Textination Newsline

One of the major concerns of online shopping is a consumer’s inability to touch, feel and experience products. This concern is more problematic for fashion products, when the right fit is critical for purchase decisions. Virtual Fitting Room (VFR), a technology that allows consumers to test size and fit without having to try clothing on themselves, eases this concern.

What is a Virtual Fitting Room (VFR)?
A Virtual Fitting Room (VFR) is a function that shows and visualizes a shopper’s outfit without physically trying on and touching items. VFR utilizes Augmented Reality (AR) and Artificial Intelligence (AI). By using AR for VFR, a webcam scans the body shape of shoppers and creates a 360-degree, 3D model based on their body shape.

AI further operates VFR by using algorithms and machine learning to design a full-body 3D model of a shopper standing in front of the camera. A combination of AR and AI technology allows VFR to place items on real-time images as a live video so that customers can check the size, style and fit of the products they’re considering purchasing.

Shoppers can try on clothes and shoes at home without visiting a physical store. In order to do this, customers need to first make sure they have the right settings on their phone. Then, they download a brands’ mobile applications with the Virtual Fitting Room function or visit apparel brands’ websites that support this VFR function and upload a photo of their body shape. Some brands allow a customer to create an avatar using their body shape to test out the fashion items virtually, instead of uploading a photo of themselves.

How does using a Virtual Fitting Room benefit fashion retailers?

• Provides a convenient shopping experience
  Research conducted by the National Retail Federation in 2020 stated that 97% of consumers have ended a shopping trip or stopped searching for the item they had in mind because the process was inconvenient.
  Shoppers surveyed not only said that in-person shopping was inconvenient but that online shopping felt even more inconvenient to them.
  VFR eliminates all of these processes. Shoppers can walk over to the VFR and see what the clothes look like quickly without needing to change them.
   
• Overcomes the limitations of online shopping
  As of 2017, 62% of shoppers preferred to shop at physical apparel stores because they could see, touch, feel and experience products. This was a major problem that online shopping could not overcome.
  VFR solves this problem effectively. According to a Retail Perceptions Report, about 40% of buyers said they would be willing to pay more if they could experience the product through AR technology. By incorporating new technologies, VFR makes shopping fun and offers a personalized shopping experience to customers, which can attract more people to online channels.
   
• Reduces the return rate
  High return rates are a big administrative headache for fashion brands. Moreover, it threatens to cut into the profits of fashion brands if they offer free returns. 30% of the return rate in e-commerce fashion shopping is due to purchases of small-sized products, and another 22% happens due to purchases of too large-sized products.
  However, VFR alleviates this problem. Whether in store or online, people can check the fit and size of items without having to wear them themselves.

Which brands are already using Virtual Fitting Room (VFR) technology?
Gucci
Gucci is the first luxury brand which adopted VFR. They partnered with Snapchat to launch an augmented reality shoe try-on campaign. It created a virtual lens that superimposed and overlaid a digital version of the shoe on the shopper’s foot when the foot was photographed using a cell phone camera.

Along with the Shop Now button, which guides shoppers to its online store, Gucci achieved 18.9 million Snapchat users and reported positive return on ad spend, which is a marketing metric that measures the amount of revenue earned on all dollars spent on advertising from this campaign.

Otero Menswear
Otero Menswear is a brand focused on apparel for men shorter than 5’10” (1,78 m). Otero added VFR software to its online store to provide perfect fitting sizes to its customers. First, it asks customers four quick questions about their height, leg length, waist size and body type. Then, it offers a virtual avatar corresponding with the answers. Shoppers then use this avatar to see how different sizes of Otero clothing would look on them.
 
Walmart
In May 2021, Walmart announced that they plan to acquire Zeekit, a virtual fitting room platform, to provide enhanced and social shopping experiences for customers during the pandemic.

When customers upload pictures of themselves and enter their body dimensions, Zeekit builds a virtual body and then customers can dress it accordingly. Customers will simply post their photos or choose virtual models on the platform that represent the best fitting of their height, body and skin tone. Shoppers can even share their virtual clothes with others to get various opinions. Walmart brings a comprehensive and social experience to digital shopping for customers through this acquisition of VFR.

According to research by Valuates Reports, it is expected that sales of the global virtual fitting room market will grow to $6.5 million by 2025. By adopting VFR, consumers will be able to experience convenience in an advanced shopping environment. At the same time, fashion retailers will be able to increase online sales and reduce return rates by offering customers personalized online shopping experiences using VFR technology.

From the perspective of European consumption, textiles have on average the fourth highest negative life cycle impact on the environment and climate change, after food, housing and mobility. A shift to a circular textile production and consumption system with longer use, and more reuse and recycling could reduce those impacts along with reductions in overall consumption. One important measure is circular design of textiles to improve product durability, repairability and recyclability and to ensure the uptake of secondary raw materials in new products.

Key messages

• In 2019, the EU textile and clothing sector had a turnover of EUR162 billion, employing over 1.5 million people across 160,000 companies. As was the case in many sectors, between 2019 and 2020, the COVID-19 crisis decreased turnover by 9% for textiles as a whole and by 17% for clothing.
• In 2020, textile consumption in Europe had on average the fourth highest impact on the environment and climate change from a global life cycle perspective. It was the consumption area with the third highest impact on water and land use, and the fifth highest in terms of raw material use and greenhouse gas emissions.
• To reduce the environmental impacts of textiles, a shift towards circular business models, including circular design, is crucial. This will need technical, social and business model innovation, as well as behavioural change and policy support.
• Circular design is an important enabler of the transition towards sustainable production and consumption of textiles through circular business models. The design phase plays a critical role in each of the four pathways to achieving a circular textile sector: longevity and durability; optimised resource use; collection and reuse; and recycling and material use.

Textiles are identified as a key value chain in the EU circular economy action plan and will be addressed in the forthcoming European Commission’s 2022 EU strategy for sustainable and circular textiles and EU sustainable products initiative. This briefing aims to improve our understanding of the environmental and climate impacts of textiles from a European perspective and to identify design principles and measures to increase circularity in textiles. It is underpinned by a report from the EEA’s European Topic Centre on Circular Economy and Resource Use available here.

1. Production, trade and consumption of textiles
Textiles is an important sector for the EU economy. In 2019, the EU textile and clothing sector had a turnover of EUR162 billion, employing over 1.5 million people in 160,000 companies. As was the case for many sectors, between 2019 and 2020, the COVID-19 health and economic crisis decreased turnover by 9% for textiles as a whole and by 17% for clothing (Euratex, 2021).

In 2020, 6.9 million tonnes of finished textile products were produced in the EU-27. EU production specialises in carpets, household textiles and other textiles (including non-woven textiles, technical and industrial textiles, ropes and fabrics). In addition to finished products, the EU produces intermediate products for textiles, such as fibres, yarns and fabrics (Köhler et al., 2021).

The textiles sector is labour intensive compared with others. Almost 13 million full-time equivalent workers were employed worldwide in the supply chain to produce the amount of clothing, textiles and footwear consumed in the EU-27 in 2020. This makes the textiles sector the third largest employer worldwide, after food and housing. Most production takes place in Asia, where low production costs come at the expense of workers’ health and safety.
 
