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Texcare Messe Frankfurt (c) Messe Frankfurt
06.09.2024

Circular economy long established in the textile care industry

The professional rental service for linen and workwear is a textbook example of a circular, sustainable business model, which uses hard-wearing textiles instead of lower-quality or disposable products (reduce), optimises their useful life through professional care / repairs (reuse) and develops solutions to re-purpose them after they have reached the end of their useful life (recycle).

The professional rental service for linen and workwear is a textbook example of a circular, sustainable business model, which uses hard-wearing textiles instead of lower-quality or disposable products (reduce), optimises their useful life through professional care / repairs (reuse) and develops solutions to re-purpose them after they have reached the end of their useful life (recycle).

With its ‘Green Deal’, the European Commission has, inter alia, initiated the transformation of the garment-manufacturing industry from a business model of short-lived consumption to a more sustainable, circular system. By 2030, fast fashion will be replaced increasingly by textile products that have a longer life cycle and thus contribute to reducing environmental pollution. To achieve this goal, textiles must be more durable, reusable, repairable, fibre-to-fibre recyclable and have a greater proportion of recycled fibres. For the textile-service sector, the circularity requirements defined in Brussels have long been standard practice because hiring out professional workwear and protective clothing, as well as hotel and hospital linen, mop covers and other items, requires precisely these characteristics, i.e., the fabrics must be durable, washable – and therefore reusable – and easy to repair. Thanks to these qualities, rental linen can remain in the service cycle for a long time and has thus become established as a sustainable alternative to outright purchasing.

Laundry in the circular system
The textile-rental service offers a variety of systems tailored to the needs of different groups of customers. Workwear and protective clothing is stocked by textile-service laundries in a wide range of sizes, so that each customer's employees can be supplied with a suitable outfit. This is then labelled and made available to the individual wearer. If the employee leaves the customer's employ, the garments are taken back and – provided they are in good condition – reused as replacement clothing. In the case of workwear in the healthcare sector, as well as bed linen, table linen and towelling, a pool solution is more common. A laundry pool comprises similar textiles that are supplied without being assigned to a specific customer or wearer, which significantly reduces the quantity of textiles used.

Local textile cleaning is another major area of commercial textile care that also helps extend the life of textiles with a wide range of goods being professionally processed on behalf of private and commercial customers by such businesses. High-quality outerwear and underwear, premium home textiles, delicate down jackets or heavily soiled workwear are all restored to a clean, fresh and usable condition. And if stains prove particularly stubborn even after cleaning, a specialist company can re-colour the goods, thus ensuring they can be reused.

The recycling benefits of textile rental services
Besides the two main requirements of ‘reuse’ and ‘repair’, the sector is also working hard on the recycling of old textiles, as called for by the EU textile strategy. Several workwear manufacturers have developed their own returns models, whereby customers can hand back their old workwear when buying new items. The old workwear is then reused or recycled by partner organisations. Large companies, including Deutsche Telekom and Ikea, have also introduced a centralised returns and recycling system for discarded workwear. Indeed, the furniture giant has even created its own home textiles line using old workwear. However, the easiest way to implement a system of this kind is to use a rental service, as the goods are always returned to the specialist company and sorted there. In other words, the used laundry is collected in one place after washing, where it forms a large volume of similar discarded textiles, which greatly simplifies both the collection logistics and the recycling process. These favourable conditions have already led to the establishment of an initial initiative in which several textile service companies pool their waste hotel linen and channel it into industrial cotton-to-pulp recycling. Whether individual or joint initiatives, this is a testament to the industry's commitment to the development of solutions for ‘waste materials’.

Textile upcycling for designer items
Solutions for rejected textiles are more varied than simply recycling them. For example, Sweden's Fristads company offers a repair service for its workwear. The British department store chain John Lewis goes one step further. In a field trial, customers can hand in their garments to selected stores for cleaning and repair. The garments are processed by Johnsons, a laundry and dry-cleaning chain belonging to the Timpson Group. Designers have also recognised second-life opportunities for discarded workwear and contract textiles. For example, they apply elaborate decorations to items from their collections or take them apart and reassemble them. The creatively enhanced goods are then returned to the market as designer items. There are also recycling solutions for large contract textiles, which are converted into bags or cosmetic accessories or, after a colour-changing process, into small batches of aprons. However, the effect of such concepts on reducing textile waste is as small as their diversity. Only the established second-hand model is able to return larger quantities to the economic cycle.

The pros and cons of recycled materials
While the textile-care industry is unanimous in its support for the requirements of the EU textile strategy and is contributing solutions, it disagrees on increasing the proportion of recycled fibres in its products. Although there are already numerous workwear collections and hotel-linen ranges that meet the requirements from Brussels, some of the products do not, however, meet the durability requirements because the fibre quality deteriorates with each recycling stage. Therefore, many contract-textile manufacturers still rely exclusively on virgin, brand-new fibre materials to ensure durability in industrial laundering. Texcare International offers the industry the perfect setting to discuss this conflict of objectives in depth.

Source:

Messe Frankfurt

Atacama desert Photo by Fernando Rodrigues on Unsplash
23.07.2024

Reducing environmental & health impacts of global trade of 2nd hand clothes

The rise of fast-fashion, marked by rapid turnover of collections, has led to a sevenfold increase in the global trade of used clothing in the last 4 decades. With more than 80% of all purchased clothing items globally (62% in the EU) being disposed of as general garbage, which is incinerated or landfilled, this represents a massive waste of resources, causing severe environmental and health impacts. A report recently published by UNECE and the United Nations Economic Commission for Latin America and the Caribbean (ECLAC) contains an in-depth analysis of second-hand clothing trade between Europe and Chile, offers policy recommendations to the industry, exporting and importing countries to remedy this situation.

The rise of fast-fashion, marked by rapid turnover of collections, has led to a sevenfold increase in the global trade of used clothing in the last 4 decades. With more than 80% of all purchased clothing items globally (62% in the EU) being disposed of as general garbage, which is incinerated or landfilled, this represents a massive waste of resources, causing severe environmental and health impacts. A report recently published by UNECE and the United Nations Economic Commission for Latin America and the Caribbean (ECLAC) contains an in-depth analysis of second-hand clothing trade between Europe and Chile, offers policy recommendations to the industry, exporting and importing countries to remedy this situation.

According to UN Comtrade data, in 2021 the European Union (30%), China (16%), and the United States (15%) were the leading exporters of discarded clothes, while Asia (28%, predominantly Pakistan), Africa (19%, especially Ghana and Kenya), and Latin America (16%, mainly Chile and Guatemala) were the leading importers.  

This has been facilitated by the advent of low-cost synthetic fibres and by trade liberalization that allowed the offshoring of production to countries with low-wage labour. Large proportions of clothing are made from difficult-to-separate blended fibres, making opportunities for economic reuse and recycling rare, particularly in developed countries.

“When did we normalize throwing clothes away?”, questions Lily Cole, Climate Activist and Advisor to UNECE. “As the world, mostly the Global North, has produced and consumed fashion at an unrelenting rate, a handful of countries, mainly in the Global South, have become cemeteries for the world’s unloved clothes. While visiting the Atacama Desert, my attention was brought to the textile mountains and the shifting cultural, economic, and political landscapes that birthed them. Consumer awareness is very helpful, yet, ultimately, we need policies to curb systemic trends, which is why this report and its recommendations are so necessary.”

Europe: sorting and recycling capacities lag behind  
In Europe only 15-20% of disposed textiles are collected, usually through containers, door-to-door collection and donations. About half of the collected textiles are downcycled to be used as, for example, insulation, filling, and single-use industrial wipes. Only 1% is recycled into higher value outputs such as new clothing, while the remainder is exported to developing countries.  

Of the 55% of collected clothes that are reusable, only 5 percentage points have a value on second-hand markets in the EU, while 50 percentage points have a value on export markets.  

The European Union has thus tripled its exports of used clothes over the past 2 decades, from 550,000 to 1.7 million tons. Europe, including the United Kingdom, accounts now for more than a third of global used clothing exports, and this share could continue to grow as collection rates are expected to rise.  

A design-led circular economy approach to clothing is still in its infancy. The EU Circular Economy Action Plan (CEAP) was adopted in 2020, the EU Strategy for Sustainable and Circular Textiles was adopted in 2022, and the EU Ecodesign for Sustainable Products Regulation was adopted in 2023. However, these policies are still to bear fruit in the form of large-scale upstream solutions to the problems of textile waste. 

“The used clothes global market is constantly growing, and with it, its negative impacts. The textile industry has a key responsibility to adopt more sustainable practices, exporters and importers to adopt relevant policy decisions to foster traceability, circularity and sustainability. UN/CEFACT policy recommendations and standards will support this transition. And of course, we all have a role to play, as consumers, to make sustainable choices,” stressed UNECE Executive Secretary Tatiana Molcean.

The case of Chile: mountains of used clothes visible from the moon  
Most countries in Latin America (including Argentina, Brazil, Colombia, Mexico, and Peru) have introduced clothing import bans to protect their national textile and fashion industries and avoid the threats posed by clothing dumps.

