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Photo: pixabay
08.02.2023

6 out of 10 consumers pay attention to sustainability criteria when shopping

ESG aspects are most important to consumers when it comes to food and clothing. Young people in particular demand information and transparency: sustainability labels, certifications and reports ensure trust. For retailers and manufacturers, sustainability is becoming a must.

Under what conditions are the cows kept whose milk I drink? Does the manufacturer of my new T-shirt tolerate child labor? Does the retailer I trust deal fairly with employees and business partners? The majority of Germans ask themselves questions like these before making a purchasing decision. When shopping, 59 percent of consumers always or at least frequently pay attention to the ecological, economic or social sustainability of retailers and manufacturers. Among those under 35, the figure is even hugher with two-thirds, and among those over 55, one in two. These are the findings of a representative survey of 1,000 people in Germany commissioned by the auditing and consulting firm PwC Germany.

ESG aspects are most important to consumers when it comes to food and clothing. Young people in particular demand information and transparency: sustainability labels, certifications and reports ensure trust. For retailers and manufacturers, sustainability is becoming a must.

Under what conditions are the cows kept whose milk I drink? Does the manufacturer of my new T-shirt tolerate child labor? Does the retailer I trust deal fairly with employees and business partners? The majority of Germans ask themselves questions like these before making a purchasing decision. When shopping, 59 percent of consumers always or at least frequently pay attention to the ecological, economic or social sustainability of retailers and manufacturers. Among those under 35, the figure is even hugher with two-thirds, and among those over 55, one in two. These are the findings of a representative survey of 1,000 people in Germany commissioned by the auditing and consulting firm PwC Germany.

Sustainability is no longer a question of "if", but "how".
"Sustainability has become mainstream in recent years. For companies, paying attention to sustainability in their supply chains has already become a must," comments Dr. Christian Wulff. The Head of Retail and Consumer Goods at PwC Germany is convinced that companies will already have to give good reasons in the near future if they do not pay attention to the environment, social aspects and good corporate governance when producing a product. "The issue of sustainability is therefore no longer a question of whether, but of how," the retail expert continues.

Sustainability includes various aspects in the three areas of environment, social and sustainable governance (ESG). In the case of environmental sustainability, the focus is on issues relating to animal welfare - such as the conditions in which animals are kept or animal testing - and the use of recyclable materials. 40 percent of Germans would like to be informed about this before making a purchase. In the social sphere, the majority of respondents would like to know whether retailers and manufacturers comply with human rights (58 percent) - for example, whether they tolerate forced or child labor in their value chains. In terms of governance, one in two respondents would like to know about supply chains and be able to trace products before making a purchase.

Sustainability is particularly important for food
How closely consumers look at sustainability also depends on the product: For example, sustainability is particularly important to them when it comes to food. 81 percent of Germans pay attention to at least one of the three ESG criteria when buying food, i.e. environment, social issues or good corporate governance. But these criteria are also relevant when buying textiles: As many as 63 percent say they look at how sustainably the item was produced when buying clothing or shoes. While environmental aspects play the biggest role for food (62 percent), consumers are paying more attention to social aspects for clothing, shoes and accessories (52 percent).

Almost every second person has recently switched to sustainable products
The growing importance of ESG aspects in the purchasing behavior of German consumers is also evidenced by the shifts toward buying sustainable products. The trend toward sustainable products is clearest in the case of food: 45 percent of respondents state that they have consciously switched to more sustainable products within the past two years. By contrast, only 17 percent admit to switching (back) to less sustainable products, with one in three stating a lack of financial resources as the reason.

For just under half of those surveyed, a possible switch to more sustainable products would be supported by better availability in stationary retail. Legal regulations are also seen as helpful, both in terms of product labeling (38 percent) and for the production process (37 percent). More eye-catching product placement in stores would also help (37 percent).

Young people in particular demand transparency and education
Consumers' need for transparency in ESG matters is significant: According to the survey, almost three quarters of Germans obtain information about environmental sustainability issues at least occasionally. Two-thirds research aspects of social sustainability. A good half regularly find out about sustainable corporate governance.

Age has a major influence on how intensively people deal with the issue: While 80 percent of 16- to 24-year-olds find out about the environmental aspects of a product before buying it, only 59 percent of those over 65 do. "Younger people in particular are actively informing themselves and demanding transparency around ESG criteria," sums up Christian Wulff.

Consumers want information on packaging and online
To meet this need for information, the PwC expert advises manufacturers and retailers to provide detailed information about ESG aspects of products, especially online. "Keeping the associated, significantly increasing flood of data up to date at all times is increasingly becoming a challenge for companies that can only be solved by significant investments in new technologies."

