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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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, and it’s one I particularly enjoy — talking to a young person. Well, actually, two of them, making a positive impact.
Textile waste has become one of the most stubborn problems in the American waste stream. Americans throw away roughly 17 million tons of clothing every year, and a great majority of it ends up buried in landfills, where natural fibers slowly decompose and release methane — a greenhouse gas many times more potent than carbon dioxide. Over a century, as things break down in a landfill, clothing is uniquely wasteful, because so much of what gets discarded is still perfectly usable, and it’s simply been outgrown, or it’s gone out of style, or fallen out of someone’s rotation.
And the environmental cost we pay is paid twice: once when a still-good garment is thrown away, and again when a brand-new one is manufactured to replace it, consuming water, energy, and raw materials in the process. And nowhere is that double cost more visible than with children’s school uniforms. Kids outgrow them on a predictable annual cycle, long before the clothing wears out. And for families on a tight budget, replacing a uniform every year is a recurring expense that arrives whether the household can afford it or not.
The result is a steady stream of good clothing headed for the trash and a parallel stream of families struggling to pay for its replacement — two problems that, looked at the right way, turn out to be each other’s solution. And our guests today saw that connection when they were still in middle school.
Ethan and Desmond Hua are the founders of HOPE — H-O-P-E — the HOPE Uniforms Program. HOPE stands for Help Our Planet Earth, a student-led nonprofit that they launched in 2020 in San Mateo, California. The idea was simple: collect gently used school uniforms that families had outgrown and redistribute them for free to families who need them.
What began in a single elementary school run out of the family garage has grown into an operation serving 10 schools across three districts, and to date, HOPE has kept more than 14,000 uniforms out of landfills, redistributed over 12,000 of them back to families, and served more than 1,400 households, saving those families an estimated $141,000 in clothing costs along the way.
The spark, as Ethan has said, was a single moment: a classmate came to school in shorts on a cold day because he couldn’t afford another pair of pants to last until laundry day. And from that, Ethan and Desmond built something with real operational sophistication — an online request system with a live inventory tracker, and a website in English, Spanish, and Mandarin Chinese to reach every corner of his multilingual community. They’ve since secured a donation of 2,000 brand-new uniforms from Costco, and their work has earned Ethan a 2025 Gloria Barron Prize for Young Heroes, a Samaritan House Young Samaritan Award, and coverage on national television.
So we’re going to talk with Ethan and Desmond about what started it all, why reuse is one of the most underrated tools in the sustainability toolkit, and the environmental case for keeping a garment whole and in circulation rather than recycling or replacing it. We’ll dig into how they built a real logistics operation as teenagers and why they made the program multilingual from the start, as well as how they designed it so that asking for help feels routine rather than uncomfortable. And we’ll look ahead at what’s next for HOPE, and what they’d tell any listener sitting on an idea but waiting for money, permission, or someone else to go first.
So, to learn more, visit hopeuniformsprogram.com. That’s all one word, no space, no dash — hopeuniformsprogram.com. And if you’re a teen making a difference for the planet, check out the Barron Prize at barronprize.org. Again, all one word, no space, no dash — barronprize.org — to learn how to enter your work for recognition by the Gloria Barron Prize program.
Can a teenager with a garage, a good idea, and a little persistence really make a dent in two of our most intractable problems at once — textile waste and the cost of raising a family? Let’s find out, right after this.
Mitch Ratcliffe 4:30
Welcome to the show, Ethan and Desmond. Hey, introduce yourselves so people can recognize the difference.
Ethan Hua 4:42
Hi, I’m Ethan. I just graduated as a senior.
Desmond Hua 4:46
My name is Desmond, and I just finished my freshman year at Aragon High School.
Ethan Hua 4:51
And we’re the co-founders of the HOPE Uniforms Program, HOPE standing for Help Our Planet Earth.
Mitch Ratcliffe 4:56
You guys have done some amazing work already, and I just want to start off by — tell me about how this started. You saw a classmate come to school in shorts, and it was a cold day, and he was wearing them because they couldn’t afford a pair of pants until laundry day. What went through your mind, and how did you come to the conclusion, “I can solve that problem”?
Desmond Hua 5:13
Well, I guess what went through our minds was that when we were in elementary school, when we saw our friends, we realized that we outgrow so much clothes ourselves when we grew up, and we wondered, what do we do with them when we outgrow them? So when we went — how do…
Ethan Hua 5:27
…they go?
Desmond Hua 5:28
Yeah, like to—
Ethan Hua 5:29
Narnia. Like, some place.
Desmond Hua 5:33
Yeah. So when we went home, we talked to our parents, and we asked them, where does our clothes go? And they said we used to just throw them away, don’t usually have a better purpose. So me and my brother wanted to give them a new life, something to reuse those uniforms, and so we actually founded HOPE around five years ago.
Ethan Hua 5:54
One of the biggest travesties that we saw in these uniforms is that they’re very reusable, they’re gently used, there’s nothing wrong with them, and it’s a shame that, with this little time that we spent with the uniform, they’re going thrown away — when they’re able to be perfectly used and given a second life. In fact, we tell that these uniforms not only have a second life in them, but a third life and a fourth life as well, and because of that, it just seemed like a shame to be tossed away after one single use.
Mitch Ratcliffe 6:23
You picked the name “Help Our Planet Earth,” but this program obviously does something else. It helps families just as much as the planet. Which did you really feel like was the right focus at the time you launched?
Desmond Hua 6:34
I think the main focus at first was our community, because we, you know, grew up in the elementary school. But then at the same time our mission was also helping the earth, because this cause not only impacted the community, but also took out over 40 tons of textile waste from the landfills — 40 metric tons of textile waste, or 30, 30 metric tons of textile waste out of the landfills. So we wanted to cover both aspects while we’re doing HOPE.
Ethan Hua 7:06
So yes — when we first addressed this problem, the community, it was based on a problem that we experienced, that we witnessed from peers. However, we did act, because we’re Scouts, and we’ve been part of the Scouting program since kindergarten, so we have a lot of sustainability virtues instilled in us, like Leave No Trace principles, and we thought that there’s something we can give back to the environment.