By contrast, Chile levies zero tariffs, and applies no quantity restrictions in imports, only requiring shipments to be sanitised (by fumigation). It has thus become one of the top 10 importers in the world, and the first in Latin America, receiving 126,000 tons of textiles in 2021. 40% of these entered the country through the northern port of Iquique, where they are manually sorted, primarily by women, and separated into first, second, and third quality.

75% of all imported used clothes were deemed non-reusable, 30,000 tons of which are covering today 30 hectares of the Atacama desert, generating pollution and creating hazard to local communities’ health. At the same time, trade in second-hand garments also provides employment and formal and informal income for national and migrant populations in established stores and open-air markets across the country, and this must be factored in when redefining public policies.

“To address the environmental and social issues of used textile trade, the EU and Chile must work together on creating robust regulatory frameworks. A partnership between the European Union and Chile could pioneer innovative approaches to regulate and reduce the impact of second-hand textile trade, including by setting global standards for the trade of used textiles, focusing on sustainability and social responsibility." Highlights UNECLAC Executive Secretary, Mr. José Manuel Salazar-Xirinachs.  

Multifold recommendations
The report contains a series of recommendations to the textile industry, exporters and importers.   

To exporting countries

  • Make circular economy considerations central to the design of clothing, with mandatory targets for fibre composition that improve quality, durability, repairability, and recyclability  
  • Introduce an Extended Producer Responsibility (EPR) system holding producers responsible for the products they manufacture  
  • Develop more sorting and recycling plants, through financial incentives  
  • Develop minimum EU criteria for second-hand clothing exports through the use of digital product passports (DPPs)  
  • Run awareness-raising campaigns to encourage consumers to make more informed choices about their clothes

To importing countries – the example of Chile

  • Improve customs procedures & administrative measures at the port of Iquique to ensure digital traceability of flows of used clothing and textile based on the UN/CEFACT traceability standard   
  • Establish a Circular Economy Strategy for Textiles  
  • Set-up public-private alliances for recycling projects through tax extension schemes and funds to support entrepreneurship, innovation, and job creation for vulnerable groups, particularly in the Tarapacá region  
  • Improve the legal framework for waste management   
  • Implement a Regional Solid Waste Control Plan, involving inspections of sanitary landfills, clean points, and dumps to increase the enforcement capacity of regional health authorities  
  • Accelerate the adoption of the Chilean draft law on environmental quality of soils.

The report also recommends making changes to international trade agreements, such as the2023 Interim Trade Agreement between the EU and Chile, which includes a chapter on Trade and Sustainable Development, to step up bilateral cooperation, and using it as a template for other bilateral trade agreements between the EU and other countries.   

Download the Executive Summary

Source:

United Nations Economic Commission for Europe

textile waste AI generated image: Pete Linforth, Pixabay
02.04.2024

The Future of Circular Textiles: New Cotton Project completed

In a world first for the fashion industry, in October 2020 twelve pioneering players came together to break new ground by demonstrating a circular model for commercial garment production. Over more than three years, textile waste was collected and sorted, and regenerated into a new, man-made cellulosic fiber that looks and feels like cotton – a “new cotton” – using Infinited Fiber Company’s textile fiber regeneration technology.
 

In a world first for the fashion industry, in October 2020 twelve pioneering players came together to break new ground by demonstrating a circular model for commercial garment production. Over more than three years, textile waste was collected and sorted, and regenerated into a new, man-made cellulosic fiber that looks and feels like cotton – a “new cotton” – using Infinited Fiber Company’s textile fiber regeneration technology.
 
The pioneering New Cotton Project launched in October 2020 with the aim of demonstrating a circular value chain for commercial garment production. Through-out the project the consortium worked to collect and sort end-of-life textiles, which using pioneering Infinited Fiber technology could be regenerated into a new man-made cellulosic fibre called Infinna™ which looks and feels just like virgin cotton. The fibres were then spun into yarns and manufactured into different types of fabric which were designed, produced, and sold by adidas and H&M, making the adidas by Stella McCartney tracksuit and a H&M printed jacket and jeans the first to be produced through a collaborative circular consortium of this scale, demonstrating a more innovative and circular way of working for the fashion industry.
 
As the project completes in March 2024, the consortium highlights eight key factors they have identified as fundamental to the successful scaling of fibre-to-fibre recycling.

The wide scale adoption of circular value chains is critical to success
Textile circularity requires new forms of collaboration and open knowledge exchange among different actors in circular ecosystems. These ecosystems must involve actors beyond traditional supply chains and previously disconnected industries and sectors, such as the textile and fashion, waste collection and sorting and recycling industries, as well as digital technology, research organisations and policymakers. For the ecosystem to function effectively, different actors need to be involved in aligning priorities, goals and working methods, and to learn about the others’ needs, requirements and techno-economic possibilities. From a broader perspective, there is also a need for a more fundamental shift in mindsets and business models concerning a systemic transition toward circularity, such as moving away from the linear fast fashion business models. As well as sharing knowledge openly within such ecosystems, it also is important to openly disseminate lessons learnt and insights in order to help and inspire other actors in the industry to transition to the Circular Economy.

Circularity starts with the design process
When creating new styles, it is important to keep an end-of-life scenario in mind right from the beginning. As this will dictate what embellishments, prints, accessories can be used. If designers make it as easy as possible for the recycling process, it has the bigger chance to actually be feedstock again. In addition to this, it is important to develop business models that enable products to be used as long as possible, including repair, rental, resale, and sharing services.

Building and scaling sorting and recycling infrastructure is critical
In order to scale up circular garment production, there is a need for technological innovation and infrastructure development in end-of-use textiles collection, sorting, and the mechanical pre-processing of feedstock. Currently, much of the textiles sorting is done manually, and the available optical sorting and identification technologies are not able to identify garment layers, complex fibre blends, or which causes deviations in feedstock quality for fibre-to-fibre recycling. Feedstock preprocessing is a critical step in textile-to-textile recycling, but it is not well understood outside of the actors who actually implement it. This requires collaboration across the value chain, and it takes in-depth knowledge and skill to do it well. This is an area that needs more attention and stronger economic incentives as textile-to-textile recycling scales up.

Improving quality and availability of data is essential
There is still a significant lack of available data to support the shift towards a circular textiles industry. This is slowing down development of system level solutions and economic incentives for textile circulation. For example, quantities of textiles put on the market are often used as a proxy for quantities of post-consumer textiles, but available data is at least two years old and often incomplete. There can also be different textile waste figures at a national level that do not align, due to different methodologies or data years. This is seen in the Dutch 2018 Mass Balance study reports and 2020 Circular Textile Policy Monitoring Report, where there is a 20% difference between put on market figures and measured quantities of post-consumer textiles collected separately and present in mixed residual waste. With the exception of a few good studies such as Sorting for Circularity Europe and ReFashion’s latest characterization study, there is almost no reliable information about fibre composition in the post-consumer textile stream either. Textile-to-textile recyclers would benefit from better availability of more reliable data. Policy monitoring for Extended Producer Responsibility schemes should focus on standardising reporting requirements across Europe from post-consumer textile collection through their ultimate end point and incentivize digitization so that reporting can be automated, and high-quality textile data becomes available in near-real time.

The need for continuous research and development across the entire value chain
Overall, the New Cotton Project’s findings suggest that fabrics incorporating Infinna™ fibre offer a more sustainable alternative to traditional cotton and viscose fabrics, while maintaining similar performance and aesthetic qualities. This could have significant implications for the textile industry in terms of sustainability and lower impact production practices. However, the project also demonstrated that the scaling of fibre-to-fibre recycling will continue to require ongoing research and development across the entire value chain. For example, the need for research and development around sorting systems is crucial. Within the chemical recycling process, it is also important to ensure the high recovery rate and circulation of chemicals used to limit the environmental impact of the process. The manufacturing processes also highlighted the benefit for ongoing innovation in the processing method, requiring technologies and brands to work closely with manufacturers to support further development in the field.

Thinking beyond lower impact fibres
The New Cotton Project value chain third party verified LCA reveals that the cellulose carbamate fibre, and in particular when produced with a renewable electricity source, shows potential to lower environmental impacts compared to conventional cotton and viscose. Although, it's important to note that this comparison was made using average global datasets from Ecoinvent for cotton and viscose fibres, and there are variations in the environmental performance of primary fibres available on the market. However, the analysis also highlights the importance of the rest of the supply chain to reduce environmental impact. The findings show that even if we reduce the environmental impacts by using recycled fibres, there is still work to do in other life cycle stages. For example; garment quality and using the garment during their full life span are crucial for mitigating the environmental impacts per garment use.
          
Citizen engagement
The EU has identified culture as one of the key barriers to the adoption of the circular economy within Europe. An adidas quantitative consumer survey conducted across three key markets during the project revealed that there is still confusion around circularity in textiles, which has highlighted the importance of effective citizen communication and engagement activities.

Cohesive legislation
Legislation is a powerful tool for driving the adoption of more sustainable and circular practices in the textiles industry. With several pieces of incoming legislation within the EU alone, the need for a cohesive and harmonised approach is essential to the successful implementation of policy within the textiles industry. Considering the link between different pieces of legislation such as Extended Producer Responsibility and the Ecodesign for Sustainable Products Regulation, along with their corresponding timeline for implementation will support stakeholders from across the value chain to prepare effectively for adoption of these new regulations.

