We already have the technology to decarbonize buildings, and many pilot projects have shown it works. So why hasn’t progress toward net zero moved faster? Colin Mangham believes it’s because we’re still using outdated business models to promote new solutions. Colin is the Chief Experience Officer at the US Green Building Council California and leads its Net Zero Accelerator, the first program focused only on net-zero innovation for buildings. Since 2019, the accelerator has helped over 100 companies in a six-month program that stands out by putting real technology pilots into actual buildings with dedicated partners, then tracking the results. This approach has led to more than 60 pilot projects in California and beyond, providing the proven results that founders and investors need to move forward. Colin offers a unique mix of experience to this field. He has served as Chief Marketing Officer at four growing companies, co-founded and led Morpho Energy, which helps put unused commercial rooftops to work for solar, and he is a certified biomimicry specialist, which shapes what he teaches founders. He often thinks about beavers, which are keystone species that create habitats for others by building their own homes. As he tells entrepreneurs, “This thing that you’re creating, it should also create better living environments for the people and the neighboring organisms all around you.” It’s an approach that applies systems thinking to business strategy, leading to companies that differ from the typical Silicon Valley disruptors.

The conversation includes case studies that illustrate the Net Zero Accelerator’s pilot-driven approach to incubating companies. ByFusion makes construction-grade blocks from unrecyclable plastic with 83% lower emissions than concrete alternatives. Their Boise pilot succeeded not because of a breakthrough in materials science, but because they orchestrated a community of stakeholders, overdelivered on their pilot, and built a predictable, repeatable outcome. And ePAVE, which makes a patented reflective pavement coating, turned a failed first application for Hudson Pacific Properties into a deeper partnership by reframing the product as “not faulty, but precision” technology that requires careful application to deliver on its engineered performance. Colin points out that there is ample shared ground to overcome political differences about sustainability: “The economics of the solution, the ROI, the lack of disruption, the speed to market, the replicability, the job creation—all these different things are the things that red and blue can agree on.” The companies that will succeed in creating net-zero buildings are making deals that tie financial rewards to performance, and building business models that make sustainability a reliable investment rather than a gamble.
To learn more about the Net Zero Accelerator, visit NetZeroAccelerator.org. Learn about the US Green Building Council of California at USGBC-CA.org.
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Interview Transcript
Mitch Ratcliffe 0:10
Hello! Good morning, good afternoon, or good evening, wherever you are in 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.
Let’s talk the built environment. The technology exists to reduce the environmental impact of our homes and office buildings, skyscrapers and bridges, and bring them all much nearer to net zero. We have the materials that work and will benefit from discovering more. Pilot efforts have proven successful. So why hasn’t the march to net zero begun to scale faster?
And one answer is that we’re still trying to sell 21st-century performance with 20th-century business models. However, new approaches to revenue and customer agreements are emerging, from outcome-based contracts to resilience as a service. The companies that will win aren’t just building better—they’re structuring deals that align financial incentives with performance guarantees.
My guest today is Colin Mangham. He is Chief Experience Officer at the US Green Building Council California and its Net Zero Accelerator, which is an accelerator focused on the built environment. Since 2019, the Net Zero Accelerator has run more than 100 companies through a six-month program that does something most of these programs don’t: it places real technology pilots in real buildings with committed partners, and then measures what actually happens.
Colin brings a rare combination of perspectives to this work. He’s been a four-time Chief Marketing Officer for growth-stage companies, has guided dozens of global brands generating over $500 million in revenue, and has helped hundreds of entrepreneurs secure more than $80 million in capital. He’s also the co-founder and president of Morpho Energy, a company working to unlock the idle asset value of commercial and industrial rooftops and parking lots. In other words, they’re going to put solar panels on top of all those buildings and parking structures.
I urge you to check out his TEDx talk and media appearances, which have established him as a leading voice for biomimicry and nature-based innovation. We’ll talk with Colin about what the Net Zero Accelerator has learned from placing pilots across wildly different contexts—from converting unrecyclable plastic into construction blocks in Boise to optimizing HVAC systems across New York City buildings and even to coating Hollywood soundstage parking lots with reflective pavement.
And we’ll dig into why business model innovation may matter more than, for instance, better insulation for scaling net-zero businesses, what founders in the green building sector consistently get wrong about going to market, as well as what biomimicry can teach us about building resilient companies, not just resilient buildings.
You can learn more about the Net Zero Accelerator at NetZeroAccelerator.org. After mentoring over 100 climate tech companies, what has Colin Mangham learned about what separates founders who break through from the ones who stall out? Let’s find out right after this brief commercial break.
[COMMERCIAL BREAK]
Welcome to the show, Colin. How you doing today?
Colin Mangham 3:25
I’m actually doing great here in soon-to-be-sunny Southern California, and it’s a great start to my day here.
Mitch Ratcliffe 3:31
Well, great. I’m glad to have you here. Thank you for taking the time to talk with us. I wanted to talk about the Net Zero Accelerator and what led the US Green Building Council of California to decide to not just teach people to do pitches or demo days, but actually launch pilots. Why is that the right way to move us faster towards net-zero solutions for the built environment?
