Textination Newsline

The low-cost FibeRobo, which is compatible with existing textile manufacturing techniques, could be used in adaptive performance wear or compression garments.

Researchers from MIT and Northeastern University developed a liquid crystal elastomer fiber that can change its shape in response to thermal stimuli. The fiber, which is fully compatible with existing textile manufacturing machinery, could be used to make morphing textiles, like a jacket that becomes more insulating to keep the wearer warm when temperatures drop.

Instead of needing a coat for each season, imagine having a jacket that would dynamically change shape so it becomes more insulating to keep you warm as the temperature drops.
A programmable, actuating fiber developed by an interdisciplinary team of MIT researchers could someday make this vision a reality. Known as FibeRobo, the fiber contracts in response to an increase in temperature, then self-reverses when the temperature decreases, without any embedded sensors or other hard components.

The low-cost fiber is fully compatible with textile manufacturing techniques, including weaving looms, embroidery, and industrial knitting machines, and can be produced continuously by the kilometer. This could enable designers to easily incorporate actuation and sensing capabilities into a wide range of fabrics for myriad applications.

The fibers can also be combined with conductive thread, which acts as a heating element when electric current runs through it. In this way, the fibers actuate using electricity, which offers a user digital control over a textile’s form. For instance, a fabric could change shape based on any piece of digital information, such as readings from a heart rate sensor.

“We use textiles for everything. We make planes with fiber-reinforced composites, we cover the International Space Station with a radiation-shielding fabric, we use them for personal expression and performance wear. So much of our environment is adaptive and responsive, but the one thing that needs to be the most adaptive and responsive — textiles — is completely inert,” says Jack Forman, a graduate student in the Tangible Media Group of the MIT Media Lab, with a secondary affiliation at the Center for Bits and Atoms, and lead author of a paper on the actuating fiber.

He is joined on the paper by 11 other researchers at MIT and Northeastern University, including his advisors, Professor Neil Gershenfeld, who leads the Center for Bits and Atoms, and Hiroshi Ishii, the Jerome B. Wiesner Professor of Media Arts and Sciences and director of the Tangible Media Group. The research will be presented at the ACM Symposium on User Interface Software and Technology.

Morphing materials
The MIT researchers wanted a fiber that could actuate silently and change its shape dramatically, while being compatible with common textile manufacturing procedures. To achieve this, they used a material known as liquid crystal elastomer (LCE).

A liquid crystal is a series of molecules that can flow like liquid, but when they’re allowed to settle, they stack into a periodic crystal arrangement. The researchers incorporate these crystal structures into an elastomer network, which is stretchy like a rubber band.

As the LCE material heats up, the crystal molecules fall out of alignment and pull the elastomer network together, causing the fiber to contract. When the heat is removed, the molecules return to their original alignment, and the material to its original length, Forman explains.

By carefully mixing chemicals to synthesize the LCE, the researchers can control the final properties of the fiber, such as its thickness or the temperature at which it actuates.

They perfected a preparation technique that creates LCE fiber which can actuate at skin-safe temperatures, making it suitable for wearable fabrics.

“There are a lot of knobs we can turn. It was a lot of work to come up with this process from scratch, but ultimately it gives us a lot of freedom for the resulting fiber,” he adds.
However, the researchers discovered that making fiber from LCE resin is a finicky process. Existing techniques often result in a fused mass that is impossible to unspool.

Researchers are also exploring other ways to make functional fibers, such as by incorporating hundreds of microscale digital chips into a polymer, utilizing an activated fluidic system, or including piezoelectric material that can convert sound vibrations into electrical signals.

Fiber fabrication
Forman built a machine using 3D-printed and laser-cut parts and basic electronics to overcome the fabrication challenges. He initially built the machine as part of the graduate-level course MAS.865 (Rapid-Prototyping of Rapid-Prototyping Machines: How to Make Something that Makes [almost] Anything).

To begin, the thick and viscous LCE resin is heated, and then slowly squeezed through a nozzle like that of a glue gun. As the resin comes out, it is cured carefully using UV lights that shine on both sides of the slowly extruding fiber.

If the light is too dim, the material will separate and drip out of the machine, but if it is too bright, clumps can form, which yields bumpy fibers.

Then the fiber is dipped in oil to give it a slippery coating and cured again, this time with UV lights turned up to full blast, creating a strong and smooth fiber. Finally, it is collected into a top spool and dipped in powder so it will slide easily into machines for textile manufacturing.
From chemical synthesis to finished spool, the process takes about a day and produces approximately a kilometer of ready-to-use fiber.

“At the end of the day, you don’t want a diva fiber. You want a fiber that, when you are working with it, falls into the ensemble of materials — one that you can work with just like any other fiber material, but then it has a lot of exciting new capabilities,” Forman says.

Creating such a fiber took a great deal of trial and error, as well as the collaboration of researchers with expertise in many disciplines, from chemistry to mechanical engineering to electronics to design.

The resulting fiber, called FibeRobo, can contract up to 40 percent without bending, actuate at skin-safe temperatures (the skin-safe version of the fiber contracts up to about 25 percent), and be produced with a low-cost setup for 20 cents per meter, which is about 60 times cheaper than commercially available shape-changing fibers.

The fiber can be incorporated into industrial sewing and knitting machines, as well as nonindustrial processes like hand looms or manual crocheting, without the need for any process modifications.
The MIT researchers used FibeRobo to demonstrate several applications, including an adaptive sports bra made by embroidery that tightens when the user begins exercising.

