A vendor speaks to a customer at a second-hand clothes market in Mutare, Zimbabwe. Credit: Farai Shawn Matiashe/IPS

By Farai Shawn Matiashe
MUTARE, Zimbabwe, Oct 23 2025 (IPS)

Shamiso Marambanyika assists a male customer in selecting a pair of jeans on a Saturday morning in Mutare, a city in the eastern part of Zimbabwe.

The 38-year-old mother of three showed the customer a brand of Marks and Spencer, commonly known as M&S, a British retailer based in London.

“I can give you this for 5 dollars,” Marambanyika screamed to the customer, who later picked out a different pair of jeans. She is a vendor at a popular market for secondhand clothes in Sakubva, a densely populated suburb in Mutare, near the border with Mozambique.

Some of the popular brands of jeans Marambanyika had in her stock include Hennes & Mauritz, known as H&M from Sweden, and Levi’s and Old from the United States. These secondhand clothes are dumped in Western countries like the United Kingdom, shipped to Africa, and smuggled into Zimbabwe through Mutare, the gateway to the Indian Ocean in Mozambique.

The clothes are so cheap that one can get three T-shirts for USD 1. This has had repercussions not only on the local textile industry but also on the environment in Africa.

Pushing Local Clothing Manufacturers and Retailers Out of Business

Some clothing companies left by the British are struggling because of secondhand clothes and Zimbabwe’s ailing economy. Truworths Zimbabwe, a fashion retail chain established in 1957, closed about 34 of the 101 stores it operated in the late 1990s. To cut its operating costs, Truworths also reduced its workforce at its manufacturing division in the capital, Harare.

Bekithemba Ndebele, chief executive officer at Truworths Zimbabwe, confirmed to IPS that the company was sold because it was struggling. After going insolvent, Truworths was sold for USD 1 and officially delisted from the Zimbabwe Stock Exchange in July 2025.

Last year, Truworths released a statement that the company could not compete with cheap imports. Ndebele declined to give further details. These formal clothing businesses cannot compete with thousands of individuals who sell smuggled secondhand clothes at markets in cities across the country, in the streets and from car boots.

At Marambanyika’s market in Sakubva, there are more than 1000 vending stalls, each vocally advertising their goods to attract potential customers. In Mutare city center, tens of vendors pay USD 6 per day to sell secondhand clothes on weekends. Unlike these vendors who do not pay taxes, retailers like Truworths pay taxes and are forced to use volatile local currency.

Rashweat Mukundu, a social commentator based in Harare, says economic hardship forces many to resort to secondhand clothes. “This is an overall economic challenge. Many people have no choice but to go and buy secondhand clothes because they cannot afford the new clothes sold in the organized retail sector,” he says.

In retail outlets, a pair of jeans costs at least USD 20.

Marambanyika, who hails from Buhera in Manicaland Province, was pushed into the secondhand clothing trade in 2023 after failing to secure a job. She pays USD 115 to a middleman known as a transporter who will buy a bale weighing 45 kilograms from Beira, a city and one of the business ports in Mozambique. “Prices vary with the quality of the jeans. There are about 100 pairs of jeans in a bale. I make a profit of USD 55 from each bale, and it takes two weeks to sell them all,” Marambanyika says, adding that she pays USD 22 monthly to the local authority.

Anesu Mugabe, a clothing designer and manufacturer based in Harare, says these secondhand clothes are often sold at extremely low prices, making it impossible for local manufacturers to compete.

“For instance, you can find a pair of jeans for as little as USD 2. This is unheard of in local retail stores. This has led to a significant decline in sales for us, forcing us to scale down our operations or even shut down altogether,” says Mugabe, who is now targeting corporates as a survival strategy.

Threat to the Environment 

Across Africa, from Kenya to Nigeria, cheap secondhand clothes are polluting the environment, according to a new report, Trashion: The Stealth Export of Waste Plastic Clothes to Kenya, published in February 2023.