Colin Mangham 3:52
Well, the first thing is, I like that you said “not just,” because some of those things are sort of mandatory—to help guide pitch sessions and to demonstrate to an audience, right?
But really what happened was, we were looking at, as a community-based nonprofit, the work we were doing—and we still do, of course, on a larger scale now. USGBC California started as USGBC LA when we started the accelerator in 2019. But as a community-based nonprofit largely focused on advocating green building practice, we were looking at it and there seems to be a gap that we could bridge between technology and advocacy, or vice versa. And so that was the first impetus for this.
But really the thing that has stuck with it all along is we’ve got a community of change-makers. We’ve got a community of potential pilot partners. We have a community of advisors and subject matter experts, and frankly, people who are sustainability geeks and nerds like we are that really have a passion for this stuff. We said, “Hey, who out there in our community will raise your hand and help this young company get some validation and get a foothold and prove their concept?” And then, by virtue of that, you’re actually helping us help you and help all of us, right? You know, implement technologies that are necessary for scaling adoption of green building technologies and solutions.
Mitch Ratcliffe 5:19
I’m actually hearing systems thinking, even in the design of the accelerator, which I’ve been involved in several of those, and it’s that promise that we’re going to make the connection to customers, basically, that a lot of them hold up and never deliver on—and you’re able to do that.
Colin Mangham 5:34
Yeah, absolutely. I mean, we operate in a system, and a lot of my worldview is kind of like looking at biological systems. And so a system-based approach that doesn’t really include the various players and how you position on that landscape… and I can get to some of my marketing background in that regard, but really looking at stakeholder engagement and understanding that there are ways that you need to move within the system.
A lot of the system, frankly, can be regulatory. It can be things that just aren’t easy. There are a lot of headwinds. But these are natural constraints. And I will say this, with a background in creativity and design practice: when we have the constraints and restraints that we see in getting novel solutions into market, it forces us to be more creative.
So we do have to think about how it works within a system. We have to think about how—whenever you talk about scaling something, it’s going to fail on the backs of, frankly, other people and organizations. And so we’re different in that respect, because we began as a community-based nonprofit looking at how we might accelerate change.
Mitch Ratcliffe 6:51
You just mentioned your background in biomimicry and nature-based solutions—and by the way, folks, check out Colin’s TEDx talk called Find Your Woods. It’s really interesting. But how does that thinking shape how you advise companies, and not just in terms of their product design, but their business strategy?
Colin Mangham 7:06
It’s funny, because it’s like I can’t unsee biomimicry once I’ve seen it. And I had the great honor and privilege of working with Janine Benyus, who is the matriarch, so to speak, the mother of modern biomimicry. And so what we learned there was—it’s a similar audience for biomimicry as with USGBC California, which is a lot of architects, engineers, designers.
And so what we found was that there’s a lot of people that, if they hit a wall and they can’t find the inspiration, or they’re trying to create something completely from scratch—which, you know, everything is iterative, right?—then they can look to the natural world to say, “All right, well, how do I shortcut to get to a solution?” Because there are a lot of things that have been around for a whole bunch of years that have stood the test of time.
And so, to your question about how I look at it as I guide people looking to do business model innovation: really, I think about beavers. I spent a good amount of time in Colorado. One of my moments that really got me into this business, so to speak, was walking irrigation ditches in Colorado, looking for beaver dams. Because if there’s a beaver dam, it blows out the ditch, and if in Aspen, Colorado, it blows out an irrigation ditch, it may blow out a really expensive house down the hill. And so where I discovered this, I found a lot of love for beavers.
And what I discovered in biomimicry, to the question, is that beavers are keystone species. By building their homes, they create habitat for others. And so this is the thing that I often remind business people: this thing that you’re creating—remember, it’s back to your acknowledgment of the system—it’s also creating, and it should create, better living environments for the people and, frankly, the other neighboring organisms all around you.
So really thinking about making sure that the externalities, the other impacts—the direct impacts is what a lot of founders certainly focus on: “Here’s how I can impact this person or this organization or this watershed or this building.” But really thinking about the broader implications and the ripple effects is important in biomimicry thinking.
Mitch Ratcliffe 9:31
You’re making a really important point, which is: when you’re building a business, you’re building a setting for others to have an opportunity to experience some abundance that you’re sharing with them, but it’s a reciprocal thing. And a lot of the time, everybody looks at it only in terms of what they can get from someone else. A system is a much more complex and interactive experience.
How do you think about designing a business model for a new company when they come to the accelerator? And maybe using the example of resilience as a service as the business model—how did you come up with that approach?
Colin Mangham 10:04
The first thing is, through the biomimicry lens—or, frankly, a whole bunch of different goggles—resilience, and how we define resilience, is having really a Plan B, a Plan C, and having multiple approaches to achieve the same goal. If you think about resilience as a service, you’re really providing—if you’re the resilience service provider—someone or something multiple options to achieve success.