They also used an industrial knitting machine to create a compression jacket for Forman’s dog, whose name is Professor. The jacket would actuate and “hug” the dog based on a Bluetooth signal from Forman’s smartphone. Compression jackets are commonly used to alleviate the separation anxiety a dog can feel while its owner is away.

In the future, the researchers want to adjust the fiber’s chemical components so it can be recyclable or biodegradable. They also want to streamline the polymer synthesis process so users without wet lab expertise could make it on their own.

Forman is excited to see the FibeRobo applications other research groups identify as they build on these early results. In the long run, he hopes FibeRobo can become something a maker could buy in a craft store, just like a ball of yarn, and use to easily produce morphing fabrics.

“LCE fibers come to life when integrated into functional textiles. It is particularly fascinating to observe how the authors have explored creative textile designs using a variety of weaving and knitting patterns,” says Lining Yao, the Cooper-Siegel Associate Professor of Human Computer Interaction at Carnegie Mellon University, who was not involved with this work.

This research was supported, in part, by the William Asbjornsen Albert Memorial Fellowship, the Dr. Martin Luther King Jr. Visiting Professor Program, Toppan Printing Co., Honda Research, Chinese Scholarship Council, and Shima Seiki. The team included Ozgun Kilic Afsar, Sarah Nicita, Rosalie (Hsin-Ju) Lin, Liu Yang, Akshay Kothakonda, Zachary Gordon, and Cedric Honnet at MIT; and Megan Hofmann and Kristen Dorsey at Northeastern University.

Under the theme "New Sensitivity", textile transformation is the focus of Heimtextil Trends 24/25. Three approaches show ways to a more sensitive world of textiles: the plant-based production of textiles, the support of textile cycles by technology and the bioengineered use of natural ingredients. In addition, Future Materials curates regenerative materials and designs.
 
After last year's focus on circular solutions, Heimtextil Trends 24/25 will once again shed light on transformative textile innovations.
Under the title "New Sensitivity," the focus is on innovations and changes in the composition of textiles, in addition to aesthetic aspects. "In this context, sensitivity means considering the impact on the environment when making a decision or creating a product. Understanding how natural ecosystems work and prioritising balance as the default are key," says Anja Bisgaard Gaede, Founder of SPOTT trends & business.

How does New Sensitivity translate into something concrete in the lifestyle industry, and what does having a sensitive approach to design and products mean? Also the adoption of Artificial General Intelligence (AGI) is transforming current times. AGI has the potential to bring innovative solutions and help tackle significant challenges, also in the textile industry. However, AGI can have the opposite effect on society. AGI needs the mindset of New Sensitivity that helps simplify complexity, expand creativity, and find unseen solutions, also within the world of textiles.
     
"With Heimtextil Trends 24/25: New Sensitivity, we encourage the textile industry to approach the future with thoughtfulness and consideration. Specifically, we see this change in three different trends for a more sensitive world of textiles: biotechnical, plant-based and technological," Bisgaard Gaede continues.

Plant-based: textiles made from plant crops or plant by-products
Plant-based textiles mean that the fibres are derived from something that grows rather than being synthetically produced. The sustainable advantage of plant-based textiles is that their origin is natural and, therefore, more able to recirculate in existing ecosystems. They can be divided into two groups. The first group of textiles are made from plant crops. New resilient crops like cactus, hemp, abaca, seaweed, and rubber offer new sustainable textile solutions. Because of mechanical extraction, they can grow despite climate changes and require fewer chemicals in their development. The second group consists of textiles made of plant by-products which are leftover raw materials from production such as banana, olive, persimmon and hemp.

Technological: technology and technical solutions transforming textiles
Technology can support the transformation of textiles through the use of different methods: upcycling and recycling of textiles, textile construction, and textile design. Due to decades of production, textiles are now a material available in abundance. Developing technologies for recycling textile waste and methods for upcycling textiles increases the circular usage of existing textiles. Furthermore, old textile construction techniques also offer pathways to sustainable solutions: For instance, using knitting technology for furniture upholstery produces less fabric waste; alternatively, weaving technique allows the creation of several colours using only a few coloured yarns. Textile Design Thinking is another method that addresses critical issues such as energy usage and durability of natural fibres and enhances these through technological textile advancement.

Bio-engineered: engineered to enhance bio-degrading
To a certain degree, bio-engineered textiles represent a fusion of plant-based and technological textiles. Bio-engineering bridges nature and technology and transforms the way textiles are made. They can be divided into two directions: fully bio-engineered and bio-degradable textiles. In the production of fully bio-engineered textiles nature-inspired strategies are adopted. Instead of growing plants and extracting their fibres, textiles are made from the protein, carbohydrates, or bacteria in corn, grass, and cane sugar. Manufacturing involves a bio-molecular process that creates filaments which are made into yarn. The sustainable advantage of bio-engineered textiles is that they can have some of the same functionalities as synthetically produced textiles, while still being biodegradable because of their natural origin. Biodegradable fibres can be added to conventional textiles like polyester to enhance the conventional textiles’ ability to revert to materials found in nature and hence biodegrade in natural environments such as water or soil. Although not biodegrading completely, these bio-enhanced textiles will biodegrade up to 93 % compared to conventional textiles.

Heimtextil Trends 24/25: new colourways
A sensitive approach to colouring methods is expressed by a dynamic yet subtle colour palette created through natural pigments deriving from the earth, as traditional colouring processes are brought to the next level through innovative bioengineering technology. In pursuit of creating colours that evoke emotions in our senses while at the same time respecting our values in protecting the environment, we see colour bacteria growing pigments generating hues with great richness and depth.
               