Textiles are highly globalised, with Europe being a significant importer and exporter. In 2020, 8.7 million tonnes of finished textile products, with a value of EUR125 billion, were imported into the EU-27. Clothing accounts for 45% of imports in terms of volume, followed by household textiles, other textiles and footwear (Eurostat, 2021a). The EU imports mainly from China, Bangladesh and Turkey, and exports mainly to the United Kingdom, Switzerland and the United States (Euratex, 2020).

Consumption
European households consume large amounts of textile products. In 2019, as in 2018, Europeans spent on average EUR600 on clothing, EUR150 on footwear and EUR70 on household textiles (Köhler et al., 2021; Eurostat, 2021b).

The response to the COVID-19 pandemic, involving stay-at-home measures and the closure of companies and shops, decreased textile production and demand overall (Euratex, 2021). As a result, the consumption of clothing and footwear per person decreased in 2020, relative to 2019, while the consumption of household textiles slightly increased. Average textile consumption per person amounted to 6.0kg of clothing, 6.1kg of household textiles and 2.7kg of shoes in 2020 (see Figure 1).

Apart from this COVID-related drop in consumption in 2020, the estimated consumption of clothing and footwear stayed relatively constant over the last decade, with slight fluctuations between years (see Figure 2). Similarly, the consumption of household textiles was also relatively steady, with a slight increase over the decade.

When calculating the ‘estimated consumption’ based on production and trade data from 2020, and excluding industrial/technical textiles and carpets, total textile consumption is 15kg per person per year, consisting of, on average:

• 6.0kg of clothing
• 6.1kg of household textiles
• 2.7kg footwear.

For 2020, this amounts to a total consumption of 6.6 million tonnes of textile products in Europe. Textile consumption estimates are uncertain, as they vary by study, often using different scopes and calculation methods.

2. Environmental and climate impacts of textiles
The production and consumption of textiles has significant impacts on the environment and climate change. Environmental impacts in the production phase result from the cultivation and production of natural fibres such as cotton, hemp and linen (e.g. use of land and water, fertilisers and pesticides) and from the production of synthetic fibres such as polyester and elastane (e.g. energy use, chemical feedstock) (ETC/WMGE, 2021b). Manufacturing textiles requires large amounts of energy and water and uses a variety of chemicals across various production processes. Distribution and retail are responsible for transport emissions and packaging waste.

During use and maintenance — washing, drying and ironing — electricity, water and detergents are used. Chemicals and microfibres are also emitted into the waste water. Meanwhile, textiles contribute to significant amounts of textile waste. At the end of their life, textiles often end up in general waste and are incinerated or landfilled. When textile waste is collected separately, textiles are sorted and reused, recycled or disposed of, depending on their quality and material composition. In 2017, it was estimated that less than 1% of all textiles worldwide are recycled into new products (Ellen MacArthur Foundation, 2017).

To illustrate the magnitude of the impacts of textile consumption on raw material use, water and land use and greenhouse gas emissions compared with other consumption categories, we have updated our calculations of the life cycle environmental and climate impacts in the EU. We used input-output modelling based on data from the Exiobase database and Eurostat. In line with the reduced textile consumption level in 2020 because of the COVID-19 pandemic, the environmental impacts decreased from 2019 to 2020.

Raw material use
Large amounts of raw materials are used for textile production. To produce all clothing, footwear and household textiles purchased by EU households in 2020, an estimated 175 million tonnes of primary raw materials were used, amounting to 391kg per person. Roughly 40% of this is attributable to clothes, 30% to household textiles and 30% to footwear. This ranks textiles as the fifth highest consumption category in Europe in terms of primary raw material use (see Figure 3).

The raw materials used include all types of materials used in producing natural and synthetic fibres, such as fossil fuels, chemicals and fertilisers. It also includes all building materials, minerals and metals used in the construction of production facilities. Transport and retail of the textile products are included as well. Only 20% of these primary raw materials are produced or extracted in Europe, with the remainder extracted outside Europe. This shows the global nature of the textiles value chain and the high dependency of European consumption on imports. This implies that 80% of environmental impacts generated by Europe’s textile consumption takes place outside Europe. For example, cotton farming, fibre production and garment construction mostly take place in Asia (ETC/WMGE, 2019).

Water use
Producing and handling textiles requires large quantities of water. Water use distinguishes between ‘blue’ water (surface water or groundwater consumed or evaporated during irrigation, industry processes or household use) and ‘green’ water (rain water stored in the soil, typically used to grow crops) (Hoekstra et al., 2012).

To produce all clothing, footwear and household textiles purchased by EU households in 2020, about 4,000 million m³ of blue water were required, amounting to 9m³ per person, ranking textiles’ water consumption in third place, after food and recreation and culture (see Figure 4).

Additionally, about 20,000 million m³ of green water was used, mainly for producing cotton, which amounts to 44m³ per person. Blue water is used fairly equally in producing clothing (40%), footwear (30%) and household and other textiles (30%). Green water is mainly consumed in producing clothing (almost 50%) and household textiles (30%), of which cotton production consumes the most.

Water consumption for textiles consumed in Europe mostly takes place outside Europe. It is estimated that producing 1kg of cotton requires about 10m³ of water, typically outside Europe (Chapagain et al., 2006).

Land use
Producing textiles, in particular natural textiles, requires large amounts of land. The land used in the supply chain of textiles purchased by European households in 2020 is estimated at 180,000 km², or 400m² per person. Only 8% of the land used is in Europe. Over 90% of the land use impact occurs outside Europe, mostly related to (cotton) fibre production in China and India (ETC/WMGE, 2019). Animal-based fibres, such as wool, also have a significant land use impact (Lehmann et al., 2018). This makes textiles the sector with the third highest impact on land use, after food and housing (see Figure 5). Of this, 43% is attributable to clothes, 35% to footwear (including leather shoes, which have a high land use impact because of the need for cattle pasture) and 23% to household and other textiles.

Greenhouse gas emissions
The production and consumption of textiles generate greenhouse gas emissions, in particular from resource extraction, production, washing and drying, and waste incineration. In 2020, producing textile products consumed in the EU generated greenhouse gas emissions of 121 million tonnes carbon dioxide equivalent (CO₂e) in total, or 270kg CO₂e per person. This makes textiles the household consumption domain responsible for the fifth largest impact on climate change, after housing, food, transport and mobility, and recreation and culture (see Figure 6). Of this, 50% is attributable to clothes, 30% to household and other textiles, and 20% to footwear. While greenhouse gas emissions have a global effect, almost 75% are released outside Europe, mainly in the important textile-producing regions in Asia (ETC/WMGE, 2019).

About 80% of the total climate change impact of textiles occurs in the production phase. A further 3% occurs in distribution and retail, 14% in the use phase (washing, drying and ironing), and 3% during end of life (collection, sorting, recycling, incineration and disposal) (ECOS, 2021; Östlund et al., 2020).

Textiles made from natural fibres, such as cotton, generally have the lowest climate impact. Those made from synthetic fibres (especially nylon and acrylic) generally have a higher climate impact because of their fossil fuel origin and the energy consumed during production (ETC/WMGE, 2021b; Beton et al., 2014).

3. Design as an enabler of circular business models for textiles
To reduce the environmental and climate change impacts of textiles, shifting towards circular business models is crucial to save on raw materials, energy, water and land use, emissions and waste (ETC/WMGE, 2019). Implementing and scaling circular business models requires technical, social and business model innovation; as well as enablers from policy, consumption and education (EEA, 2021).