Mitch Ratcliffe 7:33
Clothing reuse, thrift shopping, is a big deal these days. Is clothing reuse gaining traction? Is it becoming cool to say these clothes are being reused? Or is that still a point of resistance in people who you might give a uniform to?
Ethan Hua 7:48
I think that there’s, in the youth, there’s a little disparity, but I guess between the youth and the more grown-up adults. We live — me and Desmond live — 10 minutes away from San Francisco, and some people don’t know this, but San Francisco is one of the thrifting capitals of the nation, and because of that, it’s very trendy. I thrift. A lot of kids love thrifting as a hobby; it’s something fun to do on the weekends, so there’s nothing wrong with thrifting. However, there are certain stigmas surrounding getting used clothes, and it’s understandable.
However, to combat that, what we do is, once we get our donations from the community, we process them, we check them for any rips, stains, tears, make sure they’re gently used. We want these families to have — we want these uniforms to have — many, many lives, not just one life or two. We’re in for the long, the long sustainable impact, long-term impact. Because of that, we check them, and what we pride ourselves in is ensuring that our families are repeat customers.
So we get all our uniforms from families all across the community — we get them from families who no longer need to use their uniforms — so we receive them through donation bins in each of our partner schools’ offices. We drop them off in these wooden bins that we’ve built, and then once we take these uniforms back, we process them, we do the check, as I said. And on our website, a family would request, okay, I need three articles of size-medium white polo tops. And our website is multilingual, because we serve a very diverse customer base across the community, across the Bay Area.
And on these websites we see, okay, this family at so-and-so school needs this amount of uniforms at this size. Let’s go check our inventory — a spreadsheet of all the uniforms we have in our inventory. Currently, we have roughly 2,000; it’s all sitting in our garage. And then we refill this order, we put it in the bag, we drop it off to the school, and these families would receive them. And, say, it’s probably six months down the line, hopefully: they wear the uniforms, they take good care of them, and they outgrow them, and at this point they’re back at stage one. The family goes, “Hey, at least out of four, I have these uniforms that they’ve outgrown — what do I do with them?” And they send it back to us.
So because of that, we want to make sure these uniforms are kept very nice, they’ve been spot-checked, so the families are happy with their services and they will reuse us in the future, thereby forming an eco-friendly cycle — a long-term sustainability impact.
Mitch Ratcliffe 10:31
So, by getting them involved in the return process too, you’re also reinforcing the value of reuse, and that makes it feel more normal to them to get what would, in earlier generations, be described as hand-me-downs. Does that activation of their concern about the planet play a big part in that messaging?
Ethan Hua 10:49
We try to include that message — we do include that messaging in all our announcements. That’s one of our main selling points. However, it’s hard to beat the word “free” when it comes to advertising to the community, especially when it’s across different cultures or languages — Spanish, Chinese, and English. It’s a lot more direct to say, hey, we have free uniforms that are reused through our program, and it’s a really cool benefit that we prevent them from going to landfills. One of our most proud statistics, actually — Des, you might want to share the statistics. Yeah, okay. So the reason why I’m sharing this with you is that, since inception, we have diverted roughly 14,900 garments from landfills and given back out to the community roughly 12,700 uniforms. Desmond, do you want to share our most proud statistics that sprung up from that?
Desmond Hua 11:45
So I think we’ve roughly also helped around 1,400 families, and we’ve also saved families around $140,000 through uniforms, so they don’t have to keep buying uniforms over and over as they grow up. Also, the methane equivalent to carbon emissions is around 3,000 kilograms, and, as I said, the 30 metric tons is saved from the landfills through HOPE’s Uniform Program, and those are some of our proudest statistics.
Ethan Hua 12:16
When we — so this is our message to the community — when we usually talk about HOPE, we mention the 30 to 30,000 methane-equivalent carbon emissions avoided from landfill diversion. So when uniforms reach landfills, what someone might ask is, why are they so harmful to the atmosphere? The answer to that question is that when they sit in these landfills, over time they decompose — first goes the cotton, then go the poly fibers, the plastics — and throughout the years it takes for a uniform garment to decompose, it releases harmful greenhouse gases, such as methane. Especially methane: methane is 20 times more potent than carbon dioxide to our atmosphere, and throughout these many years it just releases more and more of these gases, and it builds up, adding to the greenhouse effect, warming up our planet.
Mitch Ratcliffe 13:08
Both of you have articulated a number of benefits and a number of the concerns that people should be aware of. You mentioned that “free” is the driving force in a lot of this — the messaging, and the reuse generally. When you think about how your generation is growing up in a world where it’s very difficult to be unaware of the environmental consequences of our life, are we beginning to see a change in their relationship with materials like clothing that you see as promising for a more sustainable economy?
Desmond Hua 13:42
I feel like I would say so, because — I think not just here, but around the world — there’s many ways people are trying to find ways to reuse, recycle, and, right, there’s like new methods, and, I guess, new technology now that we’re able to access, to find ways to reduce carbon emissions and make things more eco-friendly.
Ethan Hua 14:07
Just to specify your question — are you asking, is the next generation more willing to reuse?
Mitch Ratcliffe 14:13
More willing to reuse, but also, to what Desmond was just saying — are we also seeing a generation grow up that recognizes they have tools to do things with material that we weren’t able to do before? When I was growing up, there was a garbage can and there was nothing else. Now there’s a recycling bin too. How do you imagine the world will be configured to support what your generation recognizes it needs to do with regard to reuse, with creating a circular economy?
Ethan Hua 14:42
I think, of course, we’re a lot more well-equipped to deal with the climate crisis, and, more importantly, a lot of people are a lot more aware. For example, we know a lot about the textile world because we run a uniform organization. But one thing that we’ve noticed has taken on in the industry is that a lot more fabrics have been developed to become more eco-friendly, such as hemp. Hemp is a little coarse of a fabric, so… very comfortable, but it’s all plant-based. Well, it’s a lot more plant-based than just microfibers and plastics, and it’s very durable as well, and it seems like that could be a possible trend, and something that the textile industry is going towards in the future. So, trends like that — just seeing things like that — it’s very encouraging to see that there are good people concerned about our future and thinking of keeping that in mind.