And so when we talk about resilience as a service, I’ll say one thing we advise certainly young founders on is not to present your solution as a silver bullet. And really, this is a fun one: not to say, “We’re going to disrupt markets.” People, frankly, they don’t want disruption. There’s enough uncertainty. A lot of times they’re clinging to their jobs. There’s a human factor involved, right?
And so what you’re providing them is some confidence in the ability to make sure it happens, even if you hit some bumps along the way. But that’s resilience—it is defined as multiple ways to achieve the same goal.
And so what we do is give them that perspective, but at the same time, in terms of business model innovation relative to the green space, the sustainability space, is also to look off-balance-sheet for where there is an exchange of value. And I define business in general—it’s not like I discovered it—but if you just look at it, business is meant to be an exchange of value. All of our economies, over all of time, have been based on some sort of exchange of value, right?
And so where it has really been strongest is where there’s reciprocity. Resilience and reciprocity, resilience and mutualism, symbiosis, if we use the biological terms—where there’s an honest, good, valuable, fair exchange, that’s where we really look for our founders to look again off-balance-sheet: an exchange of goodwill, exchange of knowledge, exchange of relationships, exchange of just even feel-good.
Mitch Ratcliffe 12:03
All the externalities that traditional accounting ignored.
Colin Mangham 12:07
It completely ignores. And it’s why—this is where the real business model innovation can and should happen. And it’s why, you know, I know that ESG gets kind of a bad rap in certain circles, capital circles in particular. And I won’t go into all the acronyms that are on a short list or a hot list.
But the fact of the matter is that there is a community, there is a world, there is an ecosystem, there is an environment, and again, neighboring species that provide ecosystem services to us that allow us to do our business. Without them you wouldn’t have a business. And frankly, Mitch, you got me riffing here, but the fact is, if there weren’t things to fix, you also wouldn’t have a business. So be okay with there being problems in the world, because otherwise we’d all just kind of sit around and do nothing.
Mitch Ratcliffe 12:55
Well, new solutions are the basis for innovation, and we often talk about the desire for innovation without thinking about the fact that you have to be looking into these new niches. So as you think about accelerating the transition to a sustainable built environment, what are the key industries to focus on? What are the key species?
Colin Mangham 13:15
Well, I’ll go back to what we call the AEC—so that’s architects, engineers, and construction, sort of like contractors, et cetera. And all those in the built environment are serving the property owners, et cetera, and eventually, certainly, the residents. We look a lot at occupant health.
That AEC—the architects, the engineers, and the people that are building things or retrofitting things—they’re the front end of a process that really has an impact over many, many years, right? So if you build a building, you would hope, we would hope, that’s going to be good, solid building stock for 50, 60, 100 years, right? And so same thing with an architect: you’re on screen, you’re on paper, you’re on site, looking at what can be there, what should be there, what is beautiful there, that has both form and function.
And so the reason I mentioned that is it’s important with that leverage point early in the design, or the rethinking, the retrofitting of buildings, that these people who are at that phase are involved in sustainability, because they’re thinking about the long term at the beginning of a cycle. And the most sustainable buildings are, frankly, the ones we keep in use.
I mean, the Bradbury Building here—if you’re a fan of Blade Runner—I think it was 1893 here in Los Angeles, and they’ve retrofitted that thing, and it’s one of the most sustainable buildings in the city. 1893, and it looks it, in the coolest of ways. But again, the thing is that this audience has a large impact on things that will be sitting for a long, long time. So it is the real leverage point, and that’s what we focus on.
Mitch Ratcliffe 19:16
I’ve seen this. I’ve been on both sides of this conversation. You find a reason to say no, just to move on.
Let me ask about a particular example of a startup that you work with that involved creating a system. So this is ByFusion. They make construction-grade blocks from unrecyclable plastic, and that produces 83% lower emissions than concrete alternatives. The pilot, though, required you to get the City of Boise, Dow Reynolds Consumer Products, and the Hefty Renew program—where they process bags into, in this case, bricks—all together to work this out. How did you get that group into a room and start the conversation across all of those single-point-of-need problems that those participants represented?
Colin Mangham 20:01
It’s actually one of my favorite stories, and not just because you presented it here, but it’s a great company, partly because they were one of our first—they were one of our guinea pigs, if I could say that—in 2019, and they’ve really evolved along the way.
What I will say is, first of all, we didn’t broker the Boise pilot. What we did was, importantly, we guided a Los Angeles-based company in how to go about maybe getting a pilot study outside of the City of LA, even though we very much wanted it in the City of LA, in a pilot market that could be applicable to a whole bunch of markets around the country, including in Los Angeles communities, right?
And so what we advocated is certainly some of what we talked about previously, which is product-market fit, right? In systems. This word has come up continually in our conversation—the system in Boise, for ByFusion, was that we need certainty in feedstock. In their case, it’s unrecyclable or not-easily-recyclable plastic, right? So if they don’t have that feedstock to create that block, and didn’t consistently know it’s going to show up, and consistently know it’s going to be exactly what they need—if they don’t have that, then they’ve got a challenge.
