1. The cultural and creative industries encompass a wide range of sectors, including the fashion industry. What measures is the EU taking to support these sectors and promote their innovative capacity?

Since my 2016 report on a coherent EU policy for the cultural and creative industries, a common definition of the entire sector has finally been established at the European level. Crucially, this involved raising awareness within the sectors that they should be viewed as a single industry. Furthermore, the cultural and creative industries have been successfully integrated as a core component and sector within the European Union's industrial strategy. This recognition at the highest political level has led to the cultural and creative industries being considered a key policy priority for the European Union. While this may sound cumbersome at first, it translates directly into support and funding measures.

The EU's central funding instrument for the cultural and creative industries, "Creative Europe," has been almost doubled in size following a demand from the European Parliament. Approximately €2.2 billion is now available.

As the European People's Party group, of which the CDU is a member, we have also succeeded in establishing, for the first time, a "Knowledge and Innovation Community" (KIC) for the sector within the framework of the European Institute of Innovation and Technology (EIT). The basic idea behind these KICs is to increase cooperation between educational institutions, research institutions, and businesses in order to address societal challenges with new, innovative products, training courses and degree programs, services, and processes. The EIT has almost €3.2 billion available for this purpose, which will be distributed among the nine different KICs. I see great added value here for the cultural and creative industries, as the focus is on innovations and research results that are also useful and practical in the business world.

2. The fashion industry is an essential part of the European economy. What significance do you attribute to the fashion industry within the EU, and how do fashion companies contribute to Europe's economic strength?

The fashion industry is deeply rooted in European culture and economy. For centuries, Europe's excellent fashion has radiated outwards across the globe, serving as an ambassador for our country. At the same time, it employs a vast number of people, both directly and indirectly, and is therefore an economically significant factor that should not be underestimated. Leading fashion houses operate at the highest global level, generating substantial revenue – and thus tax revenue. It is no coincidence that Bernard Arnault, the head of a fashion company, is considered one of the richest people in the world. But countless small businesses, from small design workshops to boutiques, also contribute to the economic strength of the fashion industry and provide employment for thousands of people.

What I find so special about the fashion industry, and what truly constitutes the unique value of this industry and the people within it, is the connection to people and the creative thinking, adaptation, and problem-solving. I believe that's why, for the transformational challenges ahead, especially on the path to climate neutrality and digitalization, we should rely on the strengths and knowledge of the fashion industry, but actually of the cultural and creative industries in general. How people and society behave, how they embrace change, and how the appeal of technology can contribute to its acceptance is a major challenge. We live in transformative and extraordinary times. And only with the acceptance of the vast majority of people will we truly achieve our digital and climate goals. For me, creativity is therefore the key to disruptive technology. And I believe that the creative industries can make a significant contribution to this.

3. In recent months, several new EU regulations have been announced, adopted, and implemented. Can you give us a brief overview of these measures?

We have done a great deal for the cultural and creative industries in recent years, especially for the fashion industry. I already spoke earlier about the funding instruments for the creative sector. I would like to mention in particular the EU Textile Strategy, which was published in 2022 and which I oversaw in Parliament. At the same time, we have also introduced real regulations for the sector. I am thinking primarily of the revision of the Ecodesign Regulation with the Digital Product Passport, the Green Claims Directive against greenwashing, and especially the Sustainability Reporting Directive and the EU Supply Chain Directive.

4. The measures mentioned are important instruments of EU policy. How do you see the role of these regulations specifically for the fashion industry, and what impact do you expect on sustainability and transparency in the industry?

With our textile strategy, we as the European Union have set sustainability goals and incentives for new, innovative business models, sustainable design, and investments in innovative materials and recycling methods. And of course, we now want and need to achieve and implement these goals. To that end, we have established the aforementioned legislative and financial frameworks. And all of them are extremely relevant to the fashion industry!