Other recycling companies argue that the trade reduces waste in the Global South, but some environmental experts believe the trade is doing the opposite. Research shows that in Kenya, secondhand clothes are dumped in rivers and landfills. “What we are seeing is not recycling but dumping second-hand clothing from the West,” says Nyasha Mpahlo, executive director at Green Governance. “Unfortunately, there is no mechanism to dispose of the waste from secondhand clothes. Secondhand clothing is found in landfills. The industry is also causing carbon emissions.”

Amkela Sidange, an environmental education and publicity manager at the state’s Environmental Management Agency, says the textile waste is very minimal in Zimbabwe, contributing an estimated 7% to the total waste generated on an annual basis.

“An analysis of the source of the textile waste indicates it is coming from various sources, mostly coming from the textile industry and nothing on record is linked to secondhand clothes,” she tells IPS, citing a Solid Waste survey conducted in 2023.

Attempts to Ban Secondhand Clothes

Other countries, like Rwanda, successfully banned secondhand clothes in 2016 to protect the local textile industry. Zimbabwe did the same in 2015 but introduced import taxes in 2017 after pressure from the locals. But these measures and arrests by police did not tame the smuggling of secondhand clothes.

Local textile industry players are calling for the government to ban the importation of secondhand clothes and to reduce taxes on local suppliers to protect the local textile industry. In August, Local Government Minister Daniel Garwe instructed local authorities to enforce the ban on the sale of secondhand clothes. But traders have defied the minister’s efforts.

Marambanyika says if she is forced to pay import duty and other taxes, she will go out of business. “I feed my one son and two daughters and pay school fees for them using proceeds from this business. I cannot afford to pay those punitive taxes,” she says. “I will close and relocate to the village.”

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Fast fashion consumes vast resources, often polluting and devastating the natural world. Pictured here are garment workers in Bangladesh. Credit: Obaidul Arif/IPS

By Samira Sadeque
UNITED NATIONS, Sep 28 2020 (IPS)

Racism “keeps the global north oblivious to the effect of fast fashion addiction on the global south” say environmental and gender justice experts.

Organisers and activists came together last week to discuss how the fast fashion industry sits at the intersection of environmental and gender justice. The industry, which discriminates against women from the production cycle to the consumption of it, contributes to environmental degradation as two million tonnes of textile are discarded every year.

Beyond that, fashion also plays a crucial role for people of different genders to express themselves, panelists said at the United Nations General Assembly event “Subversive Catwalk: Women, Fast Fashion & Climate Justice”.

“We hoped to encourage people to look at the connection between women’s oppression – the pressure to look good, to be fashionable, that their bodies are not good enough – and the oppression of women worldwide in the garment sweatshops of the world,” Su Edwards, organiser of the panel, told IPS.

“We wanted to raise awareness of the vast resources consumed by fast fashion and the resulting pollution and devastation of the natural world,” she added.

The panel shed light on the importance of women from the global north creating a bridge to work in solidarity with women in the global south.

“We are very keen to emphasise the unity between groups that are often seen as having divergent interests,” Edwards said. “Fashion is a good place for women to find common interests and to begin to understand that their life choices may impact on their sisters in other places.”

The panel, however, lacked the presence of any Bangladeshi representative on the conversation of the 2013 Rana Plaza factory collapse in Bangladesh that killed more than 1,100 garment workers. Scores of garment workers were injured in the disaster, sparking off a massive global conversation on garment workers’ rights.

The only representative invited to speak about the issue was Sumedha Shivdas, a fashion designer  from India.

“We wanted to include at least one woman from the global south in our panel and Sumedha is part of our organisation,” Edwards said when this issue was addressed. “The point was that she had heard about the Rana Plaza disaster but was numb about it.”

On environment, panelists stated that it takes 12 years to get rid of waste that fast fashion makes in 24 hours.

Beyond environmental concerns, fashion also has a large role to play in one’s identity. One of the highlights of the panel was Josephine Carter, a queer artist-activist and panel member who spoke about the role fashion plays on the intersection of environmental justice, human rights, and identity. 

For Carter, identity is at the center of her activism. She is currently working on a poetry project honouring black men for Black History month in the United Kingdom.

