry has never actually opened. The studios knew that this is coming, and they’ve been preparing for it. Their suppliers — the small companies servicing productions on short timelines — mostly haven’t. That gap is the real story over the next 24 months in the entertainment sustainability business.

Zena’s advice to suppliers is the same advice my recent guest Steve Wilhite, who leads Schneider Electric’s power management division, offered corporate energy buyers just a few weeks ago: get your house in order now, because even if you’re not asked for data today, you will be in two or three years. The companies that can report cleanly will win work, while those that can’t will become a balance sheet burden to the studios.

A digital nervous system is arriving now in Hollywood, and every waste hauler, every generator rental company, every lumber supplier is becoming a data-producing node in a network that didn’t exist just one or two production cycles ago. California’s environmental policy is forcing that network into being, and once it exists, it will not unbuild itself, because people are going to see the benefits. They’re going to see the savings that we’ve been talking about throughout this conversation.

And after 12 years in the business, I think Zena’s comment near the end of our conversation — that sustainability practitioners in entertainment are ‘swirling within the existing system’ — is important to note. The hurdles they hit on one production look identical to the hurdles they hit on the next, because the content creation system itself hasn’t changed. That’s the green living myth problem I discussed recently with author Michael Maniates, but with a Hollywood accent: individual actors are doing the right thing inside a structure that continues to produce the same outputs by default. And that can easily become disenchanting. On-set greening is necessary and it’s real, but the industry’s deepest cultural lever is the one that we discussed in passing.

Only about 13% of recent top-rated films even acknowledge climate change on screen. The carbon accounting for a single TV season matters, but the cultural accounting — for what a billion viewers see, what they feel is normal, and what film and television characters drive and eat and care about — that’s the lever that this industry hasn’t yet pulled. Production sustainability builds the operational muscle and the credibility, but climate storytelling is where that credibility will be built at scale, because it will spread these ideas, changing not only Hollywood’s practices, but the practices of an entire world. One without the other leaves the most influential narrative engine on the planet running on the old script, and it’s time for a change.

So stay tuned. We’re going to keep talking with people rewriting what’s possible on set and on screen. And could you take a moment to help spread the word about the sustainable future we can build together? You are the amplifier that can spread more ideas to create less waste. So please take a look at any of the more than 550 episodes of Sustainability In Your Ear in our archives. Writing a review on your favorite podcast platform will help your neighbors find us. So please tell your friends, family, and co-workers they can find Sustainability In Your Ear on Apple Podcasts, Spotify, iHeartRadio, Audible, or whatever purveyor of podcast goodness they prefer.

Thank you, folks, for your support. I’m Mitch Ratcliffe. This is Sustainability In Your Ear, and we will be back with another innovator interview soon. In the meantime, take care of yourself, take care of one another, and let’s all take care of this beautiful planet of ours. Have a green day.

The post Sustainability In Your Ear: Zena Harris Brings a Green Spark to Hollywood appeared first on Earth911.

https://earth911.com/podcast/sustainability-in-your-ear-zena-harris-brings-a-green-spark-to-hollywood/

Continue Reading

Green Living

5 Fun Ways To Recycle Your Jeans

Published

on

The average American discards roughly 82 pounds of clothing and textiles each year — and most of it lands in a landfill. According to the EPA, more than 17 million tons of textiles were generated as municipal solid waste in 2018, a figure the U.S. Government Accountability Office confirmed was more than 50% higher than in 2000 due largely to the rise of fast fashion. And the recycling rate for clothing and footwear? Just 13%.

Denim is one of the most salvageable things in that waste stream. Because authentic jeans are made mostly from cotton, a natural, biodegradable fiber, they can be recycled into building insulation, pet bed inserts, and thermal packaging, or given a second life through resale and creative reuse.

Here are five ways to put your worn-out jeans to work, and have some fun doing it.

1. Your unwanted denim can be turned into insulation.

Cotton Incorporated’s Blue Jeans Go Green program has been recycling denim into insulation since 2006. Since then, the program has collected more than 5 million pieces of denim and diverted over 2,290 tons of textile waste from landfills. That recycled fiber gets processed into UltraTouch™ Denim Insulation by Bonded Logic — used in homes, thermal packaging, and pet bedding — with some insulation donated each year to building projects in communities in need.