The high, and continuously growing demand for recycled materials implies that all possible end-of-use textiles must be collected and sorted. Both mechanical and chemical recycling solutions are needed to meet the demand. We should also implement effectively both paths; closed-loop (fibre-to-fibre) and open -loop recycling (fibre to other sectors). There is a critical need to reconsider the export of low-quality reusable textiles outside the EU. It would be more advantageous to reuse them in Europe, or if they are at the end of their lifetime recycle these textiles within the European internal market rather than exporting them to countries where demand is often unverified and waste management inadequate.

Overall, the learnings spotlight the need for a holistic approach and a fundamental mindset shift in ways of working for the textiles industry. Deeper collaboration and knowledge exchange is central to developing effective circular value chains, helping to support the scaling of innovative recycling technologies and increase availability of recycled fibres on the market. The further development and scaling of collecting and sorting, along with the need to address substantial gaps in the availability of quality textile flow data should be urgently prioritised. The New Cotton Project has also demonstrated the potential of recycled fibres such as Infinna™ to offer a more sustainable option to some other traditional fibres, but at the same time highlights the importance of addressing the whole value chain holistically to make greater gains in lowering environmental impact. Ongoing research and development across the entire value chain is also essential to ensure we can deliver recycled fabrics at scale in the future.

The New Cotton Project has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement No 101000559.

 

Source:

Fashion for Good

(c) Nadine Glad
18.07.2023

Promoting transparent supply chains and a more circular economy with digital product passports

Any prospective buyer interested in knowing more about the products they have set their eyes on will have to cope with limited information on print or online manuals or engage in time-consuming research. This may change soon, as the European Commission introduced a standardised digital product passport for the upcoming legislation. A project consortium has been formed with partners from industry and academia to set ground for the developments. The idea is for the proposed passports, supported by EU regulations, to make all product information available along the entire value chain and easily accessible e.g. by QR code.

Any prospective buyer interested in knowing more about the products they have set their eyes on will have to cope with limited information on print or online manuals or engage in time-consuming research. This may change soon, as the European Commission introduced a standardised digital product passport for the upcoming legislation. A project consortium has been formed with partners from industry and academia to set ground for the developments. The idea is for the proposed passports, supported by EU regulations, to make all product information available along the entire value chain and easily accessible e.g. by QR code.

ID cards and passports are usually the first things packed when one goes on a journey. They are internationally recognized and accepted documents with all the necessary information about the holder: Commonplace items for people that will soon become just as common for electronic devices, textiles, or batteries. But mobile phones, tablet computers, and their kin usually do not travel with a passport pouch, so their digital product passports with all their “personal details” will soon be accessible at every link in the value chain via a QR code or RFID chip.

Consumers looking to buy a new piece of clothing, a piece of electronics, or even furniture or toys should have more means to understand important information about their products, including their energy efficiency, the labor conditions during manufacturing, or their reparability, in order to make informed and sustainable purchasing choices.

Product passports also hold great potential for other actors, e.g. for repairs or recycling. Current electronic products, often highly miniaturized, make it hard to understand with materials, not least toxic substances are contained and how they could be separated from another. Use-specific certificates can regulate that this type of information is available to the people who need to know it.

No final decision has yet been made about the range of information that will be contained in the product passports. For the CIRPASS project, Eduard Wagner and his team at Fraunhofer ZM is currently surveying which types of information are already covered by current legal requirements and which additional information could be contained on a digital product passport. Their aim is to provide an information architecture that determines which types of information have added value for which actors in the value chain and at what cost this information could be provided. A reparability scale that shows how easily a product is to repair has been required in France since 2021 and might be a good inclusion in the digital, pan-European product passport. “Information about energy efficiency is already required, but this information still has to be prepared on a case-by-case basis, and there are no universal European disclosure requirements for other types of circularity related information. Meaningful standardization here is one of the top goals of the product passport. Imagine we could compare the durability of all t-shirts in the EU between each other,” says sustainability expert Eduard Wagner.

For the first product passports to be ready by 2026, many actors still need to be brought on board and a consensus be found for which information is most relevant. “Our project has identified 23 groups of stakeholders that we are including in our survey of requirements, in all three sectors”, Wagner explains. “We have suppliers of materials, manufacturers of electronics, and representatives of repair and recycling associations with us.” The results of these consultations will go to the European Commission to act as pointers for the political process en route to new legal requirements for the product passport. Small to medium-sized enterprises are given special attention and support in this, as providing the required information can mean a considerable effort on their part.

Source:

Fraunhofer Institute for Reliability and Microintegration IZM

Photo unsplash
21.02.2023

Consortium for enzymatic textile recycling gains new supporters

"Shared vision of a true circular economy for the textile industry"

US fashion group PVH has joined the fibre-to-fibre consortium founded by Carbios, On, Patagonia, PUMA and Salomon. The aim is to support the further development of Carbios' biorecycling process on an industrial scale, setting new global standards for textile recycling technologies. PVH owns brands such as Calvin Klein and Tommy Hilfiger. In the agreement signed by PVH Corp, the company commits to accelerating the textile industry's transition to a circular economy through its participation in the consortium.

Carbios is working with On, Patagonia, PUMA, PVH Corp. and Salomon to test and improve its bio-recycling technology on their products. The aim is to demonstrate that this process closes the fibre-to-fibre loop on an industrial scale, in line with sustainability commitments.

"Shared vision of a true circular economy for the textile industry"

US fashion group PVH has joined the fibre-to-fibre consortium founded by Carbios, On, Patagonia, PUMA and Salomon. The aim is to support the further development of Carbios' biorecycling process on an industrial scale, setting new global standards for textile recycling technologies. PVH owns brands such as Calvin Klein and Tommy Hilfiger. In the agreement signed by PVH Corp, the company commits to accelerating the textile industry's transition to a circular economy through its participation in the consortium.

Carbios is working with On, Patagonia, PUMA, PVH Corp. and Salomon to test and improve its bio-recycling technology on their products. The aim is to demonstrate that this process closes the fibre-to-fibre loop on an industrial scale, in line with sustainability commitments.

The two-year cooperation project will not only enable the biological recycling of polyester articles on an industrial scale, but also develop thorough sorting and disassembly technologies for complex textile waste. Existing members voted unanimously for PVH Corp. to join the consortium, saying the common goal is to support the development of viable solutions that address the fashion industry's contribution to climate change..

Carbios has developed a technology using highly selective enzymes that can recycle mixed feedstocks, reducing the laborious sorting required by current thermomechanical recycling processes. For textiles made from blended fibres, the patented enzyme acts only on the PET polyester contained within. This innovative process produces recycled PET (r-PET) that is equivalent in quality to virgin PET and can be used to produce new textile fibres.

Textile waste treatment and recycling
Globally, only 13% of textile waste is currently recycled, mainly for low-value applications such as upholstery, insulation or rags. The remaining 87% is destined for landfill or incineration. To work on improving textile recycling technologies, consortium members will supply feedstock in the form of clothing, underwear, footwear and sportswear. In 2023, a new PET textile waste facility will be commissioned at the Carbios demonstration plant, notably as part of the LIFE Cycle of PET project co-funded by the European Union.  This is in anticipation of future regulations, such as the separate collection of textile waste, which will be mandatory in Europe from 1 January 2025.

From fibre to fibre: circularity of textiles
Today, the textile industry relies largely on non-renewable resources to produce fibres and fabrics, partly turning to recycled PET bottles for recycled polyester fibres. However, this resource will become scarce as PET bottles are used exclusively for the production of new bottles in the food and beverage industry. In a circular economy, the materials used to produce textiles are obtained from recycled or renewable raw materials produced by regenerative processes. In addition to supplying raw materials for the demonstration plant, the consortium members also aim to produce new products from r-PET fibres using the company's biorecycling process.

"Partnering with Carbios and its consortium members demonstrates our continued commitment to incorporating more circular materials into our collections," said Esther Verburg, EVP, Sustainable Business and Innovation, Tommy Hilfiger Global and PVH Europe. "We are excited to support the development of Carbios' enzymatic recycling technology and to leverage new solutions that can help us drive fashion sustainably."

More information:
Carbios textile recycling enzymatic
Source:

Carbios / Textination

(c) Continuum
24.01.2023

... and they actually can be recycled: Wind Turbine Blades

The Danish company Continuum Group ApS with its subsidiary companies in Denmark (Continuum Aps) and the UK (Continuum Composite Transformation (UK) Limited) wants to give end-of-life wind blades and composites a new purpose, preventing them going to waste. The goal is to reduce the amounts of CO2 emitted to the atmosphere by the current waste streams, delivering a value to Europe’s Net Zero efforts.

Continuum states that it ensures all wind turbine blades are 100% recyclable and plans to build industrial scale recycling factories across Europe.

Net zero is the phrase on everyone’s lips, and as 2030 rapidly approaches we constantly hear updates about wind energy generating renewable energy that powers millions of European homes – but what happens when those turbine blades reach the end of their lifespan?

The Danish company Continuum Group ApS with its subsidiary companies in Denmark (Continuum Aps) and the UK (Continuum Composite Transformation (UK) Limited) wants to give end-of-life wind blades and composites a new purpose, preventing them going to waste. The goal is to reduce the amounts of CO2 emitted to the atmosphere by the current waste streams, delivering a value to Europe’s Net Zero efforts.