Mitch Ratcliffe 15:48
So, you’ve run this out of your family’s garage, as you said, but you’ve also built an inventory management system. Tell us about how you learned to run an operation like this, because that’s another key to unlocking the potential your generation has to make a really massive difference in the way the economy runs.
Desmond Hua 16:06
I think, in the beginning, in order to talk to families and reach out to families, we actually had to do a really slow system where we just had to email back and forth. We realized, you know, if we want the operation to grow or to improve, it would require a much more mechanical process. So I think we started to use a spreadsheet, taking everything that came in, managing how much of each uniform we have, roughly, and what we’re giving out. So, like, we have a spreadsheet of our entire inventory, and even when we do orders to give out to families, we keep track of everything we give out. So I think, in order for us to have a mechanical process and to know what we have and how much we can help the families, and remove gas emissions — that’s how the spreadsheet would really help, because it just keeps everything in track.
Mitch Ratcliffe 17:11
So, how do you deliver the uniform once you have that need identified? Is it — you hand it to them, or do they pick it up?
Desmond Hua 17:21
So we actually drop it off at their school’s front office, and they can just pick it up at the school.
Ethan Hua 17:29
We send them an announcement to come pick it up, as well as the school does, to their emails.
Mitch Ratcliffe 17:33
So, is it getting easier with the new tools — the vibe-coding tools and things like that — for you to start to solve some of these problems? Have you explored them?
Ethan Hua 17:42
Oh, yeah. We have automation. We have, like, automated emails to the families that, yes, your order is in queue, it’s coming up, we’re working on it, and we have ways to let them know that, yeah, your order is ready for pickup. And social media is a very great tool for that — we use Instagram. Follow us on our HOPE Uniforms Program Instagram. It’s a very good way to let families know en masse. And one thing that I’d like to add to Desmond’s point: in our journey of collecting uniform orders from families, originally in 2020 when we started this program, we were doing it by email — literally one-on-one email chains, so we’re managing 50 email chains at once, which was very logistically challenging. On top of that, we’re receiving emails not even in English — we’re in Chinese, in Vietnamese, in Spanish — so, using Google Translate, it was just a lot of steps to take to get to the final product of getting the uniforms to the family.
Desmond Hua 18:47
Yeah.
Ethan Hua 18:47
And because of that, we set up this multilingual website to help us address the multilingual, cultural diversity in our community, which was very helpful.
Mitch Ratcliffe 18:57
I guess the question I want to get to before we take a quick commercial break is: do you think the satisfaction that both of you are expressing about the impact you’re having — as well as the satisfaction people have in participating in the program — is the catalyst for jump-starting thousands of local programs to solve thousands of different problems across the country? Like keeping uniforms in circulation, but potentially collecting a lot of other things for reuse?
Ethan Hua 19:23
Is it worth it? Is that your question?
Mitch Ratcliffe 19:24
Is this the kind of thing that can inspire people to solve local problems? Do you have a template here for a solution to jump-starting the circular economy in the many small places it needs to happen?
Ethan Hua 19:38
I think it matters — or, I think true sustainability is very hard to reach. When I hear the word “sustainability” nowadays, I think of words like gourmet and adventure. What do I mean by that? So, if you look at the Merriam-Webster definition of adventure, you see it connotes risk-taking and danger, yet when you go on adventure travel, it’s rarely ever dangerous. And for gourmet — if you eat a gourmet burger at a restaurant, sometimes it’s not even that tasty, yet it’s still labeled as gourmet. Same thing with sustainability. When you hear the word “sustainability” — sustainability buildings, for example — yes, they might be carbon-neutral, yet the process to get these net-carbon-zero buildings, it’s not sustainable, like all the building practices; it takes a lot of energy and resources to get that building to energy perfection, as you could say.
And likewise, in the real world, achieving true sustainability is very, very hard, and clothing is one of these things that we noticed could have a cyclical life cycle, and being able to be reused for these many, many life cycles. Again, we’re long-term impact; it’s something that you could reuse many times, not just one or two. So, yes, I think that we are jump-starting and inspiring a lot of grassroots efforts in achieving these reuse programs. Not everything can be reused, though. However, the idea, and getting it into people’s minds, is, I think, the biggest, most important part.
Mitch Ratcliffe 21:16
And then we’ll start to solve problems. So, this is a great conversation. I want to take a quick commercial break. Folks, we’re going to be right back to continue the conversation.
Mitch Ratcliffe 21:28
Welcome back to Sustainability in Your Ear. Let’s continue the discussion with Ethan and Desmond Hua, who created Help Our Planet Earth, or HOPE — a clothing reuse program that helps teens in need while reducing the volume of textile waste headed for landfill. And Ethan was a 2025 winner of the Gloria Barron Prize for Young Heroes. Ethan, what has that recognition — as well as the Samaritan House Young Samaritan Award that you won — done for the program? Are you getting more attention now?
Ethan Hua 21:55
Yes, we are getting more attention. The biggest thing this exposure has helped us with is that it gives us credibility to talk to new schools, and then it’s just really helpful, because when we first started this program, we started with one school — me and Desmond’s elementary school — and we started by announcing it just to the couple of families at our school, saying that we have this program available, it’d be pretty cool for the environment and for other families, if you could help out. And now, instead, with this exposure to the Gloria Barron Prize and Samaritan House, and our interviews on ABC, NBC — it just helps us a lot, because schools were like, okay, these guys are legit, they’re really in the business of helping the community, they’ll do their job, and they’ve been verified by all these organizations. And because of that, it’s all the easier to spread and make a bigger impact on the community.
Mitch Ratcliffe 22:55
So, how big can this get before you outgrow your garage, and your parents say, “Look, that’s just too many uniforms”?