Circular design is an important component of circular business models for textiles. It can ensure higher quality, longer lifetimes, better use of materials, and better options for reuse and recycling. While it is important to enable the recycling and reuse of materials, life-extending strategies, such as design for durability, ease of reuse, repair and remanufacturing, should be prioritised. Preventing the use of hazardous chemicals and limiting toxic emissions and release of microplastics at all life cycle stages should be incorporated into product design.

Designing for circularity is the most recent development in design for sustainability. Expanding a technical and product-centric focus to a focus on large-scale system-level changes (considering both production and consumption systems) shows that this latest development requires many more disciplines than traditional engineering design. Product design as a component of a circular business model depends on consumer behaviour and policy to realise its potential and enable implementation. Figure 7 shows the linkages between the circular business model, product design, consumer behaviour and policy. All are needed to slow down and close the loop, making it circular.

For years now, fashion retail has been able to show a moderate but steady growth in sales. However, the share of sales accounted for by online retail is becoming significantly stronger, and consequently that of stationary retail is becoming weaker. In just 10 years, online fashion retail will have a market share as high as that of local fashion stores, according to one of the findings of the study "Fashion 2030 - Seeing what fashion will be tomorrow" by KPMG in cooperation with EHI. "For retailers, the decline in sales in the stationary sector means that they have to reduce their stationary areas," says Marco Atzberger, Managing Director of EHI. A dilemma, because the majority of customers prefer to shop in their local fashion store, despite all the online alternatives.

Textiles, media and electrical goods are currently the categories most frequently purchased online. Consumers believe that online shopping in these categories will also be particularly attractive in the future, although there is also considerable interest in online purchasing of furniture, drugstore and hardware store products.

With sales of 16.5 billion euros, online fashion retail already accounts for 25 percent of total fashion sales, which were around 66 billion euros in 2020. The experts at KPMG and EHI predict that this share will double in the next ten years. The forecasted annual sales of 79.2 billion euros in 2030 are to be divided equally between online and stationary stores. In order to position itself correctly here, the textile trade is facing strategic changes in terms of sustainability and digitization in addition to reductions in retail space. Concepts such as circular economy (recycling) or re-commerce (second-hand) are just as much part of the customer's demands as a smooth (channel-independent) shopping experience or a targeted customer approach.

Online information sources are becoming increasingly important for customers. However, browsing in stores continues to be the main source of information when shopping. One exception, however, is electrical goods - the independent opinion of reviews is the most important source of information here.

Reductions in retail space
As the market share of online fashion retail is becoming increasingly stronger than that of the overall fashion market, there will be a scissor effect for the stationary clothing retail – unless decisive parameters such as store rents change. Permanently reducing the share of fixed costs in the stationary sector can lead to a harmonization of both sales channels and prevent massive cannibalization effects, according to the authors of the study. The reduction in retail space will have the most severe impact on department stores and multi-story formats. Interviews with retail experts show that the retail expects a reduction in space of around 50 percent by 2030 and anticipates shrinkages of up to 70 percent at peak times. However, the current crisis also offers fashion retailers a greater choice of appealing rental spaces and therefore the opportunity to position themselves for the future by strategically streamlining their own store networks, adapting their space and differentiating their concepts to suit their target customers - in combination with smart digital solutions.

Multi-channel approaches are continuing to grow. On the one hand, stationary retailers will increasingly enter the online market; on the other hand, it can be observed that the opening of their own local stores by previously online-only retailers is on the rise.

Shopping experience
For a successful shopping experience, the city centers must be vibrant as well as attractive and should offer entertainment. All of this requires cooperation between all of the local players involved and collaboration with conceptually oriented urban development. To increase the individual customer loyalty and build real trust, fashion retailers must invest more in emotionality and use IT solutions. Whether in-store or online, customers want a targeted and smooth shopping experience, which for retailers means cleverly linking the systems. Availability and finding clothes in the right size also play a significant role in the stationary fashion retail. 42 percent of customers say that they would shop more often in stores, if these factors were guaranteed.

Already today, a concrete shortage of qualified personnel can be observed in certain regions and areas of responsibility. This is likely to become even more severe in the future. The retail’s own qualification measures will increase, and the industry's image will have to be improved.

Despite all technological support, the human being remains the most important factor in retailing - 88 percent agree on this. For 60 percent of consumers, encounters with people in a retail store are becoming increasingly important.

Sustainability
For almost half of the consumers surveyed (46 percent), sustainability is already a worthwhile concept today. This also includes re-commerce and second-hand. 34 percent of customers already buy used clothing, and another 28 percent can imagine doing so. In terms of occasions, a large proportion can also imagine renting clothing. The second-hand clothing trend has the potential to claim a market share of up to 20 percent in the next ten years and therefore to become a significant market segment in fashion retail.

In addition to the sustainability debate, the main factors driving this trend are the digitalization of the "second-hand store around the corner" and the large online fashion platforms that are discovering this market for themselves and making consumers increasingly aware of the models of temporary use.

Laws and regulations as well as increasing pressure from stakeholders have contributed to the growing importance of sustainability. However, the consumer goods sector attaches greater importance than other sectors to the aspect of being able to achieve a reputational gain through a sustainability strategy.

When it comes to the circular economy or rather the recycling of raw materials from used clothing, many companies are already involved in non-profit initiatives and research projects to develop the relevant technologies. In 2030, also due to legal initiatives, many clothing items will probably be made from recycled textile raw materials or fibers, which would substantially shorten the supply chains. "Automated fiber recovery, increasing unit labor costs in the Far East and fewer used textiles, this is the starting point for a perspective revival of textile production in countries close to Europe as well as in Europe itself," says Stephan Fetsch, Head of Retail EMA at KPMG. Although circular economy does not yet play a major role due to the current limited availability, it shows great potential: 28 percent have already purchased recycled textiles, and over 50 percent are positive about it.

Customers believe that retailers and manufacturers are responsible for sustainability. They, on the other hand, would like consumers to initiate the upswing of re-commerce by changing their behavior. New compliance guidelines will have an accelerating effect on the development of the re-commerce market.

Contact restrictions, mandatory use of face masks, home office: The Coronavirus has turned our daily lives upside down and reduced public life almost to zero. The impact of the pandemic has even further in-creased the existing pressure for action to achieve the Sustainable Development Goals. And that is why, it is not surprising that the issues of sustainability, climate protection and digitization are gaining ground in the industry's and consumers' awareness. New management qualities are required.

Textination talked to Sonja Amport, Director of the STF Swiss Textile & Fashion Institute, about the new training course CAS Sustainability Management in Textiles. After career experiences in the industry and in associations, the business economist with a master's degree in International Management has been contributing her knowledge of textiles, education, business administration, as well as marketing and sales to STF with vigor and passion since 2015.

The history of the STF Swiss Textile & Fashion Institute began in 1881. In this year Pablo Picasso was born and Billy the Kid was shot. The Tales of Hoffmann by Jacques Offenbach was premiered and Thomas Alva Edison built the world's first electric power station. The Breuninger department store opened at Stuttgart's market square and Rudolph Karstadt's first store in Wismar.
What led to the foundation of STF during this period of time and what values do you still feel committed to today?
In 1881, the textile industry in Switzerland was thriving. Companies in the sector of spinning, weaving, finishing and others burgeoned. However, there was a shortage of trained specialists who could have operated or repaired the machines. This is why the companies teamed up and founded the STF Swiss Textile & Fashion Institute - a place for education and training of specialists for the Swiss textile and clothing industry. For this reason, the STF is still organized as a cooperative today. Therefore, we are still committed to the values of competence, customer orientation, innovation, inspiration and passion to this day.

