The Future of Fashion Might Be Rented: Oxford Researcher Calls for a Circular Wardrobe Revolution
Renting clothes is often associated with tuxedos, ballgowns or wedding outfits, but new research discussed on the Oxford Brookes Unscripted podcast suggests this narrow view is limiting one of fashion’s most promising sustainability solutions.
Dr Rebecca Beech, Senior Lecturer in Marketing at Oxford Brookes University, has spent the past year speaking with consumers across the UK, as well as analysing emerging rental fashion start-ups. Her work, part of a United Nations PRME project, suggests that a circular, low-waste fashion system is both desirable and possible - if retailers and policymakers can remove a handful of stubborn barriers.
Many of Rebecca’s interviewees admitted they had never considered renting everyday clothing. “Most people still view rental as something you do for weddings or proms,” she says. But platforms such as Hurr Collective and By Rotation now offer flexible subscriptions for jeans, knitwear or work outfits, allowing consumers to refresh their wardrobe without buying new. For some participants, the appeal was practical as much as environmental: rented capsule wardrobes reduce clutter and eliminate the guilt of rarely-worn impulse buys.
Yet the shift towards a circular model is far from straightforward. Trust emerged as one of the biggest concerns. In consumer-to-consumer rental systems, participants worried about hygiene, garment care and being over-charged for minor wear and tear. Even in business-run services, uncertainty around fit and representation on websites made some consumers reluctant to try renting at all. Rebecca argues that integrating technologies such as virtual try-ons or AI-driven fit tools could significantly reduce this hesitation.
Another surprising finding was the importance of belonging. Many sustainable fashion enthusiasts feel isolated in their choices, facing stigma from friends or family who dismiss second-hand or rented clothing as “hippie” or unnecessary. Rental brands that actively cultivate communities - through workshops, pop-ups or online storytelling - help counter this, providing spaces where people can share experiences and learn from one another.
The environmental case for circular fashion is stark. Fast fashion’s rapid production cycles contribute to widespread waste, microplastic pollution, and overflowing landfills. Some garments shed microplastics every time they are washed, with fibres now found everywhere from shellfish to unborn foetuses. Against this backdrop, extending the life of a garment through sharing, repairing or repurposing could have significant ecological impact.
Consumers, Rebecca suggests, need more transparent information. Most rental companies still provide little insight into what happens to garments at the end of their life, leaving questions about recycling or disposal unanswered. Stronger regulation and clearer reporting could help close this “missing” loop in the circular model.
Despite the challenges, Rebecca is optimistic. Mending workshops are thriving in communities across the UK, and a growing cohort of small rental start-ups is experimenting with more sustainable business models. The fashion industry, she argues, is at a crossroads: continue with fast-paced, high-waste production, or build a future grounded in longevity, sharing and circularity.
“If we can normalise renting everyday clothes, repair culture, and community-based fashion,” she says, “we might finally be able to imagine an industry that grows without costing the Earth.”