This New Sensitivity includes acceptance of natural colour flows, as colours may fade with time or morph into new colourways. The colourways for Heimtextil Trends 24/25 were inspired by natural colours deriving from avocado seeds, algae, living bacteria, antique pigments such as raw sienna, and bio-engineered indigo and cochineal. The high black component in most colours allows for widespread application and a greater variety of combinations. The punchy saturated accents enhance our senses as they lift our spirits. In contrast, the grounding neutrals in different shades of grey, terra and even dark purple allow for calmness and tranquillity.

Future Materials: regenerative design
How are regenerative textiles and materials defined? Regenerative design is dedicated to developing holistic creative practices that restore or renew resources, have a positive impact on the environment, and encourage communities to thrive. For Heimtextil 2024, design futures consultancy FranklinTill is curating a global showcase of cutting-edge textiles and materials to illustrate the principles of regenerative design and recognize pioneering designers, producers and manufacturers who are at the forefront of regenerative design.
The Trend Space at Heimtextil in Frankfurt, Germany, January 9-12, 2023, will showcase these pioneering solutions in an inspiring way. In addition, Heimtextil Trends will offer visitors orientation and insights into the future of home and contract textiles in the form of workshops, lectures and other interactive formats.

Scientists hoping to reduce the environmental impact of the construction industry have developed a way to grow building materials using knitted moulds and the root network of fungi.

Although researchers have experimented with similar composites before, the shape and growth constraints of the organic material have made it hard to develop diverse applications that fulfil its potential. Using the knitted molds as a flexible framework or ‘formwork’, the scientists created a composite called ‘mycocrete’ which is stronger and more versatile in terms of shape and form, allowing the scientists to grow lightweight and relatively eco-friendly construction materials.

“Our ambition is to transform the look, feel and wellbeing of architectural spaces using mycelium in combination with biobased materials such as wool, sawdust and cellulose,” said Dr Jane Scott of Newcastle University, corresponding author of the paper in Frontiers in Bioengineering and Biotechnology. The research was carried out by a team of designers, engineers, and scientists in the Living Textiles Research Group, part of the Hub for Biotechnology in the Built Environment, a joint venture between Newcastle and Northumbria Universities which is funded by Research England.
 
Root networks
To make composites using mycelium, part of the root network of fungi, scientists mix mycelium spores with grains they can feed on and material that they can grow on. This mixture is packed into a mold and placed in a dark, humid, and warm environment so that the mycelium can grow, binding the substrate tightly together. Once it’s reached the right density, but before it starts to produce the fruiting bodies we call mushrooms, it is dried out. This process could provide a cheap, sustainable replacement for foam, timber, and plastic. But mycelium needs oxygen to grow, which constrains the size and shape of conventional rigid molds and limits current applications.
Knitted textiles offer a possible solution: oxygen-permeable molds that could change from flexible to stiff with the growth of the mycelium. But textiles can be too yielding, and it is difficult to pack the molds consistently. Scott and her colleagues set out to design a mycelium mixture and a production system that could exploit the potential of knitted forms.

“Knitting is an incredibly versatile 3D manufacturing system,” said Scott. “It is lightweight, flexible, and formable. The major advantage of knitting technology compared to other textile processes is the ability to knit 3D structures and forms with no seams and no waste.”

Samples of conventional mycelium composite were prepared by the scientists as controls, and grown alongside samples of mycocrete, which also contained paper powder, paper fiber clumps, water, glycerin, and xanthan gum. This paste was designed to be delivered into the knitted formwork with an injection gun to improve packing consistency: the paste needed to be liquid enough for the delivery system, but not so liquid that it failed to hold its shape.

Tubes for their planned test structure were knitted from merino yarn, sterilized, and fixed to a rigid structure while they were filled with the paste, so that changes in tension of the fabric would not affect the performance of the mycocrete.

Building the future
Once dried, samples were subjected to strength tests in tension, compression and flexion. The mycocrete samples proved to be stronger than the conventional mycelium composite samples and outperformed mycelium composites grown without knitted formwork. In addition, the porous knitted fabric of the formwork provided better oxygen availability, and the samples grown in it shrank less than most mycelium composite materials do when they are dried, suggesting more predictable and consistent manufacturing results could be achieved.
The team were also able to build a larger proof-of-concept prototype structure called BioKnit - a complex freestanding dome constructed in a single piece without joins that could prove to be weak points, thanks to the flexible knitted form.

“The mechanical performance of the mycocrete used in combination with permanent knitted formwork is a significant result, and a step towards the use of mycelium and textile biohybrids within construction,” said Scott. “In this paper we have specified particular yarns, substrates, and mycelium necessary to achieve a specific goal. However, there is extensive opportunity to adapt this formulation for different applications. Biofabricated architecture may require new machine technology to move textiles into the construction sector.”

 

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.

From high-performance textiles to compression and sportswear: The modular software program »TexMath« of the Fraunhofer Institute for Industrial Mathematics ITWM enables both the simulation of mechanical material properties and the optimization of textile products.

Accelerated development and optimized design of technical textiles while reducing experiments? The demand for techniques that can realize this is especially high in areas such as the sports, medical, and clothing industries. The »Technical Textiles« team of the  »Flow and Material Simulation« department at Fraunhofer ITWM has taken up this challenge and is developing simulation methods that allow efficient prediction of textile behavior under stretching, shear, bending, torsion, or compression. It is also possible to simulate wrinkling under stretching as well as shrinkage of yarns or critical shear angles throughout the manufacturing process.