And so that’s where Hefty Renew really helped them. Hefty Renew already had a relationship with those homeowners, for example. And so here again, stakeholders and system in place. So how do you get the stuff? If ByFusion had gone out and said, “All right, we’re going to go knock on doors and collect all that,” they would have failed. But somebody was there.
Mitch Ratcliffe 21:30
And there was a pyrolysis plant in Boise that they were able to use too, so all the pieces of the solution were there. That’s the other interesting point about that project.
Colin Mangham 21:38
Yeah, you’re exactly right, especially because a lot of times we see that sort of piggybacking, co-location, especially in manufacturing facilities. Like, we’ve got some that are working with insulation right now that are co-located at a facility where it’s not competitive, but it’s adjacent enough that you can put something in that 100 square feet over in the corner, and it’s not going to disrupt the system. But there’s some other thing happening there—and in that case, pyrolysis—that can be applied to what you’re doing.
And so, you know, maybe it’s how things are moved in and out, off the loading guard. Maybe it’s the temperature and humidity control in the space. There’s a variety of things—storage is a big aspect. But how they were able to find a facility there where they didn’t have to build this stuff is also really important.
And so it’s interesting, because then you think, “Well, if you can just plug and play so easily, what’s your intellectual property there?” Then it comes to a system—we talk about value-added resellers. They’re very much one. They’ve combined all these things, this technology and this system, into something that really works.
Mitch Ratcliffe 22:45
Now, one of the interesting things about that project, too, is that they actually underestimated how much they would be able to process profitably. What is a pilot that overperforms telling us? Does it mean that sustainability-focused companies often underestimate their opportunity?
Colin Mangham 23:02
That one’s hit or miss, because I think some actually overestimate, because they think, “This is going to save the world. How can my total addressable market not be massive, right?”
In ByFusion’s case, I think they did what I tend to advocate across the board, which is under-promise and over-deliver. And it’s not to set yourself—I mean, look, 80 tons versus 72 tons—those are still big amounts, right? But what it tells them is, “All right, well, there’s something that works well here.” And if I go back to nature, nature replicates things that work. Failures are fossils.
And so what they need to do is—it’s not a post-mortem, that’s not the right word for something as wonderful as what they pulled off—but to kind of go back and say, “What? Why did that work?” And this is where the real honesty needs to come in for an entrepreneur, because you also can’t say, “Well, we’re always going to get that.” It may have been very specific to that particular pilot. Now you want to go replicate those conditions, right? But it doesn’t mean you’re going to over-deliver every time just because of that one pilot. So that’s also the danger of a highly successful first pilot.
Mitch Ratcliffe 24:14
Also the case with any ecosystem. I put a different species into the same type of ecosystem, and it may not perform the same. Lots to talk about here, but we need to take a quick commercial break, folks. We’re going to be right back. Stay tuned.
[COMMERCIAL BREAK]
Welcome back to Sustainability In Your Ear. Now, let’s get back to the conversation with Colin Mangham. He’s Chief Experience Officer at the Net Zero Accelerator, a program of the US Green Building Council of California.
Colin, you’ve talked in the past about how 21st-century performance-based business models are stuck in 20th-century formats. And when you look at, say, for instance, ByFusion, like we were just talking about—what does that shift from product selling to system selling look like in practice for a founder who hasn’t made that leap? How do you articulate the challenge they face?
Colin Mangham 25:05
You know, it is funny even to hear you say it. I feel like even referring to the 21st century and 20th century feels a little 20th century, but we’re 26 years in, and we’re still kind of learning the same lessons.
The lesson, especially for founders—and a lot of what we’ve talked about here—people that are technologists, and then they’ve really geeked out in the most awesome of ways on their solution, they really look at features, and maybe not features and benefits. And so 20th century, it was more about features and benefits. It wasn’t really about the systems, and it certainly wasn’t about owning and being accountable for the performance of things. We didn’t talk about circularity in these types of things.
But the difference is product-market fit needs to engage with stakeholders. This is a differentiator for us: that there are people that you may not even be selling to that will be affected by this. And it’s not all features and benefits. So that’s the main shift.
Looking from, let’s say, these diagrams and schematics of competitive landscapes—I lean towards looking at the competitive landscape as a map of not just competitors and latent competitors, meaning they could be a competitor once they see what I’m doing, but also co-opetition opportunities. What looks like a competitor actually could be a partner, and looking at it as a landscape, as a map, versus looking at your typical X and Y axis of “Here’s our features and benefits,” or our side-by-side comparison with all the check boxes, like “We do all these things”—people are overwhelmed with that. They want to know how it kind of works within their current network.
And I’ll give you one example as recent as yesterday. One of our companies is having a challenge selling into a certain audience set, not because of features and benefits, not because the ROI is—it’s incredible—but because that particular audience does not want to disrupt a 20-year relationship they’ve had with Steve. And that’s just a factor they have to kind of work with. Again, it’s the system that they’ve got to work within.
Mitch Ratcliffe 27:11
It’s always a people problem at the end of the day. I mean, as much as we talk about the technology, I want to turn to another example of your work: Feedback Solutions. So this is a technology that sounds really simple. It’s a people-counting sensor that optimizes HVAC ventilation in a building in real time based on who’s in the building or how many people are in the building.