If you had to introduce your educational institution in 100 words to someone who doesn't know the Schweizerische Textilfachschule: How does the school define itself today and on which fields of activity does it focus?
The STF Swiss Textile & Fashion Institute stands for sustainable educational competence covering the entire life cycle of a textile, fashion or lifestyle product. With the "STF-LAB", the STF positions itself as an educational service provider with three business fields. The core field is "Education", where the STF offers numerous training and further education courses, from basic education to bachelor's and master's degrees. In the "Incubator & Makerspace" (STF Studio), the main focus is on shared infrastructure, mutual inspiration and the thereby together achieved progress. In the third business field, "Think Tank & Consulting", the school acts as a think tank, where experts can be "hired" and part-time management is offered.

Keyword life-long education: What further education programs does the STF offer for the textile and clothing industry, even after a successful degree?
Which industry sectors and which countries are you focusing on?
Firstly, we offer a variety of informal modular courses for the textile and clothing industry as well as retail, in which one can achieve a good overview of a specific topic within 45 lessons. Such as: Welding & Bonding, Smart & Functional Textiles, Start-up in Fashion or the Steiger Stitch Module, where you learn to program your own knitting designs and then knit them on a "Shared Machine" at STF. We also offer two-week intensive summer courses each year, for example in Sustainable Fashion Design. In terms of formal education, I can recommend our master’s program in Product Management Fashion & Textile in German or our two CAS in Sustainability Management in Textiles. Once with face-to-face classes in German and once via e-learning in English. At the moment, we are focusing our programs on Germany, Austria and Switzerland (DACH region). Our internationalization strategy was abruptly stopped due to Covid-19. With our English master's programs, we were focusing particularly on the Indian and Chinese markets We are now strategically repositioning ourselves with English language courses and will start marketing again from 2022 onwards. The goal is to provide flexible, modular master's programs with a high e-learning component, so that costs remain moderate and travelling can be reduced.

Sustainability has changed from a buzzword to a matter of course: The latest OTTO Trend Study even says, that sustainable consumption has entered the mainstream society. What does this mean for the textile and clothing industry? Are the companies positioned in terms of personnel in such a way, that they have professionally incorporated this complex of topics into their service portfolio?
Swiss companies have recognized, that they only have a chance against foreign competitors, if they are capable of innovation, consistently operating in a niche and can stand out through sustainable production. Sustainability is therefore an absolutely central USP. With this in mind, many companies are dealing this and, of course, also send their employees to us for further training.

The STF offers - so far being the only one in the German-speaking area - an internationally recognized further education in the field of Sustainability Management in Textiles as a Certificate of Advanced Studies CAS. Which sub-areas from design, production, process optimization to marketing does the certificate cover?
The STF offers the internationally recognized University of Applied Sciences certificate in collaboration with SUPSI, the Scuola Universitaria Professionale della Svizzera Italiana in Ticino.

In the degree program, we look from a holistic perspective and at the entire value chain of a textile, i.e. from design to production and to marketing, global challenges, where sustainability acts as a multilateral solution. In addition, the normative and strategic management of sustainability, topics related to social responsibility as well as initiatives and standards for the textile industry are highlighted. An important element of the CAS are raw materials and products, i.e. not only sustainable fibers but also fabrics or the use of chemical agents. Last but not least, aspects around biodiversity, animal welfare, marketing, labeling as well as possible future scenarios and best practice examples are highlighted.

Who could be interested in the CAS Sustainability Management in Textiles and why? What impact can the certificate have on a career?
The CAS is attractive for managers who are generally concerned about the strategic orientation of a company, as well as for specialist employees in design, product development, purchasing, sales or quality management who are responsible for operationalizing the sustainability strategy. And of course we always welcome young designers with their own fashion labels willing to break new, sustainable grounds and to stand out from the rest. The push in professional life is strongly related to one's own personality. So far, however, all graduates have found attending the further education program to be extremely beneficial for their own career paths.

What about the formal aspects of the CAS? For example, are there selection criteria, by when do you have to register, what does the curriculum look like, and what are the fees for attendants?
We start the educational courses at the end of August each year. Early registration, preferably by mid-May, is recommended to secure a place. In the face-to-face course, 120 lessons take place in Zurich and Ticino, costs of CHF 5,900. -, including teaching materials and examination fees, can be expected. In the e-learning course, with a few days of on-site attendance, the content is taught synchronously by Microsoft Teams, usually by the same lecturers. Here, the fee is CHF 5,600.

These costs do not include personal expenses as well as travel and accommodation costs.

Those who are interested can find the facts & figures on our homepage (available in German only):
(www.stf.ch/kurse/cas or www.stf.ch/kurse/cas-online)

The COVID-19 pandemic has clearly shown us the limitations of mobility. How have you responded to this as an educational institution?
Physical limitations can easily be overcome with e-learning. One of the reasons why our classes continued regularly throughout the pandemic period. For the period after Covid-19, we are planning, in addition to face-to-face study modules, further online-only seminars, such as our CAS-Online. These will be offered increasingly in English as well. We are also currently testing possible forms of hybrid lessons. Meaning, while some are educated on-site in Zurich, people who have to travel a long way, such as those from Germany, Austria and Switzerland (DACH region), can attend the lessons virtually and live from a distance.

The past year has left its mark on the textile and apparel industry. When you look back on a year of "state of emergency" - what positive experiences do you take with you, where do you see a need for improvement?
It was definitely a year of a state of emergency! One positive aspect is, that we at STF were ready and able to teach online from day one of the lockdown. The learners, students and my team all showed the greatest understanding and flexibility. But as an institute in the textile, fashion and lifestyle sector, teaching also thrives on visual materials. Being able to feel and smell the yarns and fabrics, as well as to discuss the experiences in person, are important learning experiences. It is definitely a challenge to implement such key learning elements online. Overall, Covid-19 has catapulted us forward as an institution in regards to the topic of digitization by what feels like two years. However, I would be grateful if we could return to normality as soon as possible and to an everyday life with "less distance".

Breaking new ground means willingness to make decisions, overcoming fears - and thus courage to fail. Not every project can succeed. In retrospect, which decision that you made for the STF profile are you particularly pleased about?
I'm proud to say that most of the projects we tackle are successful. There is almost always a way. Sometimes, as you move forward, you just have to adjust the direction a bit to get where you want to go. A groundbreaking innovation was certainly the modularization of (almost) all degree programs. Students can therefore benefit from a wide range of choices and create their own curriculum.

A second decision I'm grateful for was that, as a small institute, we invested a lot in expanding our digital capabilities and infrastructure at a very early stage, which we are now benefiting from. With very well-trained lecturers and a learning platform, a VM platform and modern 3D software in various subject areas, we consider ourselves a pioneer in e-learning and digitalization across Europe. Capabilities, which also pay off in terms of sustainability.

The interview was conducted by Ines Chucholowius, Managing Director of Textination GmbH

Further information:

• Master in Product Management Fashion & Textile
  www.stf.ch/kurse/master-pm/
• CAS in Sustainability Management in Textiles
  (in German with classroom instruction and in English as an online course of study)
  www.stf.ch/kurse/cas/ or www.stf.ch/kurse/cas-online/

Interview with Claudia Bitzer, Owner Bitzer PR, Albstadt

The past year was not only a big economic challenge for many companies, but also in terms of communication - whether in advertising or in PR topics - new ground had to be broken. Contact restrictions up to a strict lockdown, the cancellation of many trade fairs, congresses or other event formats made it necessary to rethink.