Ethan Hua 23:02
Well, I would say — I’m not exactly sure about the limit, that’s a good question. Yeah, it’s certainly going to reach a limit, and I think the beauty about HOPE is that anyone can do it. Yes, me and Desmond, we do have backgrounds in scouting, and we have strong sustainability virtues, however, that does not make us that unique, and students like us could take on the program. And in the long term, what I think would be great is if we could spread HOPE to other districts — like, other districts beyond what we can manage — and we’ll have HOPE in another garage.
Desmond Hua 23:47
Yeah.
Ethan Hua 23:48
And then maybe another one. And I think that is what makes HOPE — I think that is the biggest impact that HOPE could have: it’s not, of course, only the environmental impact of diverting uniforms from landfills and saving them from decomposing into the atmosphere, but it’s also putting the idea in other kids’ minds that they could do something as well. And I see a lot of kids in the Bay Area having a lot of reuse programs, like saving food waste, or other service projects in parks. I think that’s very, very powerful — just the fact that you’re doing it, and you’re telling other people about it. It puts the idea in kids’ minds, saying, I could do something like that as well.
Mitch Ratcliffe 24:29
Well, you’re also creating new communities by connecting different lingual groups — you do English, Spanish, Mandarin on the site right now. As you think about the various communities you serve and the reuse challenges that are emerging all around you — the Bay Area being a hotspot for a variety of new trends in the world — how would you use a multilingual website and other services to help people understand what they could do together to solve some of our environmental problems?
Ethan Hua 25:00
So what we like to do is fully contextualize the problem. It’s very important for families to understand that this is an issue, in order for them to fully appreciate their usage of our services. Going back to our number-one most serious statistic — the 30 metric tons of carbon emissions prevented through uniform reuse — we tell families this. We need to fully explain what goes behind that 30 metric tons. So that 30 metric tons represents the 12,700 uniforms that we’ve given back to the community; this represents all the carbon that would have gone into making 12,700 uniforms, but was saved because they used one that was pre-existing. So this carbon waste includes — when we try to calculate a rough estimate — all the carbon used through all the land that it takes to grow the cotton for these uniforms, all the water that was used to grow the cotton, all the pesticides, all the chemical dyes used to dye the uniforms, the energy that goes into making it in the factory, and all the car emissions that are emitted through that, the transportation costs to the store. It’s a long laundry list of all the things that go into making a uniform. Although it’s a lot of carbon going into a uniform, just a rough estimate, it adds up — it does make a really sizable difference when you add up all the 12,000 uniforms. And it’s important to tell the families that, because if they don’t understand what it means to reuse the uniform, then they won’t understand the true impact of their actions, and I want them to appreciate it.
Mitch Ratcliffe 26:48
Well, so that’s really what I’m getting at. Are there other areas where you can see being able to tell that story in a variety of languages, rather than just in English, which shuts out a lot of people, that we could start to activate within many communities a lot of different circular cycles? Not just uniforms, but maybe school supplies that go unused, and so forth. Have you thought about what else HOPE could eventually manage within the circular economy?
Desmond Hua 27:16
Definitely, I think so. Actually, recently I’ve been trying to expand to some schools in San Jose. They actually do especially have a need for uniforms, and seeing that, I think it’s definitely a school that would appreciate getting free uniforms. And seeing that, I think if we showed them the true meaning of what we’re trying to aim for — which is helping, or helping Planet Earth — I think the families would be more willing to, first of all, help with the eco cycle, which is donating back to HOPE, where we can, and then we can give back to them. So it’s like a process. So, but yes, there’s definitely schools around here that would appreciate HOPE.
Mitch Ratcliffe 28:06
Now, Ethan, you’ve said that meaningful change doesn’t take a lot of resources or institutional backing — just an idea and the willingness to act. For someone who’s listening, who has an idea but assumes that they need a lot of money or some permission to get started, what would you tell them?
Ethan Hua 28:23
I remember when me and Desmond started, we were very, very scared talking to adults in that moment, but deep down, we knew what we were doing was good. It was good for the community. It was going to be a benefit for the community and the environment. We didn’t have any doubt about that. Our biggest fear was that, right now, we’re just going to say the wrong thing and embarrass ourselves, but deep down we knew that it was an ultimate good — there’s no way that it couldn’t be an ultimate good for the community. And I think most people do understand: if they’re trying to launch an initiative, and it truly is a net benefit for the community, I think people deep down know what’s good, and I would say, keep pushing on that feeling.
Mitch Ratcliffe 29:21
If a student wanted to start something like HOPE in their own district, where would you point them, so they could take a first step? What did you learn that allowed you to confidently pursue that vision you just described?
Ethan Hua 29:35
It’s like — you want to foster your idea in an environment where you know it will succeed. At first, you always want to start strong, you always want to start in a community where you understand your community 100%. So we started ours in our elementary school. We knew the principal, we spoke Chinese — it was a Chinese-immersion school — so we knew that we could address this community. And I want everyone to address their own community at first. Help your community first, make sure it survives — sorry, let me say, make sure it survives, make sure it grows — until you can expand to other areas that you know can be helped.
Mitch Ratcliffe 30:21
Knowing a community is something that a lot of brands wish they could do, and you managed to get Costco to give you 2,000 new uniforms. How did that relationship emerge, and is that potentially a pointer to the new relationships you could build in order to take HOPE to the next level?
Desmond Hua 30:40
Well, what we did with Costco is, both of us actually reached out to the CEO, Ron Vachris, and we asked him if, in our local Costco area, they had any extra uniforms they could possibly donate to us.
Mitch Ratcliffe 30:57
Wait — so you sent an email to the CEO of Costco?
Desmond Hua 31:00
So what we did is, we actually reached out to Ron Vachris, the CEO of Costco, and we told him that we had such a low supply of uniforms at that time, and for—
Ethan Hua 31:11
—the back-to-school season. Yeah, our most popular demand season is back-to-school.
Desmond Hua 31:16
Yeah, so we reached out to him asking if he had any extra uniforms he could possibly donate to HOPE’s Uniform Program, and he actually responded saying yes, he does have surplus inventory. And so—
Mitch Ratcliffe 31:31
—I think that’s a nervy move, but boy, congratulations.
