Rozela Franco
Our twenty-eight member of the month is Rozela Franco
UCRF is running a ‘Member of the Month’ feature on this blog, where a member, selected at random from the membership database, is sent five questions to give us all an overview of our members. Our twenty-eighth participant, Rozela Franco, is a fashion researcher and craft advocate working at the intersection of artisan textile heritage, emerging digital tools such as 3D and virtual design, and culturally respectful, sustainability-minded fashion value chains.
—1 How would you sum up your research/practice?
At its heart, my work is a love letter to the world's artisans. Whether through research, design, or advocacy, my mission is to amplify the voices of the craftspeople who have held our textile heritage together for centuries. I am particularly interested in the intersection of ancient craft and future technology, specifically how digital tools like 3D design, AR, and VR can document, preserve, and sustain these authentic traditions.
This focus on visibility and long-term viability was a key theme in my Master's work on Web3 culture and my recent journal article, Crafting a Digital Fashion Heritage. Ultimately, my goal is education: ensuring that pristine works of art are documented for future generations and that the communities behind them receive the recognition they deserve.
— 2 How do you address fashion and sustainability in your work?
I currently wear a few different hats. By day, I work as a researcher and project coordinator for EU-funded projects. However, my passion project is my work with the NGO Hecho por Nosotros, where I am currently writing a chapter on "Enhancing Indigenous Artisan Participation in Ethical & Digital Value Chains."
To me, sustainability is a mindset rather than a buzzword. Coming from India, I grew up in a culture that has practiced sustainability for centuries, using natural dyes, repurposing our grandmothers' saris, and valuing repair over replacement. We do not need more clothes; we need a return to quality and deep material knowledge. My work focuses on shifting the industry away from wastefulness and back toward intricate craftsmanship and solution-oriented innovation.
— 3 What are the conflicts you have encountered around fashion and sustainability in your work?
The most glaring conflict is the sheer volume of unnecessary physical waste, particularly during the sampling phase. In my retail experience, I watched brands churn out endless samples, many just to cut a single swatch before discarding them. This waste is entirely avoidable; digital design and 3D prototyping tools can now streamline this process to check fit and fall without cutting a single piece of fabric.
The second critical conflict is Cultural Sustainability. Too often, brands and museums exploit traditional patterns without consent, credit, or compensation for the original artisans. We must educate the industry to respect Traditional Knowledge (TK) and ensure that the custodians of these crafts are legally and financially protected.
— 4 What do you consider the key sources and cases when it comes to fashion and sustainability?
I rely on a mix of "industry pillars" for global data and research-led organizations for policy. Key references include:
Global Advocacy: Fashion Revolution, Global Fashion Agenda, the Ellen MacArthur Foundation.
Research: Union of Concerned Researchers in Fashion (UCRF), UAL Centre for Sustainable Fashion.
Business Intelligence: The Business of Fashion, McKinsey & Company.
Innovative concepts: Fashion for Good, Cradle to Cradle, Biomimicry.
— 5 Could you recommend some less-known sources or cases you think should be more widely shared?
Absolutely. I find that smaller, nuanced initiatives often provide the most creative perspectives:
The Cultural Intellectual Property Rights Initiative (CIPRI), the World Crafts Council, and Hecho por Nosotros.
Doodlage (for their approach to upcycling in India), Okhai (for artisan empowerment), and The Fabricant (for digital fashion).
Thank you Rozela for sharing your work!