Textination discussed it with Claudia Bitzer, owner of the PR agency of the same name in Albstadt, Baden-Württemberg. Her customers include medium-sized companies from the textile and clothing industry as well as machinery manufacturers, public clients and the media.

With your PR agency based in Albstadt, you have also been busy in the textile industry for a good 5 years. If you had to introduce yourself in 100 words to someone who doesn't know you: Why did you decide to become your own boss after working for an agency, and what distinguishes your work?
Actually, self-employment gave me a call: An acquaintance suggested that I take over the communication for his employer, a textile machine manufacturer in the Alb, as a freelancer. When I was on the phone, I had our ten-day-old son in my arms. I was also a PR consultant at Ketchum in Stuttgart. Because I was curious, I got to grips with the matter over the next few months. With success: The textile machines have turned out to be surprisingly tangible products, after all, they make the clothes that we wear on our bodies every day. From this my access to the textile industry developed, which I would call my home base today.

Because I serve various companies along the textile chain, I have an overall view of the industry and can offer overarching stories with different perspectives. I also have a weakness for complex, "dusty" topics, regardless of the industry. I can delve in them with devotion in order to present them vividly. That's why I would call myself a content specialist.

In addition to German, English, Spanish and French, you speak Swabian fluently. Why is it important to have regional roots when you work for export-oriented companies in the textile industry in Baden-Württemberg?
You got that about fluent Swabian from my website, right? (Laughs) But yes, it is very helpful if you can feel whether "gschwind" – Swabian for “pretty fast” - tolerates a delay or has to be dealt with immediately.

I think the Swabian is really important in terms of the mentality behind it. I grew up in the Alb, my father ran a medium-sized company of his own. I understand many things without a customer having to explain them to me.

For example, modesty in relation to one's own person. Especially in long-established family businesses, the owners play an important role. They bear a great responsibility, both in the company and at their location. Nevertheless, the focus is always on the entrepreneurial performance, the product that, manufactured somewhere in the Swabian province, can keep up with the German, European or global competition. That doesn't happen by itself, but requires courage, entrepreneurial spirit and a great deal of openness to new things, and that fascinates me. I also often notice that by the passion, that these leading family businesses bring with them, I am carried away.

Breaking new ground means being willing to make decisions, overcoming fears - and thus also having the courage to fail. Not every project can succeed. In retrospect, which entrepreneurial decision are you particularly glad to have made?
Apart from being self-employed? The first corona lockdown with home schooling and closed daycare centers was a big challenge. On the one hand, I was relieved that it became quieter on the customer side between the end of March and the beginning of June, otherwise it would not have been feasible either professionally or in terms of family. On the other hand, this silence scared me and I often asked myself whether self-employment was the right way to go.

In early summer, when the situation on all sides had stabilized somewhat, I tackled the problem head on: I looked for co-working spaces and took extensive further training in online marketing. Being honest, of course, these were business decisions. Fortunately, they are already paying off, even if I may sit alone in the office for now.

Is there any work you are particularly proud of? Which story moved you beyond normal and which thematic challenges do you love?
One project that I fondly remember is the communication referring to a repdigit anniversary one of my clients was celebrating. For this, I first put 111 years of the company’s history down on paper in weeks, no, months of archive work. Because I had delved so deeply into the subject, I came up with many ideas for the messages of the anniversary celebration. Fortunately, the client was quickly convinced. At some point we had a signet, a slogan and a really good story for the anniversary. Incidentally, we still benefit from the numerous proof points we worked out for the occasion in our product and corporate communications today.

In addition, the project has naturally deepened the relationship with this client. I also work closely with the advertising agency that accompanied the anniversary communication. I consider such long-term partnerships as a great asset.

Have the messages you want or need to communicate for your clients changed in Corona times? And what was the focus of your work in 2020?
Unsurprisingly, the focus of work in 2020 was on online communication. For almost all of my customers we will start planning and implementing new measures in this area in the coming year.

As for the messages, little has altered. This is certainly due to the fact that the meta-topics have remained the same. Take sustainability, definitely a long-running favorite in the textile industry, and the sub-topic regionality. In contrast to previous crises, the Corona pandemic has not sidelined these approaches, but intensified them because it has shown us how dependent we are on production abroad. The same applies to the issues of transparency and quality.

Precisely because the themes have stayed the same, the crucial part for me is to find a unique story within these permanent themes so as not to disappear into the big river. That requires empathy, creativity - and a good portion of diligence.

Moving away from the simple advertising message to storytelling - what recommendation would you give medium-sized companies in general regarding their communication for the coming year? Are there any special features that the textile industry in particular should consider?
I think that will go in the direction of "We are still there, and even stronger than before". After all, the crisis demanded a lot from everyone. But it is always a productive phase, because when it comes to a head, it forces us to develop further that otherwise would not have been initiated or at least would have been initiated later. Therefore, it can represent a turning point, definitely for the better.

Take digitization, which is the most obvious approach: the crisis has given rise to a boost in this area; the online shop was or is to be expanded, the service is to become more digital.

Apart from that, there are certain individual changes in every company that the crisis has brought about. You can have the courage to name and tell them, because these are stories that interest everyone.

Goodbye Facebook - good morning TikTok. Which social media platforms do you recommend to your clients and under what conditions should medium-sized companies get involved?
TikTok has so far been more of a topic that I discuss with my daughter, who is almost 12 years old. But seriously: I recently read in a study published by Hootsuite that at the beginning of 2020, less than ten percent of Germans were using TikTok. On Facebook, the user share is still over 60 percent. For that reason alone, we shouldn't simply dismiss Facebook.

When I discuss the topic of social media with my clients, it is important for me not to think from the channels. Sure, it's tempting, but other questions should be asked at the beginning: What is the long-term goal of the social media activities? What resources are available - and what budgets? By now it is well known that social media is an extensive field of activity in its own right, which ties up corresponding resources. In medium-sized businesses, where I rarely have access to a multi-headed marketing team, a solid strategy is the be-all and end-all. It must be very, very clear which target groups are to be addressed. Then I can talk about channels and choose the most important ones. This almost certainly includes LinkedIn and Xing, as well as Instagram and Facebook, the latter especially in an international environment. By the way, the evaluation is just as important, it tends to fall behind. The relationship between measured values and corporate goals is anything but trivial.

Trade fairs, events, press conferences and meetings - these have almost completely fallen by the wayside in 2020. How important do you consider face-to-face communication to be in the long term, and which channels and measures do you recommend to your customers to compensate for these losses?
Face-to-face contact remains important! Of course, we all realised last year that not every event has to be a face-to-face event. A video conference saves time and money and, with the right discipline, can be just as effective as a face-to-face meeting. Many service cases can also be solved by video telephony, no one has to travel around. I am therefore convinced that we will not return to the meeting in person culture we had before Corona, even if this will be possible again at some point.