Desmond Hua 31:35
Thank you. Yeah, both of us. Yeah.
Mitch Ratcliffe 31:37
That says a lot about the potential for an initiative like yours to make a difference in the world.
Desmond Hua 31:44
Yes, that actually does show — when you try to reach out, and when you have a good cause, whether it’s in the community or in the world, I think reaching out to people who could help you is definitely a thing that — it’s like an opportunity for you to expand and to improve the initiative, or your passion.
Mitch Ratcliffe 32:05
Ethan, you’ve just graduated from high school. What’s next for you?
Ethan Hua 32:10
So, in the fall, I’ll be attending Wharton at UPenn. And I think, if there’s one thing I’d like people to know about me, it’s that I enjoy addressing unmet needs in the community with self-sustaining solutions. With HOPE, I’ve done that; and in my work at the San Mateo–Foster City School District, I built a repository of Eagle Scout projects in order to create an outlet for schools to get their service projects out to the community, and to help other scouts like us find their Eagle Scout projects. By the way, an Eagle Scout project is the final step a scout can take in their scouting journey to achieve the rank of Eagle, which is the highest rank.
Mitch Ratcliffe 32:55
Desmond, what are your plans? I mean, you’ve got a couple more years of high school, but what are you thinking about doing?
Desmond Hua 33:00
Well, first of all, for HOPE, I think my mission is to keep expanding HOPE into further areas — even though I may not be as familiar with the communities, I want to reach out to as many people and families as I’m able to help, beyond the San Mateo–Foster City School District. I guess outside of HOPE, I would also love to continue Boy Scouts as the senior patrol leader this year. The senior patrol leader is basically — it’s like a CEO; not CEO, club president — yeah, the highest rank.
Ethan Hua
I’m very proud of Desmond.
Desmond Hua
Yeah, yeah. So I think — he’s been a senior patrol leader, and I’m going to be one this year, so being in that position, leading younger scouts and showing them the right path, I think that’s going to be a really fun experience. That’s what I’m looking forward to this year, too.
Mitch Ratcliffe 33:52
So, Ethan, you’re going to business school, and based on what both of you are saying, leadership is really that instigator of the change that you want to see in the world. Is business the primary lever that you see as our opportunity for change?
Ethan Hua 34:07
Yes. In fact, I think that business is going to be the discipline that helps push the world to be more sustainable. If you think about it, all too often the careers that attack the climate crisis are very siloed — for example, politicians in their chambers, engineers in their labs, or lawmakers in their courts — but all too often these disciplines are not very interconnected and working together in unity to address these issues. And I think that business is something that — its profit is what connects all these efforts together. It’s what pushes people to attempt to create a greener world: financial incentives. Okay, let me give you an example: the solar panel industry. Families would be less incentivized to purchase a solar panel for their home if they didn’t understand that it would save them money in the long term. Because they understand that solar panels will save them money on their electricity bills, they’re like, okay, not only does it save me money, but it’s also a lot greener for the planet. So because people have that — it’s an example of the power of financial incentives to motivate people to join sustainable causes. I think that’s why that cause and effect is what interests me in pursuing business.
Mitch Ratcliffe 35:31
Do you see that as the pursuit of vast wealth, or distributed prosperity?
Ethan Hua 35:38
Distributed prosperity. I think that financial incentives are what’s going to push sustainable efforts, and that’s kind of how HOPE is founded upon, too — free uniforms for families who then don’t have to go out and spend roughly $100 a year per child, with the added benefit that it saves landfill waste.
Mitch Ratcliffe 36:02
So obviously there’s a lot of opportunity in front of you, and for HOPE. What are you thinking about growing into, and where can people find out how to donate, or to request uniforms, or maybe just make a contribution to help make this bigger?
Desmond Hua 36:18
I think just helping out HOPE in general. First of all, donating to HOPE is a really big thing. Contacting HOPE — of course, we have a multilingual website, so visiting that, we have all the info on where to donate, where to request. But I think also what we’re trying to aim for is expanding into bigger schools, where we reach out with HOPE, with our mission, to help out families that, like you said, need uniforms, so they don’t have to spend that $100 to $200 every single year.
Mitch Ratcliffe 36:57
So, Ethan, how can people track what you all are doing and get involved?
Ethan Hua 37:01
Follow our Instagram, @hopeuniformsprogram. Stay on our website; we update our statistics there. You can find out a lot more about how we started this, where we are, and why we do what we do, on our website. We provide it so that families across the community, no matter what language they speak, can understand us — understand our story, understand our passion, our mission.
Mitch Ratcliffe 37:27
Congratulations, gentlemen, to both of you, for an immense good that you have brought into the world. And I wish you both the greatest success in the future. And Ethan, enjoy Wharton.
Ethan Hua 37:38
Thank you, Mitch.
Mitch Ratcliffe 37:46
Welcome back to Sustainability in Your Ear. You’ve been listening to my conversation with Ethan and Desmond Hua. They are brothers who founded the HOPE Uniforms Program. HOPE is short for Help Our Planet Earth, and that’s a student-led nonprofit that collects gently used school uniforms and redistributes them free to families who need them. You can learn more about their work at hopeuniformsprogram.com. That’s all one word, no space, no dash — hopeuniformsprogram.com.
And if you know a teenager doing this kind of work, the Gloria Barron Prize for Young Heroes is something you should point out to them. Ethan was recognized by the program last year, and you can learn more about the Gloria Barron Prize for Young Heroes at barronprize.org. Again, all one word, no space, no dash — barronprize.org, and Barron has two R’s.
The circular economy won’t be built only in boardrooms and at pilot plants; it will also grow from the grassroots, in garages like the one we’ve heard about today. That happens when people recognize human needs and take steps to address them. Ethan and Desmond started HOPE in 2020 while they were still in middle school, after a classmate showed up in shorts on a cold day. That’s a failure of material flows, in the same sense as when a species within an ecosystem struggles because something further up or down the food chain is disrupted.