And they tried this out across three very different settings: a big office complex, a nursing school, and a library at Fordham University. Like we were talking about a few minutes ago, there are different settings for the same solution. What’s the benefit of testing one solution in multiple places, and how did you bring that group of pilot sites together for the company?
Colin Mangham 27:55
Well, the benefit—and again, I’ll do this through the marketing lens—a lot of times we’ll talk about an A/B test. And frankly, when we talk about pilots in marketing and advertising and product launches, right? And that’s what I spent a lot of the early part of my career with. You look and you say, “All right, well, if it works in Austin, will it also work in Boston?” And Austin and Boston are completely different in many ways. If it works in Austin, it might actually work just as well in Seattle. Now there’s adjacency there. If it works in LA, that doesn’t necessarily mean it’s going to work in New York, right?
And so it’s really testing out replicability, and that’s really what entrepreneurship is anyway. If you’re going to put the effort into it and you’re going to scale the adoption of it, you want to first find something that you can replicate over and over and over again.
And so what they did there was they looked not only at the building typologies—different types of buildings, especially like between a library and commercial real estate, right, mixed use—but they also looked at the occupants. A library will have people there on a Saturday. A commercial office building will probably not. A nursing school would have different traffic on different days.
What we’re looking at is: how, if we can figure this out across A, B, and C, then we can replicate A, B, and C when we go after more A’s, more B’s, and more C’s at the same time. In the pilot case, they may also say, “Well wait, C is not as attractive and not as defensible and efficacious and replicable as we thought it was going to be. We need to focus on A and B.”
And so really, that’s a big part of it, especially when you’ve got limited resources, limited time—you’re a relatively young company, growth stage—figuring out where you need to apply those resources. And again, the one-two punch here is: what can I replicate, and what am I replicating off of, and what should I prioritize in terms of where I should really be selling this solution?
Mitch Ratcliffe 29:58
Well, and it’s also the quality of the owners of those settings for the pilot that matters. And there’s another example. You have ePAVE, which is a company that makes a patented reflective pavement coating that preserves asphalt and concrete. But they had a problem. Their first implementation for Hudson Pacific Properties didn’t work. They actually had to redo it, but that ultimately led to the real estate firm getting more involved. What’s the lesson about failure and transparency, about how a pilot might go sideways, that sets the stage for that kind of cooperation and growth in a relationship?
Colin Mangham 30:34
This is a funny conversation, Mitch, because I’m realizing how much my worldview is through the marketing lens. I think about raving fans. I think about the complaint that comes in that you can solve, and now they’re a fan for life—or for at least a while—versus the complaint you never hear about, right? And I’d rather hear from the person who has a challenge that I can solve and I plan for solving, than not hear from them again.
If that failure had happened and they said, “All right, well, thank you. No, thank you. We’re going to dig this up. See you later”—that would not have been good. But in this case, the interesting thing is that it wasn’t a failure of the product; it was a failure of the application.
And so what happened there, which I think is frankly quite brilliant: A, it was immediate transparency. They said, “All right, well, no, we’re going to fix this. And this wasn’t expected, but not totally unexpected.” The difference here is they framed it as not a faulty product, but a precision product that needs to be applied in a certain way, because this is a highly engineered product that, for it to do what we promised it will do, it needs to be applied in a certain way. And let’s try another group, and let’s do this right. And that’s what they did.
And so the opportunity actually helped them to reframe the quality of the solution and the efficaciousness and the technology—the greatness of the technology. So again, not a faulty product, but a precision product, and it just needs a little more care for it to do what it needs to do.
Mitch Ratcliffe 32:07
This has been a great exploration of what it takes to launch a company. And I want to ask about the 2025 cohort at the Net Zero Accelerator. You’ve got everything from wildfire resilience to digital twins and circular construction models. Now that you’ve had more than 100 companies go through the program, what do you think the most underappreciated category of net-zero innovation is, based on the experience that you’ve had?
Colin Mangham 32:32
I’d say water use and water conservation. And the answer I’m giving is informed partly because we’re running an architectural design challenge right now on residential water use—the future of water use at home.
And I mentioned water because I recently heard someone say—and I’d love to quote it as my own, but I’m not going to—but they said, “Hey, what do you call it when the power goes out? Well, we call it a blackout, right? And we have a term for that. What do you call it when the water stops flowing?” We don’t have a term for that, because it doesn’t happen.
The cost of water, the assumption of water, puts it in a category where people don’t really pay attention as much as they could and I think should. Two things: I worked on Live Earth with Al Gore, leading up to COP 21—it’s been over a decade now. And there was a conversation around water conservation in LA, and a person at the table said, “Colin, no one in Los Angeles is going to care about water conservation until they turn the tap and nothing comes out.” And so people don’t think about it that much.
And the reason I present it as a big opportunity for net zero is what we don’t think about is the water-energy-carbon nexus, as we call it. It takes energy to move water, to heat water. And so if we can reduce our use of water, we can reduce our heating of water, transport of water. It’s an energy-efficiency play at the core.