“This work feels deeply relevant at the moment, as we’re once again reminded of how endangered black lives are, and of the particular forces of white supremacy which work to endanger black men particularly,” she told IPS.

This relevance is further deepened by the environmental concerns around the world.

“I am thinking, writing and working my way towards climate activism, and finding a way to make this inextricable with the activism work I already do, on race, gender, sex and class,” she said.

For the panel talk, her aim was to have her message reach women and have them engaged in the conversation on climate crisis, and for them to realise how urgent and relevant it is to their lives.
Another goal for her, as well as that of the workshop’s, was to convey the message that for activists, their emotions are very intricately linked with doing the work of climate justice. Understanding that link, and figuring out which measures work and what needs improvement, can help unlock opportunities for climate justice initiatives that are effective.

Excerpts from the interview follow.

Inter Press Service (IPS): What role has fashion played for you in your identity?

Josephine Carter (JC): As a queer woman of colour, I got to explore how people with my identities get pushed in two different directions – to use fashion and dress as self-expression, or to use fashion and dress as a way to conform to a heteronormative and cisnormative society. Not only do big feelings about ourselves and our bodies come up as a result, there are also real-world consequences to conforming or not conforming.

IPS: The intersection of fast fashion, environment and the queer community aren’t usually examined together. What does this intersection tell society?

JC: The reality is that over consuming fast fashion clothing, either to stand out or to fit in, doesn’t come without environmental consequences. Once we accept that the ecologically degrading and exploitative fast fashion industry can’t be allowed to continue, for the sake of the planet and its people, we then have to reconsider our relationship to clothes and reckon more closely with the presence of homophobia and transphobia in our lives.

As mentioned in the workshop, a part of the work of achieving climate justice is the elimination of all oppressions. Bringing together the topics of fashion, environment and queerness (or other identities) shows that the climate crisis actually permeates all areas of our lives and experiences, even areas that might seem unrelated at first glance. It goes, I hope, a little way towards demonstrating that there are a thousand reasons for every person alive to be active in the fight for climate justice, including people who usually get left out of the climate movement.

IPS: What role do you believe fashion plays a role for queer and gender non-conforming communities?

JC: Experiences with fashion in queer and gender non-conforming communities are as diverse as the communities themselves. While I can’t speak for these communities as a whole – especially as a cisgender queer woman – I notice that fashion provides an opportunity for self-creation, for queer and trans people to reclaim their bodies from oppression and dysphoria. Because clothing is so gendered, it can be a useful tool for exploring and subverting the gender binary. It can also be an outlet for creativity, self-expression and sheer joy in queer lives which are so often marred by interpersonal and systematic homophobia and transphobia – from workplace discrimination to homelessness, from medical mistreatment to hate-motivated violence.

IPS: What other roles does fashion play in this conversation?

JC: Conversely, fashion can also play a role in keeping queer and trans identities hidden, especially when individuals have to conform to heteronormative and cisnormative gender roles because of an oppressive family environment, community or government. The necessity to stay hidden and the harshness of the punishment of visibly queer and trans people increases as homophobia and transphobia overlap with other systems of discrimination such as race, class and disability.

IPS: How has your identity as a queer person shaped your relationship with fashion?

JC: I use clothing to announce my queer identity and to hide it. Some of the pressure that is put on heterosexual women to look “feminine” and attractive according to our culture’s norms actually passes me by, and I love putting myself out in public as a weird, fat, butch, boxy, short, black queer woman when I wear dungarees, Doc Martens, men’s clothing, and the rainbow flag. It works as a way to signal to other people in the LBGTQ community that I’m here, that we see each other, that I stand in solidarity with a queer aesthetic and heritage.

I also sometimes get slurs yelled at me on the street, have disparaging comments made about my body by strangers, and am generally made aware that I don’t look how a woman “should” look. It’s interesting that the defining aesthetic categories for queer women, butch and femme, separate us out into who “looks like a woman” and who doesn’t. I remember many occasions as a teenager and young adult where I have tried and failed to look feminine, attractive and acceptable.

I use fashion as a way of constructing my queer identity, and fashion constantly reminds me that society’s idea of what’s acceptable for women’s lives is still very narrow.