That's why I advise my clients to take advantage of the digital opportunities that are opening up everywhere. At the moment, everyone is still a beginner, you can only learn. Take virtual trade fairs: This is a fundamentally different approach than the classic presence fair. There is no need for a large trade fair team that is ready from 6 a.m. to 8 p.m. There are no press appointments either. It is much more important to contact the visitors directly, i.e., to collect leads, to group the visitors and to stay in touch with them after the event by providing them with tailor-made content. Speaking of content: at the latest with such online events, it becomes clear how diverse content must be prepared. To pick up customers in the virtual space, you need graphics, videos, animations and much more.

Nevertheless, it will not work without direct, physical contact. I remain convinced that people buy from people. Video conferences work particularly well when the participants already know each other from real life. And the textile industry in particular thrives on haptics. I can never feel a yarn or a fabric digitally. Nor can I feel the production speed of a machine. With every revolution there is a slight breeze. You can't get that digitally.

The interview was conducted by Ines Chucholowius, CEO Textination GmbH

• Eports grow slowly
• Industry needs new concepts

Dhaka (GTAI) - The garment industry is the main industry in Bangladesh. The state of the companies has improved since 2013 - when a building with several factories collapsed. Domestic and foreign companies have invested in new processes. Government and associations want to further increase the security. Exports are growing slower. The international competition forces the companies to produce not only more sustainable, but also more efficient and innovative.

On April 24th 2013, north of the Bangladeshi capital Dhaka, the Rana Plaza building collapsed, housing five clothing factories. The disaster claimed 1,138 lives and more injuries. The disaster in-cised deep into the country's largest industrial sector. The massive problems with building and safety as well as violations of workers' rights became internationally visible at once and then vigor-ously tackled.

Foreign companies have invested heavily in the textile and clothing industry in recent years, with a record high in the year after the disaster. According to the Central Bank, foreign direct investment (FDI) in the textile and clothing industry in June 2017 reached a respectable USD 2.6 billion. Com-panies from South Korea have been the largest contributors with USD 766 million, followed by Hong Kong investors with USD 448 million and the United Kingdom with USD 243 million

      *) Financial year from July 1st to June 30th

Several successful programs for more security
Government and international organizations responded with many measures and initiatives at Rana Plaza. The International Labor Organization (ILO) launched programs to improve work-ing conditions. Buyers and industry representatives were looking for solutions.

International traders, trade unions and non-governmental organi-zations finally signed a binding agreement for more fire and building safety in 2013 (Accord on Fire and Building Safety). Employees of Accord have since reviewed more than 1,600 tex-tile and garment factories. Approximately 86 percent of the iden-tified deficiencies were eliminated according to an interim report dated January 2018. Accord will expire in November 2018 after five years. Some participants of the alliance have agreed an ex-tension of the program of three years.

In particular North American importers launched the Alliance (Al-liance for Bangladesh Worker Safety) program in 2013. The Al-liance has since reviewed 666 factories that, as of February 2018, have remedied approximately 87 percent of the deficien-cies. The program will expire also after five years in May 2018.
Representatives of industry and government, trade unions, ILO, the Bangladesh Garment Manufacturers and Exporters Association (BGMEA) and international buyers want to co-ordinate the control and rehabilitation measures together. The BGMEA and the government rely on the NI National Initiative, which they developed together with ILO. The Department of Inspection of Factories and Establishments is responsible for NI controls. Under the NI program 1,500 factories have been inspected which are working for do-mestic customers. The program is to be extended to exporting companies and will replace Accord and Alliance.

Workers demand more rights and higher wages
The government made it easier to found and to engage in trade unions after the Rana Plaza disas-ter. According to observers, the approximately 4 million workers in the textile and clothing industry continue to have little formal organization and went repeatedly on strike for higher wages.

A government commission recently increased the monthly minimum wage in the garment industry from Taka 3,000 to 5,300 in 2013. This amount corresponds currently with EUR 52 only. (1 EU-RO = Taka 102.13, exchange rate of March 5th 2018). Trade unions demanded tripling of the minimum wage at the beginning of 2018, because unskilled workers are given this low pay when they are first employed, which is barely enough to survive. The reward grows only later with the skills and experience.

Employees often change their jobs. According to observers, the fluctuation should average be-tween 5 and 7 percent per month. Fair wages and good working conditions would give a good in-fluence on this issue in the companies concerned.

Bangladesh is the second largest exporter of clothing after China
The globally active clothing retailers are buying in Bangladesh on a large scale. Some have offices with hundreds of employees. Major clients include Inditex (Spain), H & M (Sweden), C & A and Tchibo (Germany).

Clothing exports, however, stagnated in the financial year 2016/17. One reason for the weak growth was the strengthened exchange rate. Taka's national currency increased against the US dollar, making exports more expensive and less competitive.

The government is targeting an export growth of 8.1 percent to USD 30.2 billion in 2017/18. The industry is on track indeed, reaching 7.8 percent in the second half of 2017 compared to the same period of the year before. The most important customers are the USA and Germany.

*) Financial year from July 1st to June 30th
Sources: Export Promotion Bureau, Bangladesh Garment Manufacturers and Exporters Association

Exports from this emerging country enjoy exemption from duty in many developed countries. The European Union grants duty-free and quota-free access. Australia and Japan grant preferential access to the Generalized Scheme of Preferences (GSP). , The USA however has suspended the GSP status in 2013 and imposed tariffs and duties on imports from Bangladesh.

Companies want to grow and become more efficient
The Association of Garment Export Companies BGMEA estimates that over 3,000 garment factories work exclusively for international clients. Another 800 to 1,000 companies sew for local retailers who sell clothing to the country's 160 million inhabitants.

There are no data on company sizes or on the companies with the highest turnover. Clothing companies are mostly registered as private companies and do not publish business figures. The larger ones belong to local conglomerates operating in different economic sectors.

The companies are investing in more modern production facilities to process larger orders faster and at lower unit costs. Imports of machinery and equipment for the textile and clothing industry totaled USD 1.4 billion in 2015. The BGMEA believes that the garment industry has increased its purchases of equipment since.

The added value along the local textile chain is expandable. Simple fabrics and materials are produced locally. The production capacities for fabrics however are not sufficient and need to be increased. The clothing industry is also switching to higher quality synthetic fiber products. Producers hope for higher margins, if, for example, they produce clothing made of elastic fibers or functional clothing made from mixed fibers.

Many pre-products are imported from China and South Korea. Imports however are difficult due to the limited handling capacities of seaports and airports. Logistics costs are high. The clothing sector still has some challenges to overcome.

• Companies want stay away from cheap contract manufacturing

Istanbul (GTAI) - The highly export-oriented Turkish textile and clothing industry wants to increase its competitiveness on world markets by investing in design. The hitherto widespread contract manufacturing for foreign brand manufacturers is losing importance in favor of own collections. With a law from 2016, the Turkish state explicitly promotes investment in design.

The Turkish textile and clothing industry is going through a structural change: While the garment industry was once particularly interesting because of the comparatively low labor costs for contract manufacturing orders from Western companies, Turkish manufacturers are increasingly working as designers for international clients. In addition to well-known Turkish fashion manufacturers such as Ipekyol, Vakko and Zorluteks, more and more Turkish textile companies are also manufacturing and marketing their own brands. In parallel, they are expanding their online sales network. For example, Ipekyol intends to close half of its stores in the next 20 years.

In order to meet the changing demand of foreign cooperation partners, Turkish clothing companies are increasingly investing in research and development projects, as the Turkish business magazine Ekonomist reports.