The »TexMath« simulation software they developed ensures that process chains in production can be adapted to new materials in advance. Complicated patterns and layers can be mapped with the help of the software and a direct connection to the textile machine can be made. Desired woven, knitted and warp-knitted products are accurately simulated with the software and their material properties computed. In addition to evaluating a particular textile design using simulation, the tools also provide optimization of performance characteristics for different design variations. The goal of the software, according to team leader Dr. Julia Orlik, is to »realize the design according to product properties and target criteria.«

TexMath consists of several components: »MeshUp«, »FibreFEM« and »FIFST«. Each of the components included in TexMath has its specific field of application. In addition, the tools have interfaces to each other as well as connections to the software »GeoDict®« of the Fraunhofer spin-off Math2Market, which can be used, for example, to perform fluid mechanical simulations on the textiles.

One area of application for the TexMath software is the optimization of compression textiles for the medical sector or for sports. For optimal effectiveness, the fit of the material is particularly important. For example, the knitting process can be simulated with TexMath to create a bandage with predefined compression properties and thus design the optimal knitted fabric. This virtual bandage is then loaded in another simulation and put on a virtual arm or leg. Thanks to TexMath, the calculated pressure profile makes it possible to evaluate the compression properties of the bandage in advance and also to directly control the knitting machine according to the optimal design.

»TexMath can also be used to design spacer textiles, such as those used for the upper material of sports shoes and for the production of high-performance textiles, and to optimize them in advance in terms of structure and fluid mechanics,« say Dr. Julia Orlik and department head Dr. Konrad Steiner, naming further areas of application for the software.

The newly developed input interface is particularly user-friendly. The textile class (i.e. knitted, warp-knitted, woven and spacer fabrics) can be easily set. The new graphic interface allows simple and fast configuration.

MeshUp for Structure Generation of Woven Patterns and Stitches
Knitted and woven fabrics are produced with the aid of knitting or weaving machines. Each textile is based on a looping diagramm, which is read into the machine or is firmly pre-defined in the machine. MeshUp is the software module of TexMath, in which looping diagramm for various woven and knitted fabrics with different types of binding, the yarn path and all contact points between different yarns are created, graphically displayed and translated into the corresponding input formats for further simulations in TexMath with FISFT and FiberFEM. In addition, MeshUp also provides the geometry as volume data (voxel format) for calculation tools such as GeoDict and FeelMath.

FiberFEM to Calculate Effective Mechanical Properties of a Periodic Textile Structure
With FiberFEM, woven and braided textiles, spacer fabrics, scrims and trusses can be calculated and optimized regarding their effective mechanical material properties. A special feature of FiberFEM is that, in addition to tensile and shear properties, effective bending and torsional properties of textiles can also be determined based on their textile structure and yarn properties.

As input variables FiberFEM requires the microstructure description from MeshUp, the fiber cross-section geometry, as well as mechanical fiber properties such as tensile stiffness and friction. As output the effective mechanical textile quantities are calculated. Besides the calculation of the effective mechanical material properties for already existing woven or knitted textiles for technical and medical applications, the approach also offers the potential for the targeted design and optimization of new textiles with a given mechanical property profile.

For example, the relaxation behavior of a textile can be determined from the weave or knit pattern and the yarn relaxation times for viscoelastic yarns. Coefficients of friction between the yarns are also taken into account and are directly included in the simulation of the effective properties or identified from the experimental validation with the fabric.

FIFST to Calculate the Deformation and Load of Textiles
The tool FIFST is specialized for dynamic simulations of stretchable knitted fabrics and teir production. For example, the knitting process can be simulated, the pull-off from the knitting machine, the shrinkage to a relaxed textile and also the further deformation during tightening can be calculated. This means that the design of the knitted fabric can also be adapted to predefined tension profiles and individualized machine control is possible for the production of personalized textiles or product-specific designs.

The numerical implementation uses the finite element method with non-linear truss elements, which has been extended for contact problems by an additional internal variable - the sliding of threads at contact nodes. The friction law is implemented with the Euler-Eutelwein model, which was extended by an additional adhesion term. Adhesion thus allows different pre-strains in the respective meshes. The elastic energy is calculated directly from the yarn force-elongation curves.  

One of the most important unique selling points of FIFST is the special technology of assigning several elements to specific threads and their arrangement in the thread as well as the simultaneous contact sliding at millions of nodes. Thus FIFST enables multi-scale simulation of large knitted or woven shell components, taking into account the local textile structure.

Another functionality of the software is to virtually drag textiles over a surface triangulation given in STL format. In the video, woven mask (knitted is also possible) is extended in the plane at 6 points and pulled against the face surface. Its knots are projected onto the face and continue to slide on the surface until the mask is fully in place. If you know frictional properties of yarns on the face, you can investigate further folding formation and also influence it specifically. As a further potential for optimization, FIFST allows to minimize pore sizes of dressed textiles on particularly curved surface areas. This can be achieved by increasing the pre-tension in yarns or by modifying the lapping diagram or the binding cartridge.

For a Test demoversion, please contact

Fraunhofer Institute for Industrial Mathematics ITWM
Fraunhofer-Platz 1
67663 Kaiserslautern

Phone: +49 631 31600-4342

texmath@itwm.fraunhofer.de    

Environmental protection through digitalization - funding for start-ups

Clothing on-demand, a new type of textile cleaning and locally generated green electricity - these three business ideas of “Digitale Strickmanufaktur” (Krefeld), “Infinity Startup” (Aachen) and “prosumergy” (Kassel) convinced the Green Start-up Program’s jury of the German Federal Environmental Foundation (DBU). They will receive a total of around 370,000 euros in technical and financial support.