The program accepts any denim item (jeans, jackets, skirts, shirts) that’s at least 90% cotton, in any condition. Drop off locations include Anthropologie, which has committed to diverting 10 tons through the program, and a rotating list of retail partners you can find on the Blue Jeans Go Green recycle page.

You can also mail denim directly to the program at Cotton’s Blue Jeans Go Green™ Program c/o Phoenix Fibers – CIMI, 400 East Ray Road, Chandler, AZ 85225 (a free prepaid label program ended in August 2025, so you’ll need to cover shipping).

BlueJeansGoGreen.org denim recycling box.

Madewell’s denim trade-up program is one of the most practical ways to close the loop on old jeans, regardless of the brand. Drop any pair of jeans of any cut, color, or condition at a Madewell store and receive $20 off a full-priced pair of Madewell jeans. The program is year-round with no limit on how many pairs you bring in.

The program has collected more than 2.3 million preloved pieces. Gently worn jeans are resold through Madewell Forever, the brand’s resale platform with ThredUp; jeans beyond repair are recycled into housing insulation and sustainable packaging via the Blue Jeans Go Green partnership.

You can also mail in denim with a free Clean Out Kit or shipping label if you don’t have a Madewell nearby.

2. Turn your denim into a pair of shorts.

This is probably the easiest way to repurpose a pair of jeans. Even if you don’t sew, you can make long jeans into shorts. Get a pair of sharp scissors, figure out where you want to cut, and then enjoy your new shorts. Remember the old saying, “measure twice, and cut once.” If you’re a sewer (or good with a glue gun), check out this tutorial by Craft & Creativity for some adorable additions to cutoffs.

Cute cutoff jean ideas by Craft and Creativity

3. Upcycle your denim into a reusable bag.

One of my favorite ways to upcycle denim is by making reusable bags. You can use the bags as an adorable way to package a gift, as a purse, and as a reusable grocery carrier, just to name a few. I also found this creative phone charging bag. This is another project that could be done simply with a glue gun or, if you don’t have one, some craft glue.

Recycle your jeans into this creative phone-charging bag

4. Upcycle your denim into some sweet friendship bracelets.

One of my girls’ favorite projects is to upcycle material, including denim, into friendship bracelets. They are able to use their creativity and make each bracelet a special work of art. First, gather supplies like fun buttons, embroidery floss, and any other embellishments you may have on hand. Then cut the denim into strips.

materials for upcycled denim friendship bracelets

Next is where the fun really begins. Let your kids use their imaginations to dream up some adorable ways to decorate their friendship bracelets. They could even begin by sketching out their ideas so you know how to help them make their vision a reality.

adorning denim friendship bracelet

Your kiddos can wear their bracelets proudly and give them as gifts.

completed recycled denim friendship bracelets

Need more ideas on how to upcycle your worn denim? Visit this helpful Pinterest board.

5. Make a craft supply holder with your unwanted jeans and some cans from the recycling bin.

This is a great idea for anyone who wants to organize their craft supplies in one spot. You could make it a kid-friendly craft supply holder by including washable markers, colored pencils, safety scissors and glue sticks. Add a handle and this could be a great way to bring craft supplies on the road with you. I found this example at 8Trends.com.

Recycle your jeans into these cute craft supply holders, courtesy of 8Trends.com.

Denim scraps also work well as ties for garden plants, drawer liners, coasters (backed with felt), small coin pouches, and journal covers. Because denim frays attractively rather than looking ragged, even imperfect cuts tend to look intentional. There’s also a growing community of textile artists on Pinterest’s denim upcycle boards with ideas organized by skill level and material quantity.

Your old jeans are too valuable to throw away. If they’re still wearable, donate them to a local thrift store or trade them in at Madewell. If they’re worn out, recycle them through Blue Jeans Go Green — or cut them into something new. Use Earth911’s Recycling Search to find textile recycling drop-off spots near you.

Editor’s Note: Originally published by Wendy Gabriel on February 6, 2017, this article was updated in April 2026. Feature image courtesy of Shutterstock.com.

The post 5 Fun Ways To Recycle Your Jeans appeared first on Earth911.

https://earth911.com/inspire/5-ways-to-recycle-jeans/

Continue Reading

Trending

Copyright © 2022 BreakingClimateChange.com