Consumers agree on what companies can do to lend more credibility to their sustainability activities: A solid two-thirds consider recognized sustainability labels, certifications or independently audited sustainability reports to be suitable for credibly communicating activities in terms of ESG. "The results of our survey show that labels and independent certifications are very important in gaining the trust of customers. It is therefore worthwhile to have ESG measures confirmed by external organizations," says Christian Wulff.

Retailers and manufacturers should focus on transparency
"Manufacturers and retailers are faced with the task of ensuring a high level of transparency with regard to the sustainability of their products. This calls for honesty, but also creativity: In the case of fashion, for example, it is conceivable to trace the individual stages of the supply chain in detail and to show the costs incurred in the process. In this way, consumers can understand exactly how a price comes about," concludes Christian Wulff.

Source:

PwC / Textination

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.

Volker Nienstedt, Coco Ruch, Frithjof Rödel (c) Marcel Krummrich. Volker Nienstedt, Coco Ruch, Frithjof Rödel
01.06.2021

Textile Art: People need Art - Art needs People

With her textile project "kunst.werke" [art.works], artist Britta Schatton draws attention to Thuringia's diverse art and cultural landscape. Together with photographer Marcel Krummrich, she portrays nine members of the Thuringian art world. The decisive and binding accessory is a hand-dyed and hand-printed scarf made of merino wool-silk-felt, that is individually produced for each artist - each unique piece is created from the personal perception of the respective wearer.

The pandemic has forced many artists to look for another, a virtual audience, due to the restrictions. This was not always successful. Therefore, it is part of the project to give all portrayed a voice about their personal situation in the time determined by Corona. These statements are to be heard on virtual stages.

With her textile project "kunst.werke" [art.works], artist Britta Schatton draws attention to Thuringia's diverse art and cultural landscape. Together with photographer Marcel Krummrich, she portrays nine members of the Thuringian art world. The decisive and binding accessory is a hand-dyed and hand-printed scarf made of merino wool-silk-felt, that is individually produced for each artist - each unique piece is created from the personal perception of the respective wearer.

The pandemic has forced many artists to look for another, a virtual audience, due to the restrictions. This was not always successful. Therefore, it is part of the project to give all portrayed a voice about their personal situation in the time determined by Corona. These statements are to be heard on virtual stages.

Britta Schatton emphasizes: “We all share the basic need to regularly experience and create art and culture as an integral part of life - even in times of pandemic. People need art - art needs people. Especially in pandemic times, when art and culture are increasingly threatened existentially."

The freelance artist prefers to work with felt and has completed her education at the Filzschule Oberrot in Baden-Württemberg under the guidance of Inge Bauer, Beatriz Schaaf-Giesser and Lyda Rump. Since 2012, qualifications with national and international textile artists such as Liz Clay (GB), Pam de Groot (AU), Britta Ankenbauer (DE), Ricarda Aßmann (DE) and Ute Herre (DE) followed. In 2014 she became a member of the artist group TAT Textil Art Thüringen.
          
In 2021, she received a special grant from the Free State of Thuringia for the "kunst.werke" project and was assigned to design the honorary awards for the Bundesgartenschau (Federal Garden Show), which will take place in Erfurt in 2021.

An exhibition of the portraits can be seen in the store gallery ARTenVielfalt of Britta Schatton in Erfurt. Part of the revenue from the sale of the scarves and loops from the limited series will be used to support an institution for the promotion of youth art.

EuroShop 2017 © Messe Duesseldorf / ctillmann
18.10.2016

EUROSHOP 2017 – DISPLAY MANNEQUINS: REAL MOOD BOOSTERS!

  • Visual marketing increases in importance for offline retail in view of e-Commerce competitors
  • Display mannequins are in focus for this
  • Emotionalising is decisive
  • Individuality and flexibility are also demanded
  • There is a shift towards semi-abstract mannequins with regional and genre differences
  • Proportion of customised mannequins is rising
  • Sustainability remains an issue

EuroShop is one of those trade fairs always teeming with visual highlights. Guaranteed to present a special treat here is, of course, the Visual Merchandising Hall, the exhibition place of display mannequins and store window decorations. March 2017 will see Hall 11 of Düsseldorf Exhibition Centre (instead of Hall 4 previously), become a POS experience guaranteed to attract plenty of attention.