The DBU promotes company foundations and start-ups that combine solutions for the environment, ecology and sustainability in an innovative way with a focus on digitalization.
General conditions for promotion:

• in the founding phase as well as start-ups up to 5 years old
• up to 125,000€ per project
• up to 24 months duration

A cloud service for retail
The “Digitale Strickmanufaktur” wants to change the clothing industry sustainably. The founders are developing a cloud service that is directly linked to retail. Customers of the " “Digitale Strickmanufaktur” can order individualized garments in which size, color and design are adapted to their wishes. The order data is then transferred using the cloud, an online storage medium. They can be retrieved at any place in the world.

First order - then produce
If a customer orders a hat, for example, the order is automatically transmitted to 3D knitting machines. Then production begins, followed by shipment of the goods. The “Digitale Strickmanufaktur” produces knitwear on demand completely automatically with robots and a 3D knitting machine.

In this way, sales can be planned for retailers and not too much clothing is produced. Additionally: The products are manufactured close to the customer in Germany. Long transport routes and times are eliminated.

Washing without washing machine
The “RefresherBoxx” of the “Infinity Startup” is basically a mobile textile cleaner that does not require water or detergent. “Using a combination of different physical methods, it disinfects, dries and refreshes all kinds of textiles - especially those that can't be put in the washing machine, like leather, velvet and silk,” explains founder Stefan Chang. The “RefresherBoxx” is gentler, more environmentally friendly and only takes 30 minutes for one washing phase. According to Chang, the mobile textile cleaning system can be used in the medical sector, but also in the private and leisure sector.

Local power for commerce and e-mobility
The start-up "prosumergy" offers building owners and tenants a low-cost power supply from renewable energies that are mainly generated locally. "With the help of the DBU, we want to further develop our energy supply approach. By means of standardization and digitization, we want to develop concepts for the decentralized power supply of commercial properties and charging solutions for e-mobility," says founder Lena Cielejewski.

25 founding teams already funded
The three founding teams will now be funded for two years in the DBU's Green Start-up program. "They bring together solutions for the environment, ecology and sustainability with a focus on digitalization in an innovative way," said DBU Start-up coordinator Dr. Stefanie Grade. 22 other companies have already convinced the selection committee of themselves since the program was launched.

Contact details
Digitale Strickmanufaktur PoC GmbH (Krefeld)
Connecting textile trade and automated textile production with the help of cloud services
Contact Mr. Christian Zarbl
URL: digitale-strickmanufaktur.de

Infinity StartUp GmbH (Aachen)
Development, production and distribution of cleaning equipment for textiles, especially using physical methods, as well as development of related applications.
Contact Mr. Stefan Chang
URL: refresherboxx.com

prosumergy GmbH (Kassel)
prosumergy GmbH realizes decentralized energy supply projects as project developer and energy supplier
Contact Christopher Neumann
URL: prosumergy.de

• Interview with Klaus Kottmeier, Elke Giese, Markus Gotta, Prof. Dr.-Ing. habil. Maike Rabe

In June 1988, the shareholders and management of Deutscher Fachverlag announced the Wilhelm Lorch Foundation to the textile and garment industry. Its purpose is to promote vocational training, including student assistance as well as science and research.

Upon its establishment, the Foundation received an initial endowment of DM 300,000 from Deut-scher Fachverlag. Today, the Foundation has assets of approx. 2,85 m. Euro (as at Dec 2019). Since 1988, the foundation has awarded sponsorship prizes of around EUR 1,933,564 (as of June 2020) to date, in order to fund the initial and further training of young people from all areas of the textile industry, with a particular focus on young and up-and-coming talents.

Textination talked to the former chairman of the supervisory board of Deutscher Fachverlag GmbH, the current member of the executive board and founding member of the foundation, Klaus Kottmeier, as well as three members of the board of trustees: Mrs. Elke Giese - trend analyst and fashion journalist, Markus Gotta, managing director of Deutscher Fachverlag GmbH, and Prof. Dr.-Ing. habil. Maike Rabe, who will take over the chairmanship of the foundation board on September 1, 2020, about the challenging task of continuing successfully the foundation's work in an environment characterized by the pandemic.

The figure 3 seems to play a very special role for the Wilhelm Lorch Foundation (WLS). In 1988 announced on the occasion of the 30th Forum of the TextilWirtschaft, it was endowed with assets of DM 300,000. 2019 marked the 30th anniversary of the award of the sponsorship prizes. If you had to introduce the WLS in 100 words to someone who does not know the foundation: Which 3 aspects have particularly influenced its development and made it unique?

Klaus Kottmeier: In more than 30 years the WLS has been in existence, the foundation has received great support all over the sector from the very beginning. This continues to this day and is not only reflected in the financial support provided by generous grants, but above all in an active commitment of many sector leaders on the foundation board and board of trustees. A second aspect is the unique range in the topics of the support, which extends across design, business and technology, covering young talents in retail as well as university graduates, but also involving educational institutions themselves. And thirdly, the motivation of so many applicants we experience every year, who prepare their applications with incredible diligence and thus impressively demonstrate their willingness to perform.

 

The name of the foundation is a tribute to Wilhelm Lorch, the publisher and founder of the trade journal Textil-Wirtschaft and thus of Deutscher Fachverlag, who died in 1966. Which of his characteristics and traits do you still see as exemplary for the next generation in our industry today?

Klaus Kottmeier: We are a publishing media house where professional journalism based on sound research always forms the basis. This is associated with classic values such as entrepreneurial courage and will, diligence and discipline, but also a sense of responsibility and team spirit, which were exemplified by our founder and which still form the culture of our company today. These all are qualities young people should take to heart and which, coupled with a passion for their profession, encourage them to continue on their path.