Ethan kept returning to the idea that the highest-value thing you can do with a uniform is keep it whole and keep it in use, flowing through the economy. Keep the garment in circulation, and you can avoid a variety of environmental impacts, including the water used to grow the cotton, the pesticides, the oil drilled to create the synthetic textiles, the dyes, the factory energy, and the freight emissions produced simply by transporting a uniform to the store. We’ve trained a generation to feel good about the recycling bin, but reuse sits a rung above recycling, and textiles are only the clearest case for it. Americans throw away something like 17 million tons of clothing every year, most of it still wearable.
HOPE’s answer to that isn’t a new material or a chemical process; it’s a reverse-logistics system — a community solution based on a phone number and a website — that keeps uniforms in use. And you’ll note that HOPE is building a closed loop, not a one-way consumption model. That’s an important shift. Families request uniforms through the website; the uniforms come back when kids outgrow them; and the brothers spot-check and then reissue them for another use.
Ethan and Desmond built in the return mechanism, and that’s important. It’s a blocker that many big players are running into. Think back a couple of weeks ago to my conversation with Amy Fernandez and Zach Lauer of Trex, the synthetic decking company. They struggle to recapture material because contractors don’t want to separate old Trex decking from the sprues and connectors used to make the deck in the first place. HOPE started by making returns routine and building a solution for getting the material back, and then communicating about the services in three languages, so that no family is shut out. They also refuse to treat what they’re doing as charity, focusing on raising the service experience for families, which is the basis for long-term engagement and long-term behavior change.
Ethan said his goal is distributed prosperity, and that echoes the idea shared by many of our guests, that sustainability can be a profitability lever rather than a cost center, even while creating social benefits. Ethan’s pitch is that HOPE is replicable — a model that other communities can use. As he said, anyone can do it, and the dream is HOPE in another garage, and then another. And I think Desmond’s comment that the biggest impact isn’t the uniforms diverted, it’s putting the idea in another kid’s head that they could do this too — that’s an important point. We can spread this virally. We’re building the systems for the next generation, not the last.
When I was growing up, there was a garbage can, and nothing else — no recycling bin, no curbside pickup. The recycling system that we know today, the one that we take for granted, didn’t exist even within living memory. It’s going to be built again by another generation, piece by piece, by people who start small and local and don’t wait for permission to do so. And, of course, we have to acknowledge this: the scale of challenges and adverse environmental impacts faced by this generation is daunting. But every system we now treat as permanent was once somebody’s improbable idea, run out of a garage, a church, a basement, or a classroom.
What Ethan and Desmond have proven at the scale of San Mateo County is that circular economies are waiting for people willing to do the unglamorous work of moving material back to where it’s needed. Ethan heads off to Wharton this fall with a thesis already tested in the field: the belief that business is a lever for prosperity. And that’s the important point. We’ll be watching where they take HOPE, and who copies them.
And if this conversation gave you something to think about, please share it with a young person in your life who’s sitting on a great idea. You folks are the amplifiers to spread more ideas and create less waste, and I hope you’ll take a moment to share one of the more than 550 episodes in our archive to help others get up to speed on recycling, circularity, and sustainable business. Please point your friends, family, coworkers, and the people you meet on the street to Sustainability in Your Ear on Apple Podcasts, Spotify, iHeartRadio, Audible, or whatever purveyor of podcast goodness you prefer, and if you take a moment to leave a rating or review, that will go a long way toward helping others find the show.
Thanks for your support. I’m Mitch Ratcliffe. This is Sustainability in Your Ear, and we will be back with another innovator interview soon. In the meantime, folks, take care of yourself, take care of one another, and, of course, let’s all take care of this beautiful planet of ours. Have a green day.
The post Sustainability In Your Ear: Ethan and Desmond Hua Build HOPE for School Uniform Reuse appeared first on Earth911.
https://earth911.com/podcast/sustainability-in-your-ear-ethan-and-desmond-hua-build-hope-for-school-uniform-reuse/
Have you ever opened your fridge and found a carton of moldy strawberries you didn’t get to in time? It’s happened to the best of us.
In the US alone, we waste 40 percent of our food. That hits us both in our gut and wallet: The average American household loses $2,913 a year to food waste.
Why does this happen? A big culprit is simply not storing food properly. Ex: keeping milk in the fridge door when it should be on one of the shelves, then wondering why it went bad so fast.
Most of our food is stored in plastic containers or bags, which can speed up the decomposition process. Plastic is also a known endocrine disruptor, so limiting your exposure to it is ideal.
Here’s how to properly store your food so it lasts weeks, not days, without plastic.
produce storage
If you throw all your produce as-is into the fridge after buying it, please stop.
When you keep your produce in plastic bags and containers they’re more susceptible to rotting. This is especially true of greens which get slimy and shrivel up.
As a general rule of thumb:
- Wash produce before you eat it, not before you store it. Especially berries.
- Before shopping for more food, make a note of what you already have and plan meals around the older food.
- Choose the right containers to keep food in tip-top shape (more on this later).
- Check labels before putting your food away, as many products carry storage instructions (ex: Peanut butter or jams may say refrigerate after opening).
Personally, I have several hacks for keeping my monthly grocery budget to $300 a month. And it helps I meal plan and prep too!
A quick guide to storing produce:
- Lettuce – chop lettuce, store in airtight container with a cloth on top
- Cucumbers – wrap in cloth towel and store in airtight container
- Potatoes and onions – mortal enemies, store separately in a cool dry place
- Herbs – store like bouquets of flowers, mostly in the fridge. Mint and basil can go in a dark and cool corner on countertop
- Carrots and celery – chop and store in a glass of water in the fridge
- Mushrooms – brown paper bag in the fridge
- Berries – store in airtight containers in fridge
- Citrus – on countertop, but if it starts to get wrinkly, place in a bowl of water in your fridge
- Apples and bananas – room temperature
- Avocado – Let them ripen at room temperature before storing in the fridge
- Zucchini, squash – Roam free in crisper drawer
- Kale, asparagus, broccoli, broccolini – cut the ends off and store it like a bouquet of flowers in fridge
- Tomato and garlic – store on the countertop. Pro tip: Stop garlic from spoiling by tying bulbs in panty hose and hang them up
food storage containers
Supporting your local farmers market and local refillery make it easier to shop plastic-free. Most produce is package-free and has no produce stickers, and dry goods can be placed inside your own containers.