Continuum states that it ensures all wind turbine blades are 100% recyclable and plans to build industrial scale recycling factories across Europe.

Net zero is the phrase on everyone’s lips, and as 2030 rapidly approaches we constantly hear updates about wind energy generating renewable energy that powers millions of European homes – but what happens when those turbine blades reach the end of their lifespan?

Currently the general answer is to put them into landfill or co-process them into cement, but neither is planet friendly. Many countries in Europe look to ban landfill from 2025, so this option is likely to be eliminated in the near future.

Continuum provides an alternative: When the end of their first life arrives, Continuum recycles them into new, high performing composite panels for the construction, and related industries. The vision of the Danes: Abandon the current landfilling, and drastically reduce CO2 emitted during currently applied incineration & co-processing in cement factories by 100 million tons by 2050, via their mechanical composite recycling technology and their industrial scale factories.  

The technology is proven, patented, and ready to go, says Reinhard Kessing, co-founder and CTO of Continuum Group ApS, who has spent more than 20 years of research and development in this field, and advanced the reclamation of raw materials from wind blades and other composite products and transformation of these materials into new, high performing panel products.

By working with partners, Continuum’s cost-effective solution covers end-to-end logistics and processes. This spans from the collection of the end-of-life blades through to the reclamation of the pure clean raw materials and then the remanufacturing of all those materials into high value, highly performing, infinitely recyclable composite panels for the construction industry or the manufacture of many day-to-day products such as facades, industrial doors, and kitchen countertops. The panels are 92% recycled blade material and are said to outperform competing products.

Nicolas Derrien: Chief Executive Officer of Continuum Group ApS said: “We need solutions for the disposal of wind turbine blades in an environmentally friendly manner, we need it now, and we need it fast, and this is where Continuum comes in! As a society we are rightly focussed on renewable energy production, however the subject of what to do with wind turbine blades in the aftermath of that production has not been effectively addressed. We’re changing that, offering a recycling solution for the blades and a construction product that will outperform most other existing construction materials and be infinitely recyclable, and with the lowest carbon footprint in its class.”

Martin Dronfield, Chief Commercial Officer of Continuum Group ApS and Managing Director of Continuum Composite Transformation (UK) Ltd, adds: “We need wind energy operators & developers across Europe to take a step back and work with us to solve the bigger picture challenge. Continuum is offering them a service which won’t just give their business complete and sustainable circularity to their operations but help protect the planet in the process.“

Each Continuum factory in Europe will have the capacity to recycle a minimum of 36,000 tons of end-of-life turbine blades per year and feed the high value infinitely recyclable product back into the circular economy by 2024/25.

Due to an investment by Climentum Capital and a grant from the UK’s ‘Offshore Wind Growth Partnership’, Continuum are planning for the first of six factories in Esbjerg to be operational by the end of 2024 and for a second factory in the United Kingdom to follow on just behind it. After that they are looking to build another four in France, Germany, Spain, and Turkey by 2030.

As part of their own pledge to promote green behaviour, Continuum have designed their factories to be powered by only 100% green energy and to be zero carbon emitting environments; meaning no emissions to air, no waste fluids to ground, and no carbon fuel combustion.

Source:

Continuum / Textination

04.01.2023

Circular Economy: It could all be so simple... or not

Interview with Henning Wehland & Robert Kapferer, Circularity Germany

Interview with Henning Wehland & Robert Kapferer, Circularity Germany

I'm a very curious guy by nature. That's why I offered to help out at a well-known hot dog station in Münster (Germany) this year, to draw attention to the shortage of staff in the gastronomy. I wrote an article about it on LinkedIn, which was in turn reacted to by Ines Chucholowius.
From her profile, I could see that she is a consultant for strategic marketing and communication in the textile industry. Not entirely serious, she offered me a job in her office. Like pushing a button, the pictures in my mind set in: Textile industry, exciting! Merchandising, contacts in the industry, collaborations, and I agreed to a short chat, at the end of which we spoke on the phone and arranged to meet.
 
She told me about her website TEXTINATION.de. And we were already involved in an exciting, heated exchange about perception and truth in the textile industry. Without further ado, we left it at that and I went home with a chunk of new information about an exciting field. Our dialogue on social media continued and eventually Ines offered me the chance to feed my die-hard curiosity with the support of TEXTINATION.de. I could write a blog on the site, about people, products, service providers, producers, startups or trends that interest me, to add to my half-knowledge about the textile industry.

Textile waste into the front ... new T-shirt out the back
During this exchange and a long brainstorming session, certain terms kept tickling my attention:
Circular economy, recycling, recyclable material loops. Circular Economy, Recycling, Recyclables. Even though there are many different definitions and some even distinguishing between different aspects: the former thought from waste that flows back into production as a secondary raw material, a more modern approach avoiding waste already in production - the general consensus is really only that circular economy is a cycle in which waste is used as a source for something new.

Sounds like useful additions for all areas of the manufacturing real economy to me. Ines introduced me to Robert Kapferer: He runs a startup called Circularity Germany in Hamburg. His company, founded in 2021 and consisting of Robert and another partner, is an offshoot of the Dutch-based company Circularity B.V. Its founder Han Hamers, with a degree in child psychology and a professional background in the textile dyeing industry, had the idea five years ago for a production facility that spins new yarn exclusively from textile production waste and old textiles turning it into T-shirts, polo shirts and sweatshirts.
Whether this works, and if so, how, is what I wanted to find out, and Ines and I arranged to meet Robert for a 90-minute online conference.

Robert, originally an industrial engineer, comes from a less sustainable industry. He worked for 11 years as managing director for AVECO Material und Service GmbH, where he was responsible for the workwear of more than 50,000 employees.

At the beginning of our conversation, he emphasizes that a moment in January 2021 changed his life and from then on, he wanted to dedicate himself to the topic of circular economy with all his might. That was when he met Han Hamers, who inspired him to found Circularity Germany. His enthusiasm and passion for the subject sound credible, and he begins to describe the differences between chemical and mechanical recycling methods. In summary, the mechanical process of shredding and the subsequent spinning shortens the fibers and thus restricts their properties for further processing. The advantage lies primarily in the comparatively uncomplicated, fast and more cost-efficient process. In the chemical variant, chemical waste remains, but the processed materials are broken down again into their basic building blocks in such a way that they have almost all the same properties as a so-called virgin raw material. Circularity Germany stands for the mechanical process.

And then comes the sentence that gets all our attention: "We've advanced a spinning technology so much that it relies exclusively on waste-based raw materials."
This sentence almost doesn't stand out because Robert still talks - quite excitingly - about the fact that they are planning a production and manufacturing facility where everything from knitting yarn to relatively fine thread can be spun and then further processed into fabric. And here Ines and I ask intensively: Essential requirements for industrial production still seem to be unresolved, and necessary processes are still in the planning stage. For example, the question of whether to work with pre-consumer or post-consumer waste. Pre-consumer waste is cutting waste from the production of clothes, which corresponds to about 10% of the processed material. Post-consumer waste we know as used textiles.

As long as production still takes place in India, Circularity currently uses mainly pre-consumer waste. These come exclusively from sewing factories in the Tirupur region in the south of India. When using used textiles, which exist in large quantities in Germany (according to a study, 28-40% of all garments produced are thrown away unworn), Circularity produces blended yarns of cotton and polyester. The company does not offer pure cotton yarns.

Textiles are treated with chemicals to varying degrees - workwear in particular cannot do without them. The fact that Han Hemers is also collecting used textile stocks from the Dutch army in order to reintroduce them renewed into the consumer cycle is therefore not reassuring. Military clothing has to be finished with all kinds of additives.

Therefor I ask how he can dispel doubts in a consumer’s mind like mine, with a healthy half-knowledge of mask deals and greenwashing, that a well-intentioned vision will be followed by a dark awakening. This concern cannot yet be resolved after the conversation.

We limit ourselves to what is planned: Robert has the dream of reversing the globalized process of textile production. He wants to end the decoupling of cotton growing regions and far-flung production such as Asia with subsequent shipping of ready-made goods to Europe. In the future, existing used textiles and/or cutting wastes are to be collected on site, recycled and processed locally into new textiles.

I believe him in having this dream. However, some of my questions about sustainability remain unanswered - which is why I have my doubts about whether the idea is currently capable of performing and competing.
What are the reasons for this? For one thing, I think it's always difficult to do necessary pioneering work. Especially when listening to smart comments at the regulars' table that large companies are already working intensively on the principle of circular economy. But sometimes, apart from the term "circular economy" and a vague commitment to it, not much remains.

Circularity Germany is committed to developing a technology based exclusively on waste. The interview points out that this also includes making production more environmentally friendly and eliminating transport routes, which further reduces the burden on the environment. When all the requirements for realizing this dream have been met and a product that is competitive in terms of both quality and price can be launched on the market, it is up to the consumer to decide. Here one would have the credible argument of sustainability and a socially and environmentally fair process. Circularity would then not have to worry about PR.

It needs to be given time and, above all, attention. But perhaps the industry should get involved right here and now, and invest in startups like this and make sure that problems are cleared out of the way. Because one thing has become clear to us in this conversation:

It could all be so simple. Circular economy is achievable, but the road there is still costly and rocky. That's why we wish Robert and his team every success and, above all, perseverance. Thank you for the interview.