 

According to its statutes, the primary purpose of the foundation is the awarding of "... awards and prizes to graduates of continuation schools of the German retail textile trade, textile-technical training institutes and [...] for final degree or doctoral theses from universities, as far as these deal with textile topics.” How nationally and internationally does the WLS work?

Prof. Maike Rabe: The prizes are mainly awarded to graduates and applicants from Germany and German-speaking countries, but there are also always talents from Europe, who have close ties to the German market.

Markus Gotta: The focus is clearly on the core market of Germany or Germany-Austria-Switzerland respectively, which we cover with the TW - accordingly, we do not advertise internationally, but there is no exclusion for foreign applicants, the only requirement is that the submitted works and reports must be written in German or English.

 

Over the past 31 years in which the foundation has been awarding prizes to people, projects and works, you have met many young talents who have moved our industry or will certainly do so. Are there any unusual stories or special award winners that have remained in your memory? And how do you assess the development of the applicants' educational level over the years?

Elke Giese: The applicants come from very different schools and universities, differing significantly in their profiles and focus. The demands on teaching have grown enormously, especially as a result of increasing digitization. Since the job profiles in the fashion business are also constantly changing and will continue to be subject to major changes in the future, the challenges for schools and students remain very high.
From each year, particularly talented and creative personalities remain in one's memory. To name one, Elisa Paulina Herrmann from Pforzheim, who was twice among the prize winners in 2017 and 2019 with her bachelor's and then master's thesis. Her ability and originality were overwhelming for the board of trustees. She now creates exclusive knitwear collections for Gucci. Among the young men is Niels Holger Wien, who received WLS funding in 1995. He has been the specialist for color trends and zeitgeist of the German Fashion Institute for many years and is currently president of the world's most important color committee INTERCOLOR.

Klaus Kottmeier: There are many award winners who have subsequently made a great career, to name just one example, Dr. Oliver Pabst, current CEO of Mammut Sports Group AG and WLS award winner in 1994.

 

Due to its proximity to TextilWirtschaft, the foundation is primarily associated with fashion design and topics related to clothing production or marketing. In 2020 you have put Smart Textiles in the virtual spotlight with two project sponsorships. How do you see future topics in the field of technical textiles? Can you imagine creating a new focus on that field?

Prof. Maike Rabe: First of all, the WLS supports talented young people who, thanks to their training, can take up a career in the entire textile and clothing industry. Of course, this also includes the field of technical textiles, which is of great importance in terms of production in Germany being a technological leader. Here the boundaries to clothing are fluid, just think of outdoor or sports equipment.    „    

Klaus Kottmeier: Our excellently staffed board of trustees is open to all innovative topics in the industry. Innovations in the field of technical textiles in particular are important topics for the future. In 2017, for example, the sponsorship award went to the Anna-Siemsen-School, a vocational school for textile technology and clothing in Hanover, through which we supported the procurement of a pattern design software.

 

The Wilhelm Lorch Foundation has set itself the goal of supporting qualified young people in the textile and fashion industry. However, you preclude the support for business start-ups. In times, in which start-ups receive increasing attention not only through corresponding TV formats but also through industry associations, there must be reasons for this. What are they and how do you assess future prospects?

Klaus Kottmeier: Support for business start-ups is precluded by §2 of our statutes, which defines the purpose of the foundation. The WLS is exclusively dedicated to the charitable purpose. Support for start-ups and business start-ups would contradict this. We therefore concentrate fully on the further education of young professionals in the sector and the promotion of educational institutions, from which the entire sector benefits.

Prof. Maike Rabe: WLS funding is aimed at further developing the skills of graduates and young talents from the sector. They should receive specific further training, possibly reach a further academic degree, and also learn in an interdisciplinary manner. All of this benefits the sector as a whole and this is our strict objective.

          
The foundation also promotes the training and further education of young and up-and-coming talents who are already working in the textile retail trade. Grants are available to cover course or study fees for further qualification. The closure of shops caused by the lockdown  during the pandemic hit the stationary retail trade hard, and even today we are still miles away from regular business operations. Against this background, how do you see focused funding opportunities for further training in the e-commerce sector?

Markus Gotta: The topics of stationary retail and e-commerce can't really be separated, both have long since become part of the basic requirements in fashion sales and thus also of the topics of training and further education in general.
 
Prof. Maike Rabe: E-commerce has become an integral part of our industry and is naturally reflected in many grants and subsidies. The junior staff members are allowed to make their own suggestions as to where and how they would like to train. We support this. But we would also like to strengthen the connection between stationary and digital trade in particular. Our prize winners have come up with wonderful concepts for both sales channels, and of course they can be combined.

 

Breaking new ground means willingness to make decisions, overcoming fears - and thus courage to fail. Not every project can succeed. In retrospect, which decisions in your foundation work are you particularly happy to have made?

Markus Gotta: That we implemented the Summer School project last year. We broke new ground with the foundation, and this - in cooperation with the Niederrhein University of Applied Sciences - was very successful.

Elke Giese: Especially in the field of design and creation, it is important to recognize an applicant's future creative potential from the work at hand and the information provided by the applicant. I am therefore always particularly pleased when the board of trustees makes courageous and progressive decisions.    

 

The Wilhelm Lorch Foundation offers project funding of € 10,000 to universities and educational institutions. They do not make any thematic restrictions here, but simply demand that there must be a clear reference to the sustainable further training of young up-and-coming talents in the textile and fashion industry. According to which criteria do you finally decide which project will be funded?