Mitch Ratcliffe 34:03
So as you think about household water use and the design of the home, is it more about capturing rainwater and using as much of that for non-potable uses? Where’s that headed?
Colin Mangham 34:17
It’s certainly interesting. And to pull from the biomimicry playbook, we look at solutions that are locally attuned, right? And all of life that is still here adapts and evolves to wherever that life lives. And so I mentioned that because we’re here in Southern California, we’re finally out of drought—I think it’s the first time in 25 years or so. But we’re not really a rainy environment like, let’s say, Seattle. Although, Mitch, I’ve been told that people in Seattle—it doesn’t actually rain there, they just say that so Californians will stop moving there.
Mitch Ratcliffe 34:50
When I lived there, that was true. But it does rain there.
Colin Mangham 34:54
So, is the greatest impact I can have on my water use in my home capturing rainwater and using it as gray water, probably for landscaping, these types of things? Maybe not. But is the cost of doing it as part of my solution fairly low? Sure. And so I think we need to look at a variety of things.
One thing that happens here is you get into habits, and one of the habits, especially in Los Angeles, is you forget that your landscaping system—and people love their landscapes here—you didn’t tweak the settings on your sprinklers for winter, and you’re overwatering, just because you didn’t think about it, and because it runs at 5 a.m.
And so there’s just things that we’re trying to do behaviorally with people to say, “Hey, have you thought about this?” And I’ll add this, because I think it’s an overarching principle with everything we’re talking about here: a lot of people just don’t want the data. Like, if you tell me, “Hey, Colin, take a five-minute shower versus a 10-minute shower, and you will reduce GHGs by this”—I’m like… how about, “Hey, Colin, I know you do all your thinking in the shower, but what if you did some of your thinking on a walk outside and took a shorter shower?” Oh, that makes more sense to me.
Mitch Ratcliffe 36:06
Well, living on a well and next to a river, I’ve discovered after leaving the city that the water cycle is like a wild animal. And to the whole nature of the conversation we’re having, it’s starting to see yourself in a bigger system. And those homeowners in LA who are watering all year round when they shouldn’t be are an example of a set of—we’ve talked about it before—20th-century ways of thinking. It’s like, “Oh, I can turn it on, I can leave it on. I don’t have to worry about it.” But the cost of water is going up. The availability of water is falling. It’s a different time.
If a climate tech founder is listening to this right now and they’re sitting on maybe even a validated pilot, but they’re struggling to scale it up, what would you tell them about how to think about their business before they try to raise another dollar or pitch another customer? What should they just stop and do?
Colin Mangham 36:56
The first thing I would ask is, “All right, well, who did you validate it with? And why did you validate it? How was it validated?” And the “who” part really goes back to the whole thread here, which is the system.
So if you validated a pilot with a partner, two things. One is, what was the intent of that? And then, largely, the intent is to communicate that validation to be able to ease up and soften up the additional sales, right? And so can you get that partner that you validated with, and apparently had success with, to sing your praises? That’s the first thing. That’s the networking effect.
Even more directly, if you validated with them, focus on further implementing it with them. And this is what we talk about in terms of pilots in general. Pilots for us is not about, “Does this thing work? I don’t know. I got my prototype. Let’s hope, and we’ll learn.” It’s more about, “Hey, this thing does work, and if I put it in Building One with, let’s say, a REIT, and it’s validated, then they’ll be like, ‘Oh, okay, let’s put it in Buildings Two through Ten.’” And that’s really it. Replicating successes.
So if you validated it, what was your plan for repeating that validation with that validating partner? And what can be your plan moving forward to get them to speak on behalf of you in some way? Case studies, as simple as it is, are highly useful.
Mitch Ratcliffe 38:33
Transforming the built economy requires that we recalibrate business systems within technological systems within a natural system. That’s a lot of complexity. How do you see us making progress towards a sustainable built environment before potentially disastrous warming is locked in? Are we going to make it?
Colin Mangham 38:55
This is what we call a pregnant pause. Are we going to make it? I don’t know. Should we not try to make it? Absolutely not. We’ve got to keep going. We’ve got one.
And so I would think about things like, can we turn this thing around? For example, there are some big corporations that could be more sustainable, and those are big battleships that I talk about—turning them around a little bit and heading in a different direction. Can we turn the economy around in time? Can we turn global warming down in time? I don’t know if we can turn it around. I do think we can tack the sailboat left and right a little bit. This is what we call in biomimicry the dynamic equilibrium. Things are always in flux. We’re always going to be having gains, and we have steps forward, steps back.
But the thing that I would like to turn around, the thing I would like to go back to that would help us to get there in time, as you said, is—really, frankly, I’m going to be contrarian here—some 20th-century thinking. Which is, the solar business came out of abundance. If you’ve got sunlight, why not use it? If you’ve got flowing water, use it. If you’ve got people, leverage that. And if you’ve got time as a young entrepreneur or a college student, leverage that and turn that into money, I guess, if that’s the thing that certainly fuels it.