Short and sweet: the profile of the company in the attached factsheet for download.

 

 

Photo: Pim Top for FranklinTill
29.11.2022

Heimtextil Trends 23/24: Textiles Matter

The Heimtextil Trend Preview 23/24 presented future-oriented design concepts and inspiration for the textile furnishing sector. With ‘Textiles Matter’, Heimtextil 2023 wants to set the benchmark for tomorrow’s forward-facing and sustainable textile furnishing. Hence, the focus is on circularity. Marta Giralt Dunjó of futures research agency FranklinTill (Great Britain) presented the design prognoses for 23/24. At the coming Heimtextil in Frankfurt am Main from 10 to 13 January 2023, the presentations of new products will generate stimulating impulses in the Trend Space.

The Heimtextil Trend Preview 23/24 presented future-oriented design concepts and inspiration for the textile furnishing sector. With ‘Textiles Matter’, Heimtextil 2023 wants to set the benchmark for tomorrow’s forward-facing and sustainable textile furnishing. Hence, the focus is on circularity. Marta Giralt Dunjó of futures research agency FranklinTill (Great Britain) presented the design prognoses for 23/24. At the coming Heimtextil in Frankfurt am Main from 10 to 13 January 2023, the presentations of new products will generate stimulating impulses in the Trend Space.

The Heimtextil Trend Council – consisting of FranklinTill Studio (London), Stijlinstituut Amsterdam and Denmark’s SPOTT Trends & Business agency – offers insights into the future of the national and international market. The focus is more than ever before on sustainability and the circular economy, the main factors in setting the trends for the season 23/24.

Textiles Matter: bear responsibility
Textiles are an integral part of modern life. The material applications and the manufacturing processes are no less multifarious than user expectations. And this represents a great challenge for the international textile industry, which obtains its raw materials from a broad spectrum of sources and uses numerous processes to make a huge variety of products. This offers a great potential for the sustainable development of the textile industry in the future. The Heimtextil Trends show ways in which this potential can be utilized and sustainable developments promoted. Under the motto ‘Textiles Matter’, visitors can explore concepts for increased circularity, which will generate new impulses for the sustainable market of the future.

"Considering the state of environmental emergency we are currently living through, the textile industry has a responsibility to examine its processes, and change for the better. That is why for this edition of the Heimtextil Trends we are taking a material’s first approach, and focusing on the sourcing, design, and sustainability of materials. Textiles Matter showcases the potential of circularity and celebrates design initiatives that are beautiful, relevant and importantly sustainable”, explains Marta Giralt Dunjó of FranklinTill.

Change via circularity
The Trend Space at the coming Heimtextil 2023 will revolve around ideas and solutions for circularity in the textile sector. How can textiles be produced in a sustainable way? What recycling options are there? What does the optimum recycling of textile products look like? Within the framework of the circular economy, materials are continuously reused. On the one hand, this reduces the need for new raw materials and, on the other hand, cuts the amount of waste generated. In the technical cycle, inorganic materials, such as nylon, polyester, plastic and metal, can be recycled with no loss of quality. In the biological cycle, organic materials, such as linen and bast fibres, are returned to nature at the end of their useful life. This is the basis of the four trend themes: ‘Make and Remake’, ‘Continuous’, ‘From Earth’ and ‘Nature Engineered’.

Make and Remake
Pre-used materials, deadstock and remnant textiles are given a new lease of life with the focus shifting to the aesthetics of repair and taking the form of a specific design element of the recycled product. Bright and joyful colours and techniques, such as overprinting, overdyeing, bricolage, collage and patchwork, result in new and creative products. Layered colour patterns and graphics lead to bold and maximalist, yet conscious, designs.

Continuous
The Continuous trend theme describes closed-loop systems in which materials are recycled into new, waste-free products again and again. Putative waste materials are separated out and reprocessed as new fibres, composites and textiles. Thus, synthetic and cellulose yarns can be produced zero-waste. Thanks to technically advanced reclamation processes, the materials retain their original quality and aesthetic. Practicality, essentialism and longevity determine the design of Continuous products.

From Earth
This theme focuses on the natural world and harmony with the nature of organic materials. Natural colours communicate warmth and softness. Imperfect textures, signs of wear and irregularities create ecological and earth-born aesthetics. Earthen and botanic shades, natural variation and tactile richness dominate the From Earth segment. Unrefined and raw surfaces, unbleached textiles and natural dyes celebrate materials in their original states.

Nature Engineered
Nature Engineered uses mechanical means to elevate and perfect organic materials, such as bast fibres, hemp, linen and nettles. Cutting-edge techniques process natural textiles into sophisticated and smart products. Combined with shades of beige and brown, clean lines and shapes are the distinguishing features of this theme.

More information:
Heimtextil Trends FranklinTill
Source:

Heimtextil, Messe Frankfurt

Nicolas Meletiou, Pixabay
01.03.2022

Textiles and the environment: the role of design in Europe’s circular economy

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

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.

photo: pixabay
04.01.2022

EU Project: System Circularity & Innovative Recycling of Textiles

SCIRT stands for System Circularity & Innovative Recycling of Textiles. Coordinated by VITO, an independent Flemish research organisation in the cleantech and sustainable development sector, SCIRT is a three year EU-funded project from the Horizon 2020 Programme.

It aims to demonstrate a complete textile-to-textile recycling system for discarded clothing—or post-consumer textiles—involving stakeholders throughout the value chain and focusing on the recycling of natural fibres, synthetic fibres and fibre blends. To reach this goal, the project has set four main objectives.

SCIRT stands for System Circularity & Innovative Recycling of Textiles. Coordinated by VITO, an independent Flemish research organisation in the cleantech and sustainable development sector, SCIRT is a three year EU-funded project from the Horizon 2020 Programme.

It aims to demonstrate a complete textile-to-textile recycling system for discarded clothing—or post-consumer textiles—involving stakeholders throughout the value chain and focusing on the recycling of natural fibres, synthetic fibres and fibre blends. To reach this goal, the project has set four main objectives.

  • Deliver a closed-loop recycling solution for discarded textiles.
  • Stimulate and encourage conscious design as well as production practices.
  • Create new business opportunities by boosting textile value chain activity.
  • Raise awareness of the environmental and social impacts of buying clothes.

Gathering 18 partners from five countries, the SCIRT project held its virtual kick-off meeting in mid-2021 to begin tackling the issue of clothing waste and recyclability, one of the biggest challenges faced in the fashion industry today.

As clothing brands are setting ambitious targets and making promises to incorporate recycled fibres in their products, discarded textiles are piling up in abundance around the globe. Though it would seem that the stars of supply and demand have aligned for this part of the circular economy, the truth is that less than 1% of textile waste is recycled into new textile fibres, according to an Ellen MacArthur Foundation report published in 2017. This miniscule percentage is indicative of a greater problem-achieving circularity in the fashion industry is not just a question of supply and demand, but of the connection between the two. There is a lack of knowledge surrounding the technological, economic and environmental feasibility of recycling fibre mixtures, and a need to align the quality and cost of recycling processes with the demands of textile companies and fashion brands.

SCIRT will develop solutions to support systemic innovation towards a more circular fashion system and bridge this supply-demand gap. To address the demand side of the equation, SCIRT will demonstrate a complete textile-to-textile recycling system for discarded clothing, otherwise known as post-consumer textiles, involving stakeholders throughout the value chain and focusing on the recycling of natural and synthetic fibres, as well as fibre blends. With the support of technical partners and research institutes, clothing brands Decathlon, Petit Bateau, Bel & Bo, HNST and Xandres, will develop, prototype and produce six different representative types of apparel using post-consumer recycled fibres. These include formal and casual wear, sportswear, underwear and uniforms. Through this endeavour, SCIRT will prioritise quality and cost-effectiveness in order to ensure market confidence and encourage the broad uptake of post-consumer recycled fibres.

From a non-technological perspective, SCIRT will develop supporting policy measures and tools to facilitate the transition towards a circular system for apparel. This includes a framework for an eco-modulated Extended Producer Responsibility (EPR) system and a True Cost Model to quantify circularity and increase value chain transparency. Special attention will also be given to the consumer perspective. To this end, Citizen Labs engaging consumers in various European locations, as well as a wider online engagement platform, will be developed to engage citizens throughout the project in order to understand the perceptions, motivations and emotions shaping their behaviour regarding the purchase, use, and disposal of textiles.

Over the next three years, SCIRT project partners will work to overcome current technological, economic, socio-economic and regulatory barriers faced in textiles recycling to achieve a real, lasting circular fashion economy.

2021:
The SCIRT project kicks off and partners identify the current state-of-the-art in apparel design, production and recycling, challenges and market trends, and stakeholder needs.

2022:
Designing and testing a fibre-to-fibre system by producing recycled yarns and filaments, free from harmful substances.

2023:
Formal wear, casual wear, sportswear, underwear and uniforms will be designed and produced using the optimized yarns developed.

Partners

  • Fashion companies: Bel&Bo, HNST, Decathlon, Xandres, Petit Bateau
  • Research organisations: VITO, CETI, Prospex Institute
  • Universities: BOKU, TU Wien, ESTIA
  • Industry players: Altex, AVS Spinning - A European Spinning Group (ESG) Company, Valvan
  • SMEs: Circular.fashion, FFact
  • Non-profit organisations: Flanders DC, IID-SII

 

ALTEX
ALTEX is a textile recycling company based in Germany that employs state-of-the-art machinery to recycle textile waste into new high-quality products. Its products include teared fibres, natural fibres, synthetic fibres and fibre blends among others.