For example, Hassan Tekstil (http://www.hassan.com.tr) based in Istanbul, founded in 2017, has a 45-member R & D department. The company, whose revenues of USD 232 mio in 2016 were generated 35 percent from exports, plans to spend1.5 percent of its revenue on R & D activities.    

Another company that is increasingly investing in R & D and design is TYH Tekstil (http://www.tyh.com.tr) in Istanbul. This purely export-oriented company with a turnover of around USD 100 mio (2016) employs 15 fashion experts. About 1.5 to 2 percent of sales, which will reach around USD 130 mio in 2017, will be used for design projects and the development of collections, according to the Economist's report. In addition to contract manufacturing for well-known international brands such as Gant and COS, TYH Tekstil also developed its own brand Roqa for women's outerwear. Meanwhile, 20 to 25 percent of exports are from the supply of private label products.

Innovative workwear for security forces

According to Economist, another manufacturer with increasing R & D activities is Narkonteks (http://www.narkonteks.com) in Izmir. This company, which does not produces for international companies only, produces also goods under its own brand "Blackspade". Narkonteks also supplies customers in the Netherlands with technical textiles for security personnel. The manufacturer employs 30 engineers for its R & D activities. Of the targeted sales of TL 100 mio in 2017, 1.5 percent will be spent on R & D activities.

In 2016 Narkonteks generated around TL 80 mio. (1 Euro = 4.50 TL). The company Farb Textile (http://www.farbetextile.com) in Izmir, which sews for European fashion companies such as Bestseller, Inditex and Mango, emphasizes increased design activities also, according to Economist. About 60 percent of the production are own brands. The turnover of TL 100 mio (2016), should be increased to TL 130 mio.
 
One of the larger R & D investors is the clothing manufacturer Taypa Tekstil in Istanbul (http://www.taypa.com.tr) with a turnover of EUR 100 million, which exports about 80 percent of its production. The parent company TAy Group, which supplies large fashion houses such as Levis, Inditex and Tommy Hilfiger, uses 5 percent of its revenue for research and innovation projects and employs 25 designers, writes the magazine Ekonomist. The share of own brands in sales of currently 21 percent is to be increased to 50 percent in the foreseeable future.

Taypa invests in major project in Algeria

In addition to the existing production in Egypt Taypa Tekstil manufactures in Serbia and Algeria. In a clothing factory in Kraljevo, Serbia, EUR 35 mio should be invested over the next five years. A large-scale project called "TayalSPA" is being planned in Algeria for the construction of an integrated textile and clothing factory in the Sidi Khetab industrial zone in the province of Relizane. According to Taypa CEO Burak Karaarslan, quoted in the business paper "Dünya", this project, with an support of 50 percent by the Algerian government will receive investments totaling USD 2 billion in three phases until 2023.

USD 800 mio will be invested in the recently started initial construction phase. The company will start with yarn production first. Thereafter, from the end of 2018, the production of denim and other fabrics will commence. After completion of the first phase, the annual production will reach 30 million meters of denim and non-denim fabrics, 14 million meters of fabrics for shirts, 3,200 tons of knitwear and 30 million pieces of ready-made garments.    

Government encourages investment in research and development

The Turkish state has been promoting investments in design since 2016: By Law No. 6676 of February16th 2016 (Government Gazette "Resmi Gazete" No. 29636 of 26.02.16) amending Law No. 5746 of 28.02.08 on the promotion R & D activities, in contrast to the previous practice, investment in design projects were concluded in the government support. Thus, companies that employ at least 15 people (previously 30) in the R & D sector can benefit from tax and customs privileges. Imported products for research projects are exempt from import duties.

Comprehensive support measures in the form of project-based grants for the marketing of Turkish brands abroad also include Regulation No. 2016/1 of the Turkish Monetary Credit and Coordination Council, which was announced in the Official Gazette No. 29898 of November 24th 2016. The implementation of subsidies is the responsibility of the Ministry of Economy.

According to figures from the Ministry of Science, Industry and Technology, there are a total of 38 R & D and 29 design centers nationwide in the textile and clothing industry.

Germany is most important target market

Turkey is a major exporter of textiles and clothing. According to official statistics, the country exported USD 24.3 billion worth of textiles and clothing in 2016 (including USD 16.7 billion in ready-to-wear articles). The export association IHKIB is targeting USD 60 billion in ready-to-wear exports in 2023. In apparel, Germany is the most important customer with a share of 18.8 percent. For textiles and textile raw materials, the country is the fourth largest market for Turkish exporters with 5 percent.     

Source: Export Association IHKIB; Turkish Ministry of Economy

Source: IHKIB; Ministry of Economy

Source: IHKIB; Ministry of Economy

Source: IHKIB; Ministry of Economy  

• In 2017 stagnation expected
• British buy by mouse click

PLANNED ABOLITION OF EU IMPORT QUOTAS ALLOWS MORE FOREIGN COMMITMENTS

Minsk (GTAI) - The textile and clothing industry of the Republic of Belarus faces great challenges. It has to become more efficient, should produce more market-orientated and make greater use of its export potential. The sector has great hopes on the by the European Union planned abolition of quotas for Belarusian textiles and clothing products. There are then more than ever good opportunities for the subcontracting finishing process.

The textile and clothing industry has traditionally been one of the most important sectors of the manufacturing industry in the Republic of Belarus. As a result of the sharp decline of the local purchasing power and of the main export market Russia, the sector has suffered a severe setback in the years 2013 to 2015. Since the second half of 2016 it is on an upswing again. According to preliminary data, the output has risen in 2016 by 4.6% to EUR 1.41 billion compared to 2015. Produced were 146.8 million sqm. of fabrics, 40.4 million pieces of knitwear, 147.0 million pairs of stockings and 19.9 million sqm. of carpet products.

Nevertheless the textile and clothing industry continues to suffer from a weak capacity utilization, an inadequate management and marketing as well as from a considerable backlog in the technological renewal of the equipment park. The implementation of an industry support program for the period from 2016 to 2020 should provide for a remedy. The program comes from the Belarussian State Group for production and sale of goods of the light industry Bellegprom. (http://www.bellegprom.by).

Sector program shows planned projects until 2020

Under the umbrella of the State Group 17 textile, 12 knitting and 21 garment companies are active. With an output of just under USD 0.9 billion, these manufacturers were involved with nearly three-fifths of the total output of the Belarusian textile and clothing industry in 2015. The companies have exported goods for nearly USD 500 million in 2015. The main customer was Russia (USD 357 million). The investments of the Bellegprom companies are expected to reach a volume of at least EUR 250 million in the years 2017 to 2020.

The envisaged projects for this period include:

• the continuation of the comprehensive modernization of the Orschaer linen combine Orscha (production of linen yarn, -fabrics and finished products, processing of imported raw materials);
• technological renewal in the company OAO Mogotex, Mahiljou / Mogilew (spinning and textile finishing);
• the development and production of new competitive wool and wool blended fabrics in the company OAO Kamwol, Minsk;
• the expansion of the production of hosiery, including an enlargement of the assortment of medical hosiery in the company SOOO Conte Spa, Grodno;
• the commencement of production of seamless underwear in the company OAO Kupalinka, Salihorsk and
• Investment in the production of fine thread Ajour-fabrics in OAO Switanak, Shodsina.

1)  Without regard to micro- and other small enterprises; at the end of 2015 225 textile and clothing companies were active in Belarus, the average number of employees in these companies was 58,800 persons per year;
2)  in terms of the national currency of Belarussian Ruble
Source: National Committee for Statistics, calculations by Trade & Invest in Germany.