Let's take the Ecodesign Regulation: actually an existing law for energy-consuming machinery – the "CE" marking is a familiar example – we are now extending it to almost all products traded on the European market. With this extension, so-called delegated acts will be introduced in the coming months for the fashion and textile industry, establishing precise regulations on various material properties such as recyclability, durability, minimum number of wash cycles, and much more. This is therefore extremely relevant for the fashion industry, as it will also affect designers and fashion creators. To reassure you: these regulations will not apply immediately and are not being imposed arbitrarily; numerous workshops and opportunities for input and feedback are being held in conjunction with the EU Commission.

Also included in the Ecodesign Regulation is the digital product passport. This passport will help companies, designers, customers, and manufacturers obtain the right data on materials and usage patterns, recyclability, and washing instructions. This will allow us to increase the sustainability of fashion creations, for example, through more sustainable consumption, and also enable new business models for brands and companies, made possible by the wealth of data. I believe this holds enormous potential for the fashion industry.

Transparency and greater sustainability are naturally also achieved through supply chain legislation and sustainability reporting – provided they are properly designed and not, as has unfortunately happened, turned into a new bureaucratic nightmare. We stand by the sustainability commitments of our companies, including those outside Europe, and of course, these must be demonstrated appropriately. However, there needs to be a very clear balance between the benefits and unnecessary effort, which unfortunately hasn't been the case. We in the EU will likely have to revisit this issue.

5. Through customs agreements and the Schengen Area, the EU creates ideal conditions for international cooperation between companies. What advantages do you see in this for the fashion industry, and do you consider these concepts to be at risk?

Yes, we see the attacks by right-wing populists on Europe, on our freedoms and democracy. But I am firmly convinced that Europe, with its open borders, its four freedoms for people, goods, services, and capital, and its international allies, offers a strong foundation for democracy and economic activity. Therefore, I do not consider the EU as a concept obsolete or outdated. The EU single market also gives the fashion industry the opportunity to trade goods freely, attract talent from all over Europe, and exchange ideas with other creative professionals. This is a fundamental part of the industry! Hundreds of thousands of jobs are created and maintained as a result, also through trade and exchange with EU partners worldwide. That is why it is so important to vote for pro-European parties in the European elections on June 9th!

6. You personally have been committed to the cultural and creative industries, and especially the fashion industry, for many years – where do you get your motivation from and how do you think you can make a further impact in this area in the future?

I believe that the cultural and creative industries, and especially the fashion industry, always radiate positive energy through their creative power. Even though I, as a Christian Democrat in my sixties, might not seem like it, I've been artistically influenced since childhood by my parents, who were authors and theater directors. Creativity and a wealth of ideas connect people, societies, and generations. We can't run our society from a dystopian perspective, like the fear of climate change. We need to change, but we need a positive vision. The cultural and creative industries have an intrinsic talent for describing such a positive vision: with almost every product, for almost every person. We need this talent to convince our society, and as many people as possible, of the necessary changes. My commitment stems from this motivation, combined with the economic strength and relevance of the creative industries. And I intend to continue working on this in the future, because there is still much to be done. I believe the challenges for sustainability, digitalization, and the shortage of skilled workers are multifaceted. I will continue to work towards achieving these goals together, always keeping an eye on the economic viability and innovative strength of the industry. And I prefer to do so where I can best do so: in the European Parliament as an experienced Member of Parliament.

7. You have served as a member of the FCG's executive board since its founding and were involved in the establishment of the European Fashion Alliance. In your opinion, what is the core of this collaboration and what goals have you set for the future?

I strongly support the Fashion Council Germany's decision to establish a European alliance, thereby creating a forum for exchange on important issues and presenting a united front to the outside world. That's why I was happy to accompany this process, because exchanging ideas and experiences across national borders is the very essence of Europe – reflected here in the European Fashion Alliance. For a long time, there was no voice for the European fashion industry in Brussels; we simply didn't know who to turn to. With its founding, this has changed. This has already been acknowledged by several EU Commissioners. Looking ahead, I hope that this alliance will lead to even more joint initiatives on specific legislative procedures, expert panels in Parliament and the Commission, and exchanges between the business sector and civil society. And besides, I simply love what fashion designers do: it's diverse, vibrant, sometimes provocative and bold. Simply what Europe should be.

We thank Dr. Ehler for the interview.