But if you don’t have access to those, you can still find what you need in most grocery stores. Try to prioritize package-free produce whenever you can. Alternatively, stick to paper, cardboard, and glass packaging as these are easier to recycle/upcycle.
If plastic is unavoidable, aim for products packaging in rigid plastics #1 (PET) and #2 (HDPE), as these are often considered more recyclable than soft plastics. Though some grocery stores do offer take-back programs for soft plastics worth looking into.
Once you’re home, you’ll want to transfer produce and dry goods into the proper containers. Here are some plastic-free options I recommend.
the swag bag
The Swag bags are made from unbleached, unseeded cotton and are scientifically proven to keep fruit and veg fresh for two weeks or more. They come with color coded trim that makes for easy organization and can be used to store fruits (not bananas!), veggies, leafy greens and herbs.
To use, you’ll want to machine wash and dry it first, then dampen The Swag under tap. Wring out excess water before packing your produce of choice and storing it in the crisper drawer.
At the end of its life, Swag Bags are fully compostable. Love a full-circle product!
silicone bags
Silicone bags, like Stasher bags, are great for storing leftovers, marinating food, and freezing food. I especially love using them to save up my vegetable scraps for homemade veggie stock.
Stasher bags come in various sizes, from a pocket 2-pack to a gallon. And some bags even have flat bottoms, enabling them to stand up.
Stasher Bags are freezer, dishwasher, and oven safe. And at the end of its life, your bag can be recycled with Terracycle to avoid waste.
RELATED: Is Silicone Plastic? Here’s What You Need to Know
glass snapware and jars
I love to upcycle empty marinara and jam jars – they’re great for repurposing around the kitchen! One of my favorite uses for them is storing my herbs and produce like bouquets in the fridge.
However, some produce requires a bit more space (like chopped lettuce), so investing in glass snapware is handy.
OXO’s BPA-free borosilicate glass container sets are spill-proof and seal with a snap. The 12-piece set comes in a variety of sizes, fit for any use. They can go from freezer, to oven, to fridge without a problem (just make sure to remove the lid before microwaving or putting in the oven).
It’s dishwasher safe, plus you can remove the silicone seal to make cleaning easy. They’re perfect for nesting and stacking, making them ideal for optimizing storage space.
beeswax wraps
Beeswrap is a great alternative to plastic wrap, and it can be used to store a variety of items like produce, cheese, bread, and more. You can also use it to cover a jar, a pie dish, a bowl, or even fold into a snack pouch.
Beeswraps are made from organic cotton, beeswax, plant oil and tree resin. But they do carry vegan wraps as well, made using candelilla wax. Both are compostable at the end of their life!
To use, just wrap the item of your choice and secure it using the warmth of your hands. Clean using cold water, mild dish soap, and then air dry. If it no longer sticks to itself, it’s time for a refresh (though with proper care, they can last up to a year).
metal tiffins
Metal tiffins are wonderful for storing food you intend to travel with, like commuting to work or on a picnic. ECO Lunch Box creates Tri Bentos that are 3 layers that stack and clip together. Made from stainless steel, it’s built to last.
The 3-layer design allows you to pack three separate foods, perfect for when you don’t want flavors mixing together. It’s also dishwasher safe, making it easy to clean.
There’s no plastic and its reusable for years to come. But if you want a leakproof metal tiffin, try their Bento Wet Box, which contains silicone gaskets.
fridge organization
Not every area of your fridge is created equal. Different shelves and drawers should be used to store different foods for the best longevity.
It’s also a great idea to have a ‘use it up!’ basket where you store a bunch of food on the verge of going bad. Keep this somewhere you can easily see so you remember to reach for it.
The fridge door: This is the warmest part of your fridge so use it for items that are less sensitive to temperature. Condiments, sauces, sodas, and bottles of juice do well here.
Top shelf: This is where the most consistent temperature is, so anything you intend to eat right away, or leftovers, should be kept here.
Bottom shelf: These are the coldest, so store raw items like fish, meat, dairy and eggs here. It also helps prevent cross-contamination.
Crisper drawers: One is high humidity (ideal for thin-skinned veggies and leafy greens), another is low humidity (ideal for ethylene-emitting fruits). Don’t overpack crisper drawers, as this can also cause accelerated spoilage. Aim to only fill a quarter of the way. I highly recommend laying some cloth towels down onto your crisper drawers, as this will help absorb excess moisture and reduce cleanup. Make sure you replace it every week.
Freezer: Make sure you label everything you freeze, including what kind of food it is, the date you made/bought it. Make sure the older foods face the front so you can easily use it up. You can freeze all kinds of things from nuts to cake to cooked pasta – not just fruits and veggies!
So, what are your tips for storing food? Let me know in the comments!
The post How to Store Food So It Lasts Weeks appeared first on Going Zero Waste.
Most baby items contain a lot of plastic: Plastic rattles, plastic bottles, polyester clothes – and yes, plastic diapers.
But plastic materials can emit phthalates which can potentially disrupt the endocrine system and be detrimental to human health. Phthalates are mainly used as plasticizers added to polyvinyl chloride (PVC) plastics for a softening effect.
This post was sponsored by Kudos. All thoughts and opinions are my own; for more information, please see my disclosure policy.
For babies, phthalates can lurk in items like teethers, squeeze toys or bath books. And the problem lies when baby goes to suck or chew on these items, or puts their hands in their mouth after handling them. Even just crawling on the floor where dust and synthetic carpet fibers are can increase exposure.
Babies are especially sensitive to harmful chemicals because their bodies and brains are still developing. According to a recent study, children’s exposure to phthalates adversely affected their levels of reproductive hormones, anogenital distance and thyroid function.