Elke Giese: One criterion is the relevance for future developments in the textile and fashion industry. Projects in recent years have enabled schools and educational institutions to train on laser cutters and 3D printers, for example, but also to purchase modern knitting machines or software programs.

Prof. Maike Rabe: All the projects submitted are evaluated very strictly by the jury's experts using a points-based system. This results in a shortlist which is presented to the board of trustees and intensively discussed by them. In this way, we ensure that all submitted applications are honored and that we then award the Wilhelm Lorch Prize to the outstanding project submissions in a joint consensus. The most important criteria are sustainable teaching of innovative learning content, practical training and the feasibility of the submitted project.

 

There are many different definitions of sustainability. Customers expect everything under this term - from climate protection to ecology, from on-site production in the region to the exclusion of child labor etc. Public procurement is increasingly switching to sustainable textiles. What does this mean for WLS, and what are you doing to promote sustainable thinking and acting, not only among young professionals?

Prof. Maike Rabe: At the foundation, we base our definition of "sustainability" on the 1987 report of the United Nations World Commission on Environment and Development, the so-called Brundtland Commission: "Sustainable development is development that meets the needs of the present without compromising the ability of future generations to meet their own needs". The textile and clothing sector plays a pioneering role as a globally enormously connected industry with complex supply chains, which should definitely also play a model role. We therefore make it a priority for all award winners to observe these criteria and at the same time try to provide a platform for people who, through their work and actions, offer suggestions for improvement or even already implement improvements.

 

Virtual instead of red carpet: Usually the awards are presented in the festive setting of the TextilWirtschaft Forum. In 2020, due to the Covid-19, there was only a digital version in the form of a short film. How important do you consider networking opportunities that arise from meeting influential personalities face-to-face? Or has such a format become obsolete in the age of video conferencing?

Prof. Maike Rabe: It is certainly remarkable what digital event formats can achieve. But one thing doesn't work: spontaneity, personal contact and closeness. Therefor it is a real pity that the Forum had to be cancelled this year due to corona. Especially for career starters, the chance for direct networking is of great value.

Markus Gotta: The need for personal exchange and meetings will continue to be of great importance and demand in the future. And I can say at this point: We are already working on the plans for the TW Forum 2021 as a live and meeting event with the top decision-makers in the sector.

 

In which socially relevant areas do you see a particularly great need for innovation and action during the next five years? What is your assessment that funding - for example from the Wilhelm Lorch Foundation - can provide targeted support for solutions? And what role do the experiences from the corona pandemic play in this assessment?

Prof. Maike Rabe: We don't think in five-year periods, today's world requires much greater agility - this applies to the Foundation as well as to the entire industry. With each award we re-orientate ourselves towards current topics. Topics such as aesthetics, function and innovation will certainly continue to play a major role, as will quality instead of quantity, eco-social justice and customer loyalty. It is also important, however, that our economy, which is strongly supported by medium-sized companies, is clearly perceived by the public and in politics; we still have to work on that.

Klaus Kottmeier: I gladly agree with Prof. Rabe's closing statement. Agility is also of great importance in a media company like ours. We live in a constant transformation process with constant changes that have to be faced. The corona pandemic has shown us very impressively how quickly original plans can become waste. Today, and more than ever before in the future, a constant willingness to change is required, and this applies not only to us but also to our hopeful young employees.
 

The interview was conducted by Ines Chucholowius,
CEO Textination GmbH

Since its launch in 1951, ITMA has enjoyed wide industry recognition as the world’s largest textile and garment technology exhibition. This year’s exhibition in Barcelona sees its reputation solidify further with the largest gathering of exhibitors in its history. The record number of exhibitors totaling 1,717 from 45 countries has set a new milestone.

Speaking at the press conference on the opening day of the 18th edition of the exhibition, Mr Fritz P. Mayer, President of the European Committee of Textile Machinery Manufacturers (CEMATEX), said: “The global economy is still facing challenges, accentuated by trade tensions and disruption. However, textile being the world’s oldest manufacturing industry has demonstrated its resilience over the years. 

“This is also the spirit of our exhibitors who continually innovate and launch new technologies and solutions. We are glad that ITMA has been providing a reputable platform for textile machinery manufacturers to market their innovations. This has enabled us to record the largest number of exhibitors in ITMA’s history.”

The exhibits are showcased over 114,500 square metres of net exhibit space, a 9 per cent increase over the previous edition in 2015. The exhibition occupies all nine halls of the Gran Via venue, including the space under the linkway. To allow more companies to participate, many exhibitors were allocated lesser stand space than what they had originally applied for.  

Mr Charles Beauduin, Chairman of ITMA Services, organiser of ITMA 2019 enthused: “The exhibition would have been larger if we had not turned away applicants due to a lack of space. Unfortunately, we could not accommodate a wait-list of about 250 applicants who booked some 8,200 square metres.”

He added: “ITMA has also evolved into a more international exhibition with a rich diversity of technology offerings from both East and West. Almost half of the total number of exhibitors are from non CEMATEX countries. This augurs well for the development of ITMA into a definitive textile and garment platform for the industry.”

International participation
Of the total number of exhibitors, over half are from CEMATEX countries; the balance comprising companies from other parts of Europe, Asia, the Middle East and the Americas. Reflecting the international composition of the participants, the largest number of exhibitors are from Italy (364 exhibitors), China (276 exhibitors), Germany (222 exhibitors), India (169 exhibitors) and Turkey (164 exhibitors).