In order to create complete value chains, it is envisaged to set up joint ventures between manufacturers of fabrics as well as producers of finished products. The Bellegprom Group is keen to focus the expansion potential on the production of linen fabrics and high-quality finished linen products.

Belarus is one of the world's five largest linen producers. For 2017 a volume of 55,000 tons is expected. In the year 2016 29 companies have processed flax straw into fibers. Of the in these factories installed 54 processing lines only ten are considered to be highly productive. According to the administration of the Mahiljou region, a Chinese investor wants to set up a factory in the region for the processing of flax for semi-finished and ready made goods in the near future.

Abolition of EU quotas planed

The EU plans to abolish the since 2010 existing autonomous quotas as well as the contingents for passive finishing processing for Belarus. The restrictions currently apply to a variety of textile products, including cotton and linen yarn as well as garments made out of cotton and woolen fabrics. Market observers agree: the abolition of the quotas with the related bureaucratic procedures would provide a solid basis for stimulating foreign investments in the Belarusian textile and clothing industry.

Belarus has many advantages: geographical proximity to the EU market, a well-developed infrastructure, long-standing industrial traditions, available production capacities, skilled labor and, last but not least, favorable labor costs. In a first phase of cooperation with Belarusian partners, the interest of foreign companies is likely to focus more on subcontracting. There are already successful projects that use the favorable framework conditions for this business model.   

The German Langheinrich Vertriebs GmbH, for example, produces high-quality table cloth and bed linen for the contract area in the small West-Belarussian town of Diwin (Kobryn district, Brest region). According to the director general of Langheinrich Konfektion GmbH, Walentina Paschkewitsch, the company, founded there in 2005, employs now between 90 and 120 employees depending on the order situation. Sales in 2016 amounted to around EUR 1 million. The in the company paid wages and the additional granted social packages are the guarantor of a very low fluctuation of the workforce. Among the companies from neighboring Lithuania, which are producing textiles and clothing in Belarus, the leading Baltic manufacturer of sportswear Audimas stands out.

• Import from Germany growing / Domestic Chains expanding

Warsaw (GTAI) - The outlook for sales of clothing and footwear in Poland is favorable. Domestic chains such as LPP, Bytom, Vistula and Monnari are opening additional stores. In 2016 the shoe chain CCC is investing around EUR 33 mio in new sales areas, including in Germany. The western neighboring country is by far the biggest buyer of clothing from Poland. Increasingly popular too is fashion from Germany, which occupies the third place among supplying countries.

In Poland the demand for clothing and footwear is steadily growing. The market research firm PMR (http://www.pmrpublications.com) expects in 2016 sales worth of Zloty 35.3 billion (approximately EUR 8.2 billion, 1 Euro = 4.3283 Zl, as of April 22nd  2016). The price war however is very tough due to the higher US dollar exchange rate, the dealers can hardly pass their higher costs on to the customers. This concerns mainly imported commodity goods from the Far East, while the outlook for the upscale segment outfitters is better.

1) Estimation, 2) Forecast
Source: market research company PMR

The company for classic clothing Bytom (http://www.bytom.com.pl, from the same city (Bytom – Beuthen)) that serves the upper segment, wants to create an offer for the masses. It lowered its prices in March 2016. In order to reach more customers, it plans to increase its sales area of from 10,300 square meters in spring 2016 to 15,000 square meters by the end of 2018. The number of its stores should simultaneously rise from 97 to 120.

Bythom will avoid quality losses through savings in the purchasing of clothing. According to Michal Wojcik, chairman of the company, negotiations with representatives of procurement markets are on the way. In 2019 the retail sales of Bytom should reach around 250 million PLN, double as much as in 2015 (123 million PLN). The company will serve the middle segment between large markets with  
mass-production goods and expensive boutiques with domestic and foreign luxury brands.

The two great rivals Bytom and Vistula (http://vistula.pl) from Krakow (Krakau) are receiving increasing competition by smaller companies. Vistula was able to win in 2016 the soccer star Robert Lewandowski for promotional activities, he will appear in suits of the company.

The stockbroker office of the Bank BZ WBK believes in good opportunities of the smaller chain Monnari  (http://www.emonnari.pl), which could double its sales area until 2019. With the proliferation of the growing clothing and footwear chains a consolidation of the retail structure goes along, and the total numbers of stores will overall decrease.

The chains Vistula, Bytom and Monnari are expanding domestically only, where they expand their retail spaces annually by 10 to 25%. Since only one third of the by Vistula and Bytom sold collections are being settled on a USD basis, they are not hurt as much by the strong upvaluation of the US currency as LPP, the manufacturer of mass-products. This company buys almost its entire collection in the  
Far East in US currency. In the case of the footwear chain CCC, the proportion is 40 to 50%.

Source: Bisnode

CCC strives towards west

The retail chain CCC (http://ccc.eu), which is also represented abroad including in Germany and Austria, has acquired for more than ZL 200 million the online shop for shoes eobuwie.pl (http://www.eobuwie.pl). By 2016 a further strong expansion is planned, for which it wants to raise about PLN 140 million. The sales area should become 27% net bigger with at least 100,000 square meters. This was announced by the deputy chairman of CCC, Mr. Piotr Nowjalis.

The majority of the new area (77,000 square meters) is planned abroad, where 110 stores should be opened. In the focus here are Germany, Austria and Romania. Domestically CCC is planning a new sales area of 23000 square meters for 40 stores. These plans represent an acceleration compared to 2015, when the total sales area had increased by 66,000 square meters net (+ 22%). At the end of 2015 there were at home and abroad 773 CCC stores with a total of 372,000 square meters. 

*) Forecast of the press agency Bloomberg, February 2016
Source: Newspaper Rzeczpospolita

According to a forecast of Bloomberg, the most important apparel and footwear companies will improve their results in 2016. Leader LPP supplies with its brands Reserved, Mohito, Cropp, House and Sinsay a wide audience. To the upscale segment belongs the new brand Tallinder, which is being offered since February 2016 in a first store in Gdansk (Danzig). Beginning in 2019 there should be 30 sales stores for the brand Tallinder, which then will compete with Vistula, Bytom and Prochnik.   

Source: Newspaper Rzeczpospolita

In 2016 LPP wants to increase its retail space at home and abroad by 11 to 13%, that is about 90,000 square meters. End of the year thus 1,716 shops could belong to the company. To date, 23% of the sales area of LPP is in the Russian Federation and Ukraine. The profits there were again impacted by the devaluation of the local currencies against the Zloty.

Foreign trade increases

The Polish imports of clothing exceed the exports. Especially Asian countries could increase their deliveries in 2014, but also Germany belongs to the leading suppliers and attained growth. Among the importing countries Germany plays by far the most important role. The followers are the Netherlands, Czech Republic, Austria, Sweden and other, mostly European countries.

Source: Central Statistical Office GUS

Although Poland supplies clothing to Germany at a large extent, it is not easy for the companies to settle in the western neighboring country with own shops and their own brands. LPP opened its first store in Germany in September 2014, in spring of 2016 there were already twelve. In three years there should be 30 stores. In 2015 the German LPP stores generated approximately 94 million PLN, but probably without profit because of investment costs and advertising.

Source: Central Statistical Office GUS

In 2015 Polish exports of apparel, accessories and other textile products and footwear continued to rise.

Source: Central Statistical Office GUS