Bel & Bo
Bel&Bo is a family-owned Belgian business with about 95 retail stores located throughout Belgium. Its mission is to offer colourful, fashionable and sustainably produced clothing for men, women and children at an affordable price.

CETI
The European Center for Innovative Textiles (CETI) is a non-profit organisation dedicated to conceiving, experimenting with and prototyping innovative textile materials and products through both private and collaborative R&D projects.

circular.fashion
circular.fashion offers software for circular design, intelligent textile sorting and closed-loop recycling, including the Circular Design Software and the circularity.ID®, as well as training and hands-on support to fashion brands in their transitions.

Decathlon
With over 315 stores in France, and 1,511 around the world, Decathlon has been innovating since 1976 to become the main player for athletic people. It has been engaged in reducing its environmental impact through a number of actions.

ESG
The European Spinning Group (ESG) is a textile group based in Belgium that offers a range of yarns produced with a highly technological open-end spinning mill for different applications, such as for interiors, fashion and technical textiles.

ESTIA
ESTIA is a French institute that has provided education and training in the areas of industrial technologies for 20 years. Since 2017, ESTIA has had a program focused on new materials and disruptive process in the fashion and textile industry.

FFACT
FFact is a unique group of management consultants that facilitates the implementation of sustainability from a business perspective, and translates facts into useful management information. FFact is based in the Netherlands and Belgium.

Flanders DC
The Flanders District of Creativity, a non-profit organisation based in Belgium, informs, coaches, promotes and inspires creative entrepreneurs in various sectors, including the fashion industry, who want to build or grow their business.

HNST
HNST is a Belgian circular denim brand that recovers post-consumer denim and recycles it into new fabric in the EU, creating durable and 100% recyclable jeans that use 82% less water and emit 76% less carbon dioxide than conventional jeans.

Petit Bateau
Petit Bateau is a French apparel brand that specialises in knit products. As a vertical company, Petit Bateau carries out its own knitting, dyeing, making up and store management with the support of its 3,000 employees.

Prospex Institute
The Prospex Institute aims to promote the participation of citizens and stakeholders in socially relevant decision-making dialogue and development by engaging with theorists and practitioners both in Belgium and abroad.

IID-SII
The Sustainable Innovation Institute is a French non-profit association based in Paris. Initiated by LGI, a French SME, the purpose of IID-SII is to act as a think and do tank on sustainable innovation to support the adoption of novel solutions.

TU Wien
TU Wien is an open academic institution where research, teaching and learning have taken place under the motto “Technology for people” for the past 200 years. One of its key areas of research is on recycling technology and fibre innovation.

BOKU
Research at the Institute for Environmental Biotechnology of BOKU based in Vienna, Austria focus on the exploitation of enzymes as powerful biocatalysts for biomaterials processing within recycling applications.

Valvan
Valvan Baling Systems has 30 years of experience in designing and constructing custom-made machinery, specialising in Baling Machines and Sorting Facilities for fibre producers, collectors, sorters and recyclers of textiles.

VITO
VITO, a leading independent European research and technology organisation in the cleantech and sustainable development sectors, aims to accelerate the transition towards a sustainable society by developing sustainable technologies.

Xandres
Xandres is a brand inspired by and for women. It is rooted in a highly respected tradition of fashion, driven by quality and created for the life women lead today. Xandres offers innovative designs with respect for luxury and the environment.

(c) Neonyt/Messe Frankfurt GmbH
30.03.2021

Circularity and Fashion: Interview about the Business and Communication Platform Neonyt

Circular instead of throwaway economy - from fast fashion to zero-waste philosophy. The key elements of the circular economy in the fashion business are: Avoiding waste and pollution through new processes, continuous recycling of products and materials, and regeneration of natural systems. Textination talked with Olaf Schmidt, Vice President of Textiles & Textile Technologies, and Thimo Schwenzfeier, Show Director of Neonyt, from Messe Frankfurt about the Neonyt trade show as a business and communication platform for circularity & fashion.
 
It has been about 10 years since Messe Frankfurt ventured onto the "sustainable" fashion trade show stage. Initially with the Ethical Fashion Show, then with the Greenshowroom, there were two trade show formats in Berlin dedicated to the topic of green fashion. What prompted you as a trade show organizer to launch such a special format in Germany at that time?

Circular instead of throwaway economy - from fast fashion to zero-waste philosophy. The key elements of the circular economy in the fashion business are: Avoiding waste and pollution through new processes, continuous recycling of products and materials, and regeneration of natural systems. Textination talked with Olaf Schmidt, Vice President of Textiles & Textile Technologies, and Thimo Schwenzfeier, Show Director of Neonyt, from Messe Frankfurt about the Neonyt trade show as a business and communication platform for circularity & fashion.
 
It has been about 10 years since Messe Frankfurt ventured onto the "sustainable" fashion trade show stage. Initially with the Ethical Fashion Show, then with the Greenshowroom, there were two trade show formats in Berlin dedicated to the topic of green fashion. What prompted you as a trade show organizer to launch such a special format in Germany at that time?

Olaf Schmidt: Messe Frankfurt's Texpertise Network brings together the world's most important textile trade shows - at around 60 events worldwide, we show what drives the textile and fashion industry. We present the current topics and trends and set impulses for the entire textile value chain. Messe Frankfurt recognized the need for a suitable platform for the future topic of sustainability at an early stage. It was therefore obvious to expand our expertise in the field of fashion and to meet the demand from this segment. To achieve this, we have adapted and realigned existing formats: After launching the Ethical Fashion Show in Paris in 2004, Messe Frankfurt France took over the event in 2010. Two years later, Messe Frankfurt founded the Ethical Fashion Show Berlin in Germany and found, with the moving of the event to the polarizing capital, the ideal location for the coming years. Messe Frankfurt merged the already existing Greenshowroom with the Ethical Fashion Show, and from January 2015 the two shows took place in one venue. For Messe Frankfurt, hosting these events was the next logical step on our way to a sustainable fashion future - the concept is now established in the sustainable fashion market and has a continuous growth potential. The merging of the trade show duo in 2019, with the current name Neonyt, allowed us, our exhibitors and visitors a new content orientation and a holistic approach to the topic of sustainability as well as a more direct access to the conventional fashion market, especially with regard to retail. In summer 2021, Neonyt will take place for the first time in the new fashion hotspot Frankfurt as part of the new Frankfurt Fashion Week.

 
In 2019, both event formats were merged, the new trade show Neonyt was born and 1 + 1 became what? What components does Neonyt offer in addition to the previous trade show concepts, what is so "new-new" and how did you actually come up with the name?

Thimo Schwenzfeier: One plus one, as you so nicely put it, did not simply add up to two with Neonyt. One plus one equals unique, neo-new, internationally relevant: Among other things, the trade show business was supplemented by the international conference format Fashionsustain and a showcase to gradually bring
together the topic of sustainability with the topics of technology, innovation and prepress. Our content creator format Prepeek ensures the necessary lifestyle and the fashion show provides the glamour of the fashion world. Neonyt combines the most important elements of the international textile and fashion industry - style, business, inspiration, innovation, knowledge, fun and community. And that is exactly what makes Neonyt so "new-new". Progressive and polarizing - the artificial word Neonyt is derived from the ancient Greek word "neo" (eng. new, revolutionary) and the Scandinavian word "nytt" (eng. new). "The renewed new" - Neonyt is our synonym for the fundamental transformation process of the textile and fashion industry, a reinterpretation of what has already been there and our commitment not to stand still and to promote positive change together.

 
For the Neonyt trade show format, you have teamed up with partners - for example, for conferencing components and in the design area. What expertise do they provide, and what is the added value for exhibitors and visitors?

Thimo Schwenzfeier: We know which future topics our brands and the community are currently dealing with and therefore create the right platform - for personal encounters and exchange, for networking and successful business deals. To put it simply: we organize trade shows, we organize events, we provide the right setting, we connect people and business. Neonyt therefore forms the global interface between the various players in the textile and fashion industry - between industry, trade, politics, services and consumption. And so that a lively, transparent and, above all, authentic dialog can develop between all counterparts, we naturally draw on the knowledge of industry experts and form strong partnerships to push fashion and sustainability forward. Only together can we achieve real change and guarantee that our community is provided with sufficient and, above all, the right information to make self-determined decisions.
 

In recent years, the keyword circularity - or rather closing the loop - has been encountered everywhere in the fashion industry. Whether Stella McCartney, the Ellen MacArthur Foundation, or large retail groups - many players and decision-makers are of the opinion that the future of the fashion world lies only in a circular economy and not in downcycling of any kind. What is Neonyt's view on this?
         