  • Visual marketing increases in importance for offline retail in view of e-Commerce competitors
  • Display mannequins are in focus for this
  • Emotionalising is decisive
  • Individuality and flexibility are also demanded
  • There is a shift towards semi-abstract mannequins with regional and genre differences
  • Proportion of customised mannequins is rising
  • Sustainability remains an issue

EuroShop is one of those trade fairs always teeming with visual highlights. Guaranteed to present a special treat here is, of course, the Visual Merchandising Hall, the exhibition place of display mannequins and store window decorations. March 2017 will see Hall 11 of Düsseldorf Exhibition Centre (instead of Hall 4 previously), become a POS experience guaranteed to attract plenty of attention. After all, in view of the e-Commerce competition, visual marketing and the resulting emotional, personalised appearance will become more and more important for bricks-and-mortar retailers. “Consumers’ emotional needs will become the overriding theme for EuroShop,” says Andreas Gesswein, CEO of Genesis Display from Auetal, with conviction.

Display mannequins hold special emotionalising potential. It is not by chance that Düsseldorf visual artist Domagoj Mrsic once presented them as “super heroes” in one of his stagings - as Superman and Wonder Woman, Batman and Catwoman, Spiderman and Spiderwoman. Provided the displays are done well mannequins are in a way real heroes. With their appearance, their posture, gestures and mimics they can really breathe life into shop windows and in-store decorations, serve as sales-promoting tools or arouse empathy, interest and curiosity. And if they are not just headless and very abstract they even give retail stores and brands a profile and signature style. With the power of their poses they send out a clear signal as to which target group is addressed, which degree of fashion and price range is served. Moreover, when arranged in groups, they can serve as story-tellers for passers-by. Unforgettable was the “Ugly’s” line of mannequins by supplier Hans Boodt, which mimicked “real-life” men rather than V-shaped boys with six packs. It included both a long, tall one and a short, fat one dressed in passion-killing underwear. “The new generation of mannequins will say more about the brand. They will participate in communicating more about each brand’s essential values and set them apart from the competition”, says Jean-Marc Mesguich, CEO of Window France headquartered in Carros.

The portfolio offered by the display mannequin industry is wide and varied: in addition to top-model lookalikes it features plus-size beauties, Europeans, Africans and Asians, the afore-mentioned super heroes and funny common people. Kissing couples feature alongside sumo wrestlers. In line with the motto "don't take yourself too seriously", vendors have long also included dogs and cats; and even chameleons since many mannequins prove to be true artists of disguise. “Cameleon”, for example, is a patented concept of Window France: Hundreds of eyes and lips are available to chose from, eye-lashes can be glued on, wigs attached/detached, different make-ups applied or the whole face can be replaced with the help of magnets – in brief, all it takes to ensure a constantly refreshed POS appearance. Add to this what is by now a huge range of colours and materials: surfaces from velvet and rubber are just as common these days as are metallic varnishes or concrete and copper coatings.     

In view of what has been presented over the past few years you may wonder what might come next. Although the majority of fashion retailers and brands have not nearly exploited the full potential already available today. In the past few years abstract mannequins were in highest demand. “They are fit for many applications and easy to handle, since no wigs or make-up have to be styled,” says Andreas Gesswein (Genesis Display) accounting for reasons and adds: “But they are also easier to copy and therefore available in every price segment.” In practice, efficiency sometimes clearly “overrides” emotion. “But when stores do not stand out with the image they project they do not prompt shoppers to enter either,” says Jean-Marc Mesguich (Window France). And for EuroShop 2017 Window France will definitely have far more in store than “exciting variations of the abstract theme”.

Faces are back again

The fact is: just like the fashion they are wearing, display mannequins follow trends. Triggered by a desire to cut a sharper profile and stronger expression, industry insiders have seen a trend towards semi-abstract mannequins. “A face is at least alluded to. Mannequins are less neutral and it becomes visible: Retailers want to make a statement again showing their true colours. There is a trend towards addressing target groups with a more high-profile message,” explains Cornel Klugmann, Country Manager for the D-A-CH region at Hans Boodt from the Dutch city of Zwijndrecht. Monica Ceruti, in charge of PR & Communication at Almax from Mariano Comense/Italy, agrees: “It is true that demand for abstract mannequins continues to be high but there is a clear trend towards more realistic facial characteristics. This includes such details as the application of eyelashes or wigs. And dynamic postures are also getting more popular again.”

Andreas Gesswein (Genesis Display) remarks: “Especially in the luxury segment we are registering stronger demand for more realistic mannequins with faces and emotional facial expressions that brands are looking for to stand out from the rest.” A trend that Jean-Marc Mesguich (Window France) confirms: “The Haute Couture brands have already abandoned the egghead in exchange for something that will have more impact and - more importantly - get people talking about their brand.” He adds: “The growing trend of viewing fashion and fashion windows online is pushing brands to make more attractive windows and to change their displays on a more regular basis.”