Unfortunately plastic can be hard to avoid with a newborn, especially with disposable diapers needing plastic to be efficient. And being a new parent is already hard enough without tacking on shame or guilt.
However, there are steps you can take to reduce baby’s plastic exposure. You don’t have to do all of these, but even trying just one non toxic swap helps!
rethink your diapers
Many diaper components are made up of plastic, giving it that waterproof quality mothers need to get through the day.
Reusable cloth diapers are a great option, but they’re not always accessible due to how expensive they are. Plus, not everyone has a laundry machine in their homes, making washing them more challenging. And if you utilize daycare, some centers may not accept cloth diapers due to concerns about sanitation and storage space.
Disposables tend to be cheaper and easier to find, but they’re not all created equal. It’s best to prioritize brands that minimize the amount of plastic in their products.
That’s where Kudos comes in, the first disposable diaper brand with a 100% cotton liner. To be clear, Kudos still have plastic in them (like all disposable diapers), but they’re the first to switch out the plastic topsheet (i.e. that inner liner of the diaper) for cotton. The liner matters because it’s the part touching your baby’s most sensitive area.
Their U.S. sourced cotton is dry processed without water, chemicals, or process heat. This ensures it’s breathable and hypoallergenic for baby.
Best of all, Kudos was designed by a mom (and an MIT engineer) who understands no one wants their baby exposed to harsh chemicals. For that reason, the brand’s diapers are made without lotions, fragrances, natural latex, parabens, and phthalates.
On top of this, Kudos are OEKO-TEX STANDARD 100 certified, use FSC certified wood pulp for their cores, and are Totally Chlorine Free (TCF).
Lets break down why each of those matter:
- OEKO TEX STANDARD 100 certified means every component of the product has been tested for harmful substances, and found safe for human health.
- FSC certified wood pulp means the wood pulp Kudos sources for the core of their diapers comes from sustainably managed forests.
- Totally Chlorine Free (TCG) means there is no chlorine used to bleach the diapers (a process done to make diapers appear whiter and cleaner). Chlorine bleaching leaves behind toxic residue or chemical by-products called dioxins which the World Health Organization (WHO) warns can harm children’s reproductive and immune systems.
Plus, Kudos diapers are designed for strong overnight performance with award-winning and patented DoubleDry absorbency. Aka, two absorption layers instead of the usual one, allowing for 12+ hour absorbency! Comfort without sacrificing efficiency.
RELATED: 7 Best Non Toxic Diapers For Babies
be selective with toys
Many baby toys, from rattles to activity toys, are made from plastic. Most babies explore the world by putting things in their mouths, so it’s important to prioritize plastic-free toys when possible.
If you can, choose toys made from wool, natural fabrics, or natural rubber when possible. Some examples include cotton plushies, wooden play blocks, and natural rubber teethers. For plushies, just make sure the insides are also stuffed with natural materials (like cotton or wool), instead of plastic foams.
For tummy time, try to use non toxic tummy time mats and play gyms. Even just using a soft natural fiber blanket works. Lalo and Lorena Canals both create play rugs and mats made with polyester-free materials.
For when baby gets a little older, it’s also a good idea to rethink other art supplies too. Many crayons, paints and markers contain plastic and other synthetic ingredients. Try to look into beeswax crayons and plant-based paints when possible.
You can make edible fingerpaint for six month olds using cornflour and natural food coloring. That way, if baby gets any in their mouth, it’s no problem!
Woodlark also has some wonderful natural DIYs safe for kids, like homemade chalk and naturally dyed playdough. These DIYs are suitable for slightly older children, so it can be good to save for later down the line.
choose natural fibers
Many baby clothes are made from synthetic fabrics like polyester, rayon blends, and fleece. These are man-made materials, aka plastic, and not natural fibers.
Whenever possible, opt for better fiber options, such as organic cotton, hemp and wool. Check thrift stores and clothing swaps to cut down on costs and give clothes a second life (babies grow fast after all).
Train yourself to look for certifications like GOT (Global Organic Textile Standard) and OEKO-TEX, as this ensures fewer chemicals were used to treat the clothes.
Try to avoid confusing labels such as cotton blends (usually a mix of polyester and cotton), soft touch/ultra soft (refers to finishing processes), and bamboo (heavily processed through chemicals).
Obviously, people are going to gift baby a ton of clothes. So if you can’t fully avoid synthetics, make sure to wash it before first wear using gentle, fragrance-free detergent. And immediately replace once the fabric tears or shows signs of break down.
This also pertains to rugs and baby blankets: Whenever possible, try to choose natural fibers like cotton or wool over synthetic materials. This will further reduce baby’s exposure to microplastics.
don’t heat up plastic
A new study shows that plastic baby bottles, when heated or shaken, release microplastics into the liquid. Because of this, bottle-fed infants around the world may be consuming more than 1.5 million particles of microplastics per day on average.
Consider switching to glass baby bottles if you can. If that’s not an option, rethink your bottle preparation routine. Try heating up formula in a glass container, letting it cool, then transferring it to a plastic bottle.
Avoid using the microwave to heat up both breastmilk and formula, as this can lead to pockets of superheated water next to the plastic, triggering more microplastics to shed.
If you’re up to solids, consider making your own baby food and storing them in upcycled glass jars you can reheat without issue. Just steam or boil fruits and vegetables, then puree them in a blender before transferring them to airtight containers (ideally glass).
For your sanity, you can also consider freezing homemade baby food in silicone molds, then reheating on the stove in a pot. Souper Cubes makes 100% FDA food-grade silicone molds and their ‘cookie tray’ is perfect for freezing breastmilk or solids in small increments. Their lids are also BPA-free.
So, how are you reducing baby’s plastic exposure? Let me know in the comments!
And, a huge thank you to Kudos for sponsoring this post. Be sure to visit Kudos.com to get their hands on their 100% plastic-liner free diapers!
The post Tips For Reducing Plastic Exposure With a Baby appeared first on Going Zero Waste.
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