Thimo Schwenzfeier: That's right, the concept of circular economy is not new, nor is it limited to the textile and fashion industry. Circularity - actually the ultimate for every product, every industry, for our global society. The concept is supposedly simple: All materials and products are kept in a closed loop, the useful life is increased and at the end of the product life cycle everything is recycled. Many sustainable fashion labels are already showing how it's done. Neonyt brands are right at the forefront and are already implementing practices that should become the norm as soon as possible: starting with T-shirts or shoes made from recycled materials and take-back systems for collection items. As well as compostable clothing that "dissolves" at the end of the product life cycle and breaks down into its natural components, and on to repair services and leasing models for denim and co. - thinking holistically, acting in a sustainable manner and producing in a circular way are definitely the trends of the coming fashion seasons and at least one important, if not the most important, component of the future fashion world.

 
For the idea of a circular economy to be implemented successfully, there needs to be an interplay between technology, production, design and sales. What presentation options and forms of communication does Neonyt have in store for the various components?  

Thimo Schwenzfeier: The combined innovative power of technology, sustainability and digitization is an important driver of the current developments in the textile and fashion industry - including the topic of circularity. Processes and production sequences are changing along the entire value chain - the industry has to reinvent itself for the most part. Neonyt shows how this can work successfully in the long term, with the internationally established Fashionsustain conference format - including spin-offs in China, Europe and the USA - and the supplementary Showcase. Together, these two formats offer the ideal mix of orientation and inspiration to prepare the industry for the future. Virtual fashion, authentic brands and textile value chains, science and innovation as well as retail, business models and impact investment - at Fashionsustain, top-class experts will exchange ideas with an interested professional audience and discuss the change and new solutions in the textile and fashion industry. The Neonyt Showcase takes a deeper look at the topics and innovations presented and discussed on the Fashionsustain stage. Expert knowledge on-demand, so to speak: whether microfactories or installations - Neonyt brands as well as brands from the rest of the Texpertise Network of Messe Frankfurt, such as exhibitors at Texprocess, get the chance to present sustainable innovations, new technologies and materials, initiatives, change-maker campaigns or research projects. Here they interact directly and practically with Neonyt's international cross-sector community.
 

Last year was an unprecedented challenge for trade show companies due to the pandemic situation. Neonyt was also affected by this - and physical events had to be canceled. With a digital format "Neonyt on Air" you have tried to offer exhibitors and visitors an alternative platform. What has been your experience: Did the focus of the trade show and its community perhaps even help to make such a virtual event easier to launch? 

Olaf Schmidt: Corona has already changed a lot and will certainly continue to do so in one way or another. Nevertheless, it will continue to be our task as trade show organizers to offer the industry the best possible meeting platforms for presenting their new products worldwide. We are convinced that people will continue to want to meet in person and discuss new products as well as services in the future. This is particularly the case in the textile sector, where haptics plays a very crucial role. We expect that there will even be a certain catch-up effect after the crisis. Because what the last two very successful digital seasons of Neonyt on Air, for example, have nevertheless shown clearly: Fashion lives from personalities, presentation and inspiration. Digital formats can support this, but they cannot fully replace it.
 
Thimo Schwenzfeier: The digital Neonyt on Air was far from being a total replacement for the original physical seasons, but nevertheless a huge success. For one week, fashion, lifestyle and digital experts were discussing about more authenticity, immediacy and transparency in the textile and fashion industry in numerous keynotes, interviews and panel discussions. With more than 24,000 international followers on Instagram, we generated around 50,000 impressions and more than 4,700 content interactions with our presenting partners Grüner Knopf, Hessnatur and Oeko-Tex in just five days. These figures show, that the topic of sustainability has arrived in the middle of society and is being discussed across all industries. I think that the polarization and, above all, the prevailing restrictions, as far as trade and commerce are concerned, have certainly contributed to holding a successful digital format. Digitization was truly the booster for the fashion industry in this case: Instead of replacing personal exchange, it helps to maintain and expand the business activities of brands, especially in the current times. And quite clearly, the need for exchange in the fashion industry and the motivation to initiate together a change are still enormous. Neonyt on Air has once again shown us that clearly. However, we are already looking forward to the next physical edition of Neonyt.
 

The COVID-19 pandemic has also left its mark on the textile and clothing industry. When you look back on just under a year of "state of emergency" - what positive experiences do you take with you, where do you see a need for improvement, for what support are you grateful for and where did you feel you were left on your own? 

Olaf Schmidt: A year like no other - that can clearly be said about the last one. The Corona pandemic caught everyone off guard - us as trade show organizers, but of course also our exhibitors, visitors and partners. Especially in the near future, we must continue to expect, that trade shows can only be held under stricter health and safety regulations at first. Messe Frankfurt reacted quickly and developed a comprehensive safety and hygiene concept. One thing was clear: we all had to adjust and deal with a new situation. And so far, we've done a great job together, the team understanding among each other, the close contact - although physically at a distance, but globally networked - between all those involved, makes me feel positive about the future. For me, an important realization of this global pandemic, a credo almost, is to be open to new ways and opportunities and to find ways to combine things rather than separate them: Hybrid solutions, so to speak.    

Thimo Schwenzfeier: There was no master plan for Neonyt, and in places there was also the impression that we now had to "reinvent the wheel": How does collaboration work when face-to-face meetings cannot take place? Can digitized contact compensate for the social distancing that is currently being imposed and still make it possible to work closely together? How can business relationships be maintained when stores are closed? How can priorities be set when well-tested solutions and established annual plans lose their validity? Who am I, who are 'the others' and what defines community? Never have questions about our creation and existence, about what makes us who we are and what we want to be, been more relevant than right now. One thing that I take away from the current situation and that allows me to continue to look forward positively despite difficult circumstances is the fact, that cohesion and solidarity with one another - both privately and professionally - have become increasingly important. Like a magnifying glass, the crisis has magnified existing opportunities, but also challenges, and brought the essentials into focus. I think that if we continue to try to experience things more consciously and not take them for granted, we will manage together to create a " new normal " and leave this crisis with more strength.
 

As in the past in Berlin, Neonyt is currently also located in Frankfurt in the environment of the Fashion Week and conventional trade shows. Can you imagine that a special event concept like Neonyt will be unnecessary in a few years, because the circularity concept will have established itself in the clothing industry worldwide?

Olaf Schmidt: A clear no. Sustainability per se is already no longer a unique selling point. The important thing is to keep up with the times, to follow trends or, even better, to track down new trends yourself and develop them further. Things, strategies, concepts will always change - if last year showed us one thing, it was certainly that. It is more than desirable that we all learn from this crisis and reflect on the really important values, on solidarity between partners, on climate protection and sustainability. It may be exactly for this reason, that companies that place particular emphasis on sustainability will emerge even stronger from this crisis. So you can be sure that we, as a leading international trade show organizer for the textile industry, will continue to focus on sustainability and support future-oriented companies and solutions. However, this will not make our formats obsolete due to the establishment and normalization of holistic business practices in the textile industry. But it is impossible to make an exact forecast for the coming decades. Over the last few months, we have all noticed ourselves in our personal everyday lives or in our professional lives, how uncertain and volatile the future is. What is clear, however, is that the fashion industry - the world in general - will change even faster than before. And therein lies the opportunity for formats like Neonyt. The ten-year history shows in how many directions Neonyt has already developed, content focal points have been shifted and it has reinvented itself - this will also be the case in the future.
 

Mr. Schwenzfeier, in addition to your role as Director of Marketing Communications for Messe Frankfurt's textile exhibitions, you have also been Show Director of Neonyt since 2018. You have spoken to many exhibitors and visitors - which ideas or creations have particularly impressed you?

Thimo Schwenzfeier: I think it's not so much the individual innovations or creations of the exhibitors at our trade shows. And I deliberately choose the plural here. Because in my function as Director of Marketing Communications in the Textiles & Textile Technologies division of Messe Frankfurt, Neonyt is just one of "my" events. I think it's more the variety of fashion, technical and professional innovations that brands, labels, companies, start-ups and designers present every year. But if I really had to choose one innovation, it would probably be the vegan "Currywurst" sneakers made of red pepper and recycled PET bottles - the same label also offers shoes made of wood, stone, coffee and mushrooms or now even meteorite particles. It is impressive to experience every season anew of how creative the textile and fashion industry is.
 

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, about which entrepreneurial decision by Messe Frankfurt are you particularly glad, that you made?
 
Olaf Schmidt: Clearly the decision to create Neonyt. To establish our own trade show format for fashion, sustainability and innovation and to integrate the freedom and lifestyle, which entail this topic, into our event. After more than a decade, we may be saying goodbye to Berlin in 2021, but not to our community and our spirit. Together we look back on many fashionable seasons and great locations in the capital: starting in the Hotel Adlon Kempinski to the Ewerk, the Postbahnhof, the Kronprinzenpalais, the Funkhaus and the Kraftwerk to the last physical event in Tempelhof. With the turn of the year and in the setting of Frankfurt Fashion Week, Neonyt is about to move to the metropolis by the Main. In Frankfurt, worlds collide: Skyscrapers and 19th-century villas. Architectural sins and masterpieces. Business and middle class. Red-light district and luxury boulevard. Frankfurt Fashion Week sets new impulses in this area of conflict. And in the middle of all this is Neonyt. The signs are pointing to a new beginning - a restart for the entire fashion industry, together we are taking sustainability to the next level - the focus topics Applied Sustainability and Applied Digitization are creating a completely new Fashion Week ecosystem in the metropolis by the Main.
 

