Sophia Bentoh

PRODUCTION LOCATIONS 

• Amsterdam, Netherlands

WORKING CONDITIONS & LIVING WAGES

The brand is produced exclusively in its own studio in Amsterdam Noord, where the shop is also located, and in collaboration with two Dutch production partners. Production takes place locally, which has numerous advantages: High labour standards, transparent processes and short transport routes ensure social and environmental benefits. As the products are designed, printed and in some cases made to order locally, there is a direct influence on working conditions and quality assurance.

The prints are currently produced in-house, while the digitally printed fabrics are produced by a Dutch supplier. The majority of the collection is made to order by a company based in Amsterdam. Small accessories for fashion and interiors are designed and developed in the company’s own studio.

The products are handmade or made to order if they are not in stock. The brand thus pursues a deliberately decelerated and resource-saving approach. 

The campaigns and presentations of the ​‘Ibileye’ collection focus on diverse representation, particularly through the involvement of people of colour. The designs pick up on African symbolism, this not only reflects the designer’s personal background, but also the cultural depth of the collection itself. 

The brand conveys an image that anchors cultural diversity both in the design and in the brand identity.

MATERIALS 

• Circular jersey (48 % rPET, 48 % PES (polyester), 4 % EL (elastane)
• Cotton
• Wooden buttons

The brand mainly uses circular jersey for its current collection. This consists of 48% recycled polyester, 48% conventional polyester and 4% elastane. The combination of these fibres creates a stretchy, durable fabric that is ideal for tight-fitting or body-hugging garments such as leggings, tops or skirts.

rPET is recycled polyester and is made from used PET bottles. The fibre is considered a more resource-efficient alternative to newly produced polyester. By recycling plastic waste, the use of fossil raw materials is reduced. However, rPET is still a synthetic material that can release microplastics when washed and is difficult to biodegrade at the end of its life cycle. The recycling process itself is also energy-intensive.

Although the new polyester (PES) it contains has advantages such as colour fastness, durability and ease of care, it must be viewed critically from an ecological perspective. It is based on fossil resources, is not biodegradable and also contributes to the microplastics phenomenon. The elastane in the fabric provides the necessary stretch and freedom of movement, but makes textiles less recyclable and is also a petroleum-based plastic.

The brand emphasises that it works with high-quality and durable fabrics, which indicates a conscious choice of materials. However, no formal certifications are mentioned, so the exact origin and chemical safety of the materials are not verified.

Discover more about the invisible environmental impact of the fashion industry here and read more about the environmental impact of recycled polyester here.

The use of digital printing techniques generally requires less water and chemicals compared to conventional processes.

PACKAGING 

For in-store sales, the brand uses paper, small paper bags and larger kraft paper bags; bubble wrap is sometimes used for sensitive products. Cardboard boxes or paper mailing bags are used for shipping, sometimes with internal bubble wrap to protect the goods.

WATER USAGE & CHEMICALS 

The collections are produced using digital textile printing, which generally requires less water and dyes compared to traditional dyeing techniques. This reduces the ecological footprint in terms of water consumption and wastewater pollution. Nevertheless, the collection also includes pieces with screen printing applications, such as accessories. Although conventional dyes are currently used, the designer is aware of alternative, plant-based dyeing methods and is actively researching more sustainable options.

The digital prints are produced by a Dutch print provider, whereby, according to the manufacturer, no water is required and special dyes with reduced use of chemicals are used. Acrylic and water-based pigments have been used for screen printing to date, but these are to be replaced by more sustainable and chemical-free pigments in the future. 

Synthetic fibres such as rPET, polyester and elastane can potentially release microplastics during washing.

CIRCULAR PRODUCT DESIGN 

The products are predominantly made of mixed materials, which makes subsequent recycling more difficult.

The brand does not offer a take-back service for used garments.

Sophia Bentoh uses fabric remnants to make products such as scarves and purses, thereby avoiding material waste and reutilising her designs in the spirit of circularity.

CIRCULAR BUSINESS MODELS 

The brand does not yet offer a formally established repair service, but will take back damaged garments or accessories on request and repair minor damage in its own atelier. For other repairs, it works together with the manufacturer who produces a large part of the collection.

There is currently no take-back system for worn or no longer required items of clothing. However, the founder has already offered her own vintage items for sale in the studio and is considering future rental models.

The focus is currently on the direct sale of limited collection items, which are either made to stock or to order. The small production quantities and the use of recycled materials demonstrate a certain awareness of resources. However, circular approaches in the narrower sense have not yet been firmly integrated into the brand strategy.

DISTANCE & COMPLEXITY OF THE SUPPLY CHAIN

• Netherlands
• The HQ is in Amsterdam, Netherlands

TRANSPORTATION 

• As the central production steps take place in Amsterdam, the transport routes within the supply chain are localised. The online producer’s digital prints are delivered from the Netherlands to the Amsterdam studio by post. 
• The products are collected by customers from the studio or sent by post.

The brand does not use any animal materials.

PRODUCT DESIGN 

Sophia Bentoh’s products are primarily aimed at adults, with a clear focus on women’s fashion. The collection includes garments such as singlets, T‑shirts, longsleeves, leggings, skirts and short dresses. These are special, printed designs that are intended for a style-conscious target group.

SLOW FASHION PROCESSES 

A classic fast fashion system involving several large collections per year is not in the picture here. Instead, small, limited series are produced exclusively to order, which prevents overproduction and conserves resources. 

If an item is not in stock, it is customised after the order is received, which corresponds to a made-to-order principle. This reduces overproduction and enables a more resource-efficient production method.

The ​‘Ibileye’ collection forms the creative core, to which new prints and variants are constantly being added – for example by digitally processing existing patterns or by combining older techniques such as screen printing.

TRANSPARENCY ON PRODUCT 

The product pages contain basic information about the respective items. This includes the product name, a brief description, the material composition, as well as information on availability, colour variants and sizes. It is also indicated whether a product is in stock or is made to order. There is also a note that the collection is produced in limited quantities to avoid overproduction.

What is missing, however, is detailed information on the production chain. No specific production locations or manufacturing plants are mentioned. There is also no information on working conditions, wage standards, transport routes or social responsibility in the manufacturing process. Traceability is also missing.

TRANSPARENCY ON PROCESSES 

The website provides general information about the creative development of the prints and local production in the studio in Amsterdam Noord. Specific details about suppliers, such as the origin of the fabrics, production partners or external sewing factories, are not mentioned.

The available information is limited to general pages and the product descriptions. Product-specific traceability – for example on the manufacture, materials or production conditions of an individual item – is not offered.

There is no annual sustainability or impact report that breaks down social and environmental aspects. This means that the overall level of transparency remains low and limited to an informal, brand-related narrative format.