But really, I think we need to go back to just looking at innovation as like, “Why not?” And I know a lot of it’s gotten politicized. But where has it gone, that we said, “Hey, we’re American. We’re real Americans, and we can do things better.” Where’s the “do better”? And we need more of that.
Inevitably, and this is how we position it with a lot of our entrepreneurs: it’s not about the hugging of the tree, but that tree is going to do better because of this. But the economics of the solution, the ROI, the lack of disruption, the speed to market, the replicability, the job creation—all these different things are the things that red and blue can agree on. And it just happens that I would have a hard time thinking about anything that can be affected by biomimicry thinking or any sustainability thinking where you optimize something, where you gain efficiencies, that doesn’t have some sort of positive environmental effect.
So let’s focus on those things. Let’s look at things as advocate entrepreneurs. Lean into frustration. Doesn’t mean you’ve got to walk around angry all day, but look at the things that aren’t working and fuel that. The greatest entrepreneurs—and this is another thing for our young companies—are the ones that say, “You know what, if someone is not making that and I want that, I’m going to make that. And there’s got to be other people like me out there.” But that fuels them to create a solution that is quality, because they want it for themselves. That’s where a lot of amazing ideas come out. And they’re dedicated. They’re passionate about it. They’re hyper-focused on it. They’re on the leading edge, bleeding edge, and they create novel solutions that others like them will eventually want. But they create quality solutions because they’re fueled by saying, “Why can’t we do better?”
Mitch Ratcliffe 42:04
If I may—my response, and I’d love to hear your thoughts: it seems the problem, to me, is a systems problem—that some people see systems and some don’t. In other words, they’re exclusionary. And the problem, ultimately, is that red-and-blue divide is a refusal to see a bigger “we,” to recognize the full system we live in, and try to assert a particular perspective on the world. How do you get through that? You’re a marketing guy.
Colin Mangham 42:28
There’s too much talk of storytelling, but I do like a good story, and how I often do it—I’ll give you two things.
One is, I recently said, “Hey, let’s look at red and blue through—those, you and I remember—the stereoscopic 3D glasses, right? Red lens and a blue lens.” And when you put them together, red and blue, and you looked at the picture, you’re like, “Oh, now I see all the depth.” And so I like to think about: if you combine red and blue, you don’t get brown—you get depth.
And I like to think about, when we talk about biodiversity relative to diversity across the board—cultural, et cetera—diversity is really the currency of our exchange. In some cases, if, Mitch, you and I are selling the same thing, there’s no exchange here. But if we see the world differently, we provide something to the world that’s different, then we can have that mutualism. We can have that exchange, that value exchange. And so that’s part of it. I really think that what we need to do is look through that red and blue lens.
And the story I will tell is: I was in Houston a couple of years ago, gave a keynote to a lot of energy companies. And I put a picture of a tree up on my slides, and I said, “All right, I can see an amazing carbon sink here. Trees—love trees for that, right? Oxygen, fantastic. But you may see a deer stand at your hunting camp. Can’t we just both love the tree?”
Mitch Ratcliffe 44:01
Colin, there’s a lot to unpack and continue to explore. How can listeners follow your work and the work of the Net Zero Accelerator and the US Green Building Council of California?
Colin Mangham 44:10
Well, first of all, I think I’m fairly easy to find, so if you search me, you’ll find things related to the biomimicry that I talked about, and thank you for mentioning the TED talk. I feel like it was a decade ago, so I feel like there’s a lot of things I would change. But still, the topic is evergreen, right?
But yeah, if you go to USGBC-CA.org—that’s our mothership—and in there you can also get to NetZeroAccelerator.org, which is where the accelerator lives in a microsite with a whole bunch of frankly fascinating companies. So I do invite you to have a look there.
Mitch Ratcliffe 44:52
Well, Colin, thanks for taking a trip through the systems with us. We really appreciate it. It’s been a fascinating conversation.
Colin Mangham 44:59
Thank you, Mitch. Thanks for drawing it out of me.
[COMMERCIAL BREAK]
Mitch Ratcliffe 45:06
Welcome back to Sustainability In Your Ear. You’ve been listening to my conversation with Colin Mangham. He is Chief Experience Officer of the Net Zero Accelerator, a program of the US Green Building Council of California. And you can learn more about the Net Zero Accelerator at NetZeroAccelerator.org, as well as about the US Green Building Council of California at USGBC-CA.org.
This conversation underscores, for me, why sustainability is poised for a much greater impact than we anticipate at the moment, despite all the pushback. After decades of talk, we’ve created a growing awareness—a vast swath of professionals that’s ready to converge on the challenge of building a sustainable, circular, and bio-based built environment, and the economic case for doing so. The pieces are in place, and the people needed to lead the way have arrived. They’re educated in recent science and recognize the economic opportunity is not just significant, but critical to maintaining a standard of living that we would all accept and enjoy.