If everything works out, Neonyt can be held again as a face-to-face event for the first time in July 2021. What are your plans? What and who can visitors look forward to? And what backup is there for a worst-case scenario?

Thimo Schwenzfeier: Of course, due to the currently ongoing tense situation around Covid-19, it is difficult to make binding statements about the next physical event. However, we are cur rently expecting the situation to ease into the summer summer 2021 is therefore on the health of everyone - exhibitors, visitors, partners and employees of Neonyt. Messe Frankfurt has developed a concept that includes detailed hygienic measures: Hygiene, distance and fresh air supply are important factors, which we coordinate with the responsible authorities in Frankfurt and those in charge of Frankfurt Fashion Week. In due course, the Neonyt community will receive advice and recommendations for the trade show attendance and participation, that comply with current regulations. We have not yet thought about a concrete backup for a worst-case scenario, as we are currently anticipating a physical B2B event - but the last two seasons have shown, should it not be possible to hold the Neonyt face-to-face, that we are quite well positioned with the digital Neonyt on Air and could certainly adapt the format for another summer event. We regularly exchange ideas with all market participants and try to get a sense of opinions and wishes from our community through surveys. Wait and see, one might say - in the end, we also have to act according to what the current health situation allows and what decisions are made by politicians.

The Interview was conducted by Ines Chucholowius,
Managing Partner, Textination GmbH

ECO-FASHION GREENSHOWROOM UND ETHICAL FASHION SHOW BERLIN MESSE-DUO MIT HOCHKLASSIGEM RAHMENPROGRAMM © Messe Frankfurt Exhibition GmbH
14.06.2016

ECO-FASHION GREENSHOWROOM UND ETHICAL FASHION SHOW BERLIN MESSE-DUO MIT HOCHKLASSIGEM RAHMENPROGRAMM

  • DTB Info Day: CSR-focused series of talks on the Wednesday of the trade fair
  • Three-day programme: fashion shows, talks, podium discussions and tours
With an extensive event programme, the two trade fairs for eco-fashion, Greenshowroom and Ethical Fashion Show Berlin, will provide a comprehensive update on sustainability and fashion-related issues. From 28-30 June 2016, the talks, podium discussions and tours will provide first-rate information and networking opportunities. Well-known representatives from the worlds of fashion, politics, film and television are expected to attend the podium discussions and be in the audience. The two fashion shows "Salonshow" and "Ethical Fashion on Stage" promise an increased glamour factor.
  • DTB Info Day: CSR-focused series of talks on the Wednesday of the trade fair
  • Three-day programme: fashion shows, talks, podium discussions and tours
With an extensive event programme, the two trade fairs for eco-fashion, Greenshowroom and Ethical Fashion Show Berlin, will provide a comprehensive update on sustainability and fashion-related issues. From 28-30 June 2016, the talks, podium discussions and tours will provide first-rate information and networking opportunities. Well-known representatives from the worlds of fashion, politics, film and television are expected to attend the podium discussions and be in the audience. The two fashion shows "Salonshow" and "Ethical Fashion on Stage" promise an increased glamour factor. Invited guests can look forward to catwalk presentations by international Designers.
 
All eyes will be on the catwalk from the very first day of the trade fair onwards (Tuesday 28 June): The event will kick off with the "Salonshow" as an official offshoot event of the Mercedes-Benz Fashion Week Berlin. From 3 p.m. onwards, designers from Greenshowroom will present selected high fashion looks from their 2017 summer collections in the Club of the Postbahnhof. The show will be given a new Parisian slant: designer Eymeric François will be working on the staging of the salon show for the first time. As a director of numerous fashion shows, he has already enjoyed much success at Messe Frankfurt's textile trade fairs in Paris. 'The challenge lies in creating a highly professional internationally-oriented show that is up-to-date with trends and also retains the ethical aspect', explains François about the aim of the event.
 
Part two of the show programme follows at 5 p.m.: the catwalk show "Ethical Fashion on Stage" showcases street and casualwear. Lavera will also present the winner of the Lavera Green Fashion Awards, Ina Budde. The designer and founder of Design for Circularity has developed a circular collection for the label Jan'n June – which can be seen live at "Ethical Fashion on Stage".
 
The second day of the trade fair (Wednesday 29 June) focuses on CSR: for the first time, the Dialog Textil-Bekleidung (DTB) will host its CSR day in cooperation with Messe Frankfurt. There will also be a whole-day symposium held in the Club of the Postbahnhof entitled "Responsible Management of Supply Chains – Social Compliance and Chemical Input". The agenda includes topics such as "The consequences of globalised trade", "Corporate Responsibility Review 2016" and "Transparent and sustainable sourcing". An open panel discussion on the theme of "The Emperor's New Clothes – is transparency coming to the fashion world?" invites attendees to discuss practical questions in greater depth with speakers, exhibitors and companies.
 
On the third day of the trade fair (Thursday 30 June), a comprehensive programme awaits – with presentations by Fairtrade Deutschland, GOTS and IVN, Textile Exchange and Fair Wear Foundation. Renate Künast (Bündnis 90/Die Grünen), Stefan Genth (HDE Handelsverband Deutschland),  Matthias Hebeler (Brainshirt) and Claudia Lanius (Lanius) will discuss transparency in the supply chain at 2 p.m.

An overview of the programme (location: Club at the Postbahnhof):
Tuesday 28 June 2016

10 a.m. Opening. In German.
10.30 a.m. Press tour following the opening (start point: press Lounge)
11 a.m. Press conference TransFair e.V. "Designing supply chains to be sustainable – Fairtrade textile standards and textile plan" (location: press lounge, upper floor, Postbahnhof). In German.
2 p.m. Press tour (start point: press Lounge)
3 p.m. Salonshow with outfits by Austriandesign.at, Bhusattva, Carpasus, Cocccon, Elementum by Daniela Pais, Elisa F., Heartcouture, Inti Ferreira, Lanius, Soome, Studio Elsien Gringhuis, Studio Jux, Tuschimo. Invitation only!
5 p.m. Ethical Fashion on Stage with outfits by Anzüglich organic and fair, Chapati, Daily´s Nothings Better, De'qua, Get Lazy, La Robe d'Inna, Milena with Love, Mud Jeans, Najha, Noumenon, Päälä, Tijar, Tranquillo, Verena Bellutti. Invitation only!

Wednesday 29 June 2016
DTB Infotag – Responsible Management of Supply Chains Social Compliance and Chemical Input
Moderation: Rolf Heimann, Vorstand, hessnatur Stiftung

10.00 a.m. Welcome and introduction by the DTB and Messe Frankfurt
10.15 a.m. "The consequences of global free trade", Dr Sabine Ferenschild, Research Assistant, Südwind e.V.
10.45 a.m. "Corporate Responsibility Review 2016 – annual report on global corporate responsibility", Lisa Häuser, Senior Analyst, Oekom Research AG
11.30 a.m. "Transparent and sustainable sourcing", Deniz Thiede, Managing Director, ATICS GmbH
11.50 a.m. "Sustainability, REACH etc. – Quo Vadis?“, Dr Dirk von Czarnowski, Vice President Global Chemical, Intertek Holding Deutschland GmbH
12.15 a.m. Guided tour(s) of the trade fairs
1.45 p.m. Update on the Partnership for Sustainable Textiles, Dr Bernhard Felmberg, assistant state secretary, Federal Ministry for Economic Cooperation and Development
2 p.m.  Presentation of a collaborative project to promote sustainability, Carolin Bohrke, hessnatur Stiftung
2.20 p.m. "Best practices in supply chain management transparency", Prof. Patrick Kugler, HAW Hamburg
2.40 p.m. "Company-customer relationships in a CSR context", Prof. Rudolf Voller, Hochschule Niederrhein
3.15 p.m. "The Emperor's New Clothes – is transparency coming to the fashion industry?" Panel discussion with speakers, exhibitors and companies in the industry
12.30 p.m. Press conference Bündnis für nachhaltige Textilien / GiZ (location: press lounge, upper floor, Postbahnhof)

Thursday 30 June 2016

10 a.m. Talk “The true costs of cotton", Mariska Przyklenk, Fairtrade Deutschland. In German.
11.30 a.m. Talk "GOTS and IVN-Best summarised. How the certification ensures that you can meet the requirements of governmental and non-governmental organisations", Claudia Kersten, GOTS und Heike Scheuer, IVN. In German.
1 p.m. Talk "More sustainable fibres and materials – from vision to volume", Simone Seisl, Textile Exchange. In German.
2 p.m. Podium discussion "Transparency in the supply chain", with Renate Künast (MdB, Bündnis 90/Die Grünen), Stefan Genth (Managing Director HDE Handelsverband Deutschland), Matthias Hebeler (Managing Director Brainshirt), Claudia Lanius (Managing Director Lanius). In German.
3.30 p.m. Talk and interactive game: "Fair Wear Foundation towards sustainable global garment supply chains", Andrea Spithoff and Maaike Payet, Fair Wear Foundation. In English.

 

Videos, photos and other Information:
www.greenshowroom.com
www.ethicalfashionshowberlin.com
www.facebook.com/greenshowroom
www.facebook.com/ethicalfashionshowberlin
www.youtube.com/greenshowroom
www.youtube.com/EFSBerlin
www.instagram.com/greenshowroom
www.instagram.com/ethicalfashionshowberlin