The days of faceless “eggheads” seem to be over. And above and beyond this? “The look and feel is becoming more and more high-end. White and grey are replacing darker shades, glossy replaces matt and aspirational looks with more charisma are more in demand,” says Cornel Klugmann (Hans Boodt). Monica Ceruti (Almax) sees great potential in “handcrafted looks”. This means torsos with and without arms with different materials for the individual components – pedestal, torso and head – and wood as well as metallic surfaces all set the tone here. Sabrina Ciofi from Design Office La Rosa from Palazzolo Milanese/Italy summarises the “principal themes of tomorrow” as follows: “Customers demand high product quality, the right price, maximum after-sales service and high product flexibility and/or diversity.” This statement should be valid across national borders. Otherwise she says despite all the globalisation: “There are as many trends as there are markets.” Monica Ceruti (Almax) concretized: “In Europe and the USA the differences are not fundamental. In the Middle East, however, mannequins without realistic traits continue to be in demand for religious and cultural reasons. This applies especially to female display mannequins.”

Customised becomes cheaper

Producers report that the percentage of customised mannequins is generally rising. These display mannequins are individually and exclusively manufactured to customers’ specifications. In this way retail companies and brands can stand out from their competitors and consistently leverage their CI. At Hans Boodt, for example, the proportion of customised mannequins is now said to be as high as 75%. And thanks to cost-cutting process optimisation it is expected to rise even further. Like Window France these Dutch vendors have now discovered 3D printing which can serve their purposes and their buyers. While in the past prototypes used to be elaborately modelled by sculptors in clay, these can now be “printed” in a time and cost-saving manner. “On top of this, the process is even more true to life and detailed,” delights Cornel Klugmann (Hans Boodt). Graphic designers create the desired mannequins with CAD systems where all the details can be freely configured. Then the files are uploaded to the printer that puts them into practice 1:1. “We can respond to trends so much faster and at the end of the day also design more new collections each year”, Klugmann explains further benefits. Jean-Marc Mesguich (Window France) adds: “Thanks to 3D we can create mannequins that really correspond to each and every brand and every brand’s precise image, to be perfectly in-sync with their public. This is an important evolution in the role that mannequins play.”

Alongside process optimisation sustainability remains important for the sector. “The fashion sector is now highly aware of this topic and attaches importance to its suppliers also complying with the relevant criteria,” explains Monica Ceruti (Almax).   The other market players polled also share this view. For La Rosa, whose mannequins are exclusively designed and manufactured in Italy, sustainability is an integral part of quality. By their own accounts, the Italians have analysed the whole life cycle of their mannequins with a view to minimising their ecological footprint. Almost half of the polystyrene used, they say, is recycled which saves substantial amounts of crude oil and carbon dioxide emissions. On top of this, La Rosa takes back its products after use and re-introduces them into the material cycle. Production operations work with a carbon-capture system, the cooling towers use process water, energy is generated by the company’s own PV park. Andreas Gesswein (Genesis Display) also underscores the importance of this topic: “Our customers focus on trust, honesty and partnership-based cooperation. And this includes providing evidence of sustainability rather than copying other peoples’ marketing straplines. In cooperation with Dupont Tate and Lyle BioProducts we have increased the percentage of biomass in our mannequins even further over the past few years, just the same way we constantly check and optimise our materials, packaging and transport routes for sustainability.” Hans Boodt is also opting for an interesting avenue. The company currently studies whether ocean plastics could be used as a raw material for production.

EuroShop as an opportunity of the future

The display mannequin market is and will be in motion – both on the supply and demand sides. “There are customers who buy their mannequins cheaply online and others who are interested in top quality, professional consulting and holistic visual-merchandising concepts,” explain Andreas Gesswein (Genesis Display) and Cornel Klugmann (Hans Boodt). There should be no doubt about who they expect to be more successful. Andreas Gesswein: “The challenges are enormous. 2016 has been especially challenging for fashion retailers, also in Asia and the USA. Companies are faced with changed market and shopper behaviours. EuroShop 2017 will therefore probably be one of the most important ones since the fair's inception.” Jean-Marc Mesguich emphasizes: “I think that it is essential to be present at EuroShop. For both suppliers and clients. It is a sure way of exchanging views and helps pave the way forward for both parties. This year we are at a turning point in the market, so it will be even more useful for everyone.” Cornel Klugmann also recommends retail representatives to visit the trade fair: “Our innovative power is the opportunity for the future.”
 
EuroShop 2017 will be open to visitors daily from Sunday 5 March 2017 to Thursday 9 March 2015, 10:00 am to 6:00 pm. A day ticket is EUR 70 (EUR 50 for an e-ticket, purchased online in advance), 2-day ticket EUR 90 (e-ticket: EUR 70) and a 4-day ticket EUR 150 (e-ticket: EUR 130). Entrance tickets include free trips to and from EuroShop on all trains, buses and trams within the networks of the VRR transport authority (Verkehrsverbund-Rhein-Ruhr).