And it’s not just architects and engineers anymore. Facilities managers, chief financial officers, materials scientists, pavement coating specialists, HVAC manufacturers, plastic processing entrepreneurs, water system designers, real estate portfolio managers, and marketing strategists have all come to recognize the threat from climate change and how making decisions can turn down the CO2 emissions that we must reduce.
Consider Colin’s background. He’s a four-time CMO who uses biomimicry to coach climate tech founders to succeed with pilot programs and then sell through the results to the market. That’s a portfolio career if I’ve ever heard one, and it’s this new combination of skills that allows each of us to begin to enter into systems thinking and work together to create a new reality.
The net-zero built environment needs every discipline at the table, because it’s a systems problem that requires process changes to transform engineering feats into enduring business and governmental practices that change the shape of our everyday lives—and change them for the better.
Colin’s point that systems-based solutions demand a different sales pitch than Silicon Valley has taught us is critical. People don’t want disruption. They want a consistent, predictable outcome. And that human factor is the reality that climate tech founders, who lead with “We’re going to disrupt your market,” need to internalize, or they will find themselves handing time-impoverished executives a reason to say no, because they’re talking about too much unfocused change. Give them a very well-defined opportunity to improve their lives and their business performance, and you will find that people will listen and buy in.
I mean, consider ByFusion, for example. It’s a company that turns unrecyclable plastic into construction-grade blocks. They didn’t succeed by disrupting anything. Instead, they succeeded by plugging into what already existed: Hefty’s Renew collection network, a pyrolysis facility in Boise, Idaho, and a willing municipal partner ready to foot the bill to try the thing out. They orchestrated a community of stakeholders, over-delivered on their pilot, and improved the system—not just the technology. It worked. They created a predictable, repeatable outcome that disruption-first sales strategies don’t.
And finally, let’s talk about Colin’s challenge at the end, and it deserves our attention: what has happened to the “we can do better together” mentality? The most durable innovations in nature aren’t the flashiest—they’re the ones that create habitat for others and new habits. So like beavers, nature’s engineers, who reshape a stream to create pools where fish can spawn, where crawdads can hang out during the summer, and where birds and wildlife can come to water.
Think in terms of how building your lodge—that is, your business—creates an environment for other organizations, while preserving nature’s ability to thrive within the space that you’ve entered. To build a business, create opportunity for others to enjoy long-term resilience and provide value to the community around you. Seeing the needs of others, even your American political enemies—which is a term I thought died with Richard Nixon—that these folks are critical to the system you want to build can actually unlock success, rather than create more friction between political perspectives.
As Colin said, we can put the red lens and the blue lens together to create deep pools of goodwill and shared prosperity, just like a healthy ecosystem. Red and blue, working together, seeing the full system rather than insisting on only one single point of view, is how we can begin to revitalize this country—create the compromise that builds things our great-grandchildren will be proud to inherit.
So stay tuned. There are going to be a lot more conversations with people making sustainability happen, and you will find them here on Sustainability In Your Ear. And I hope you’ll take a moment to share one of the conversations in our archive of more than 540 episodes with a friend or a member of your family. Send just one link to get the conversation with them started.
And folks, writing a review on your favorite podcast platform will help your neighbors find us. You are the amplifiers that can spread more ideas to create less waste. So please tell your friends, family, and co-workers they can find Sustainability In Your Ear on Apple Podcasts, Spotify, iHeart Radio, Audible, or whatever purveyor of podcast goodness they prefer.
Thanks for your support. We appreciate it. 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 Net Zero Accelerator’s Colin Mangham on Nature’s Rules for Building A Sustainable Infrastructure appeared first on Earth911.
https://earth911.com/podcast/sustainability-in-your-ear-the-net-zero-acclerators-colin-mangham-on-natures-rules-for-building-a-sustainable-infrastructure/
Green Living
Best of Sustainability In Your Ear: Making Billions of Square Feet of Commercial Space Sustainable with CBRE’s Rob Bernard
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 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:
- Earth911 Podcast: Cityzenith’s Michael Jansen Uses Digital Twins to Reinvent Urban Planning
- Earth911 Podcast: Concrete.ai CEO Alex Hall On Mixing Embodied Carbon Out Of the Built Environment
- Best of Earth911 Podcast: Lowering Construction Impacts With Green Badger’s Tommy Linstroth
- Best of Earth911 Podcast: William Ulrich on Learning From Y2K To Design the Circular Economy
- Best of Earth911 Podcast: Autodesk Spacemaker Aides Building Efficiency With AI Insights
- How to Assess Your Business’ Environmental and Social Impacts
- Passive House Design: Changing the Future of New Home Construction
- Subscribe to Sustainability in Your Ear on iTunes and Apple Podcasts.
- Follow Sustainability in Your Ear on Spreaker, iHeartRadio, or YouTube.
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/
Green Living
Sustainability In Your Ear: Zena Harris Brings a Green Spark to Hollywood
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.

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.
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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.
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https://earth911.com/podcast/sustainability-in-your-ear-zena-harris-brings-a-green-spark-to-hollywood/
Green Living
5 Fun Ways To Recycle Your Jeans
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).

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.

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.

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.

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.

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

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.

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/
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