CEMATEX countries continue to occupy the largest exhibit space, taking up 65% of the total net exhibit space. Italy booked 26% of the space, followed by Germany which booked 18%. The top non-CEMATEX countries are: Turkey with 9%, China with 8%, and India with 5% of the space booked.

Product sectors
Visitors can expect to source a wide range of integrated solutions across the entire value chain in 19 exhibit sectors. Printing, which has seen many advances being made in the last few years, is an exciting growth sector. Chalking up a 38 per cent increase in the number of exhibitors compared with the previous exhibition, it is one of the top five sectors at ITMA 2019:

• Finishing - 325 exhibitors
• Spinning - 281 exhibitors
• Weaving - 182 exhibitors
• Printing - 157 exhibitors
• Knitting - 136 exhibitors

Nonwoven and technical textiles due to their wide range of applications continue to be an important sector at ITMA 2019. Garment making, which has been impacted by digitalisation and fast fashion, is also making a bigger impact at ITMA.

Mr Mayer said, “We are extremely pleased to bring garment technology back in focus at ITMA. While ITMA has been traditionally strong in textile making technologies, we are glad that we are able to present garment making solutions from some of the world’s most renowned technology providers. There is an increase of 27 per cent in number of exhibitors as compared with ITMA 2015." Completing the entire value chain is the showcase on fibres, yarn and fabrics. The addition of innovative fabrics in the fibre and yarn chapter at ITMA further completes the sourcing experience for buyers.
 
Focus on innovation
The theme of ITMA 2019 is ‘Innovating the World of Textiles’. To support the innovation drive, CEMATEX has introduced the ITMA Innovation Lab. A new umbrella branding of a series of activities, the Lab includes the Research and Innovation Pavilion, ITMA Speakers Platform, ITMA Sustainable Innovation Award and Innovation Video Showcase. Speakers from the industry have been invited to share their perspectives and experiences at the Speakers Platform which will be held from 21 to 25 June. A finance forum was also held on 21 June.

Co-located events and industry engagement
To encourage the exchange of knowledge, collaboration and networking, several events are staged alongside ITMA 2019. The ITMA-EDANA Nonwovens Forum and Textile Colourant and Chemical Leaders Forum have met with overwhelming response and seats have been added. Similar strong response has also been received by partner events, including the Better Cotton Initiative Seminar, European Digital Textile Conference, TexSummit Global, Planet Textiles, SAC & ZDHC Manufacturer Forum and Texmeeting by TEXFOR.

“The series of co-located events is part of ITMA’s outreach programme to engage industry partners and to create an inclusive platform for the global textile and garment community. We have over 190 international, regional and local organisations lending their support to our exhibition,” Mr Mayer said. ITMA 2019 is held at Fira de Barcelona Gran Via venue till 26 June. The opening hours are from 10.00am to 6.00pm daily, except 26 June when the exhibition will end at 4.00pm.

About CEMATEX & ITMA
The European Committee of Textile Machinery Manufacturers (CEMATEX) comprises national textile machinery associations from Belgium, France, Germany, Italy, Netherlands, Spain, Sweden, Switzerland and the United Kingdom. It is the owner of ITMA and ITMA ASIA. Considered the ‘Olympics’ of textile machinery exhibitions, ITMA has a 68-year history of displaying the latest technology for every single work process of textile and garment making. It is held every four years in Europe.

 

Individualisation, automation and digitalisation: micro-factories are the way forward for the future of clothing production and will be the main theme of Texprocess in Frankfurt am Main from 14 to 17 May 2019.

“Send your favourite design to the manufacturer today via an app and wear your individually designed, perfectly fitting trainers or shirt tomorrow.
It’s a long time since this was just a pipe dream for the future,” says Michael Jänecke, Director Brand Management Technical Textiles and Textile Processing at Messe Frankfurt. “Behind it, however, lies a host of complex processes, involving production, processing and logistics. Micro-factories, based on networked and integrated procedures, represent the progressive way of making textile processing quicker, more flexible and, because it is more local, also more sustainable; whilst, at the same time, producing personalised products.”

In a total of four micro-factories at the up-coming Texprocess, trade visitors will be able to get an idea of how integrated textile processing works and where micro-factories are already being used.

Digital Textile Micro-Factory: on-demand and virtual reality
Following the success of the last event, Texprocess, in collaboration with the German Institutes of Textile and Fibre Research in Denkendorf (Institute für Textil- und Faserforschung Denkendorf – DITF) and partners from industry, will once again be presenting a ‘Digital Textile Micro-Factory’ display - and thus fully networked production chains - live in Hall 4.1. New this year: the ‘Digital Textile Micro-Factory’ will showcase three production lines – one for apparel manufacture, one for 3D-knitted shoes and one for processing technical textiles, largely for the motor-vehicle and furniture industries.

‘Fashion Line’ integrates virtual prototypes and customer interaction
The fashion industry plays a central role in the ‘Digital Textile MicroFactory’. The customer’s digital doppelganger is becoming more and more important in development departments in the apparel industry as the starting point for individualised and perfectly fitting clothes and for links with finishing departments. In the context of the micro-factory’s production line, it is the key feature.

The production line demonstrates the various stages involved, including CAD/Design, printing, cutting out, assembly, finishing and labelling. New approaches also combine 3D simulations of clothing with direct data transfer in virtual reality (VR) and augmented reality (AR). Instead of presenting the customer with physical examples of the clothing to be produced, the examples are visualised as virtual objects. And during the production process, the customer has the opportunity for direct input into the design of the product in question. This direct interaction between the 3D simulation of an item, the representation in VR/AR displayed on the customer’s own hardware and the direct impact on the production process has never been shown before in this way. Partners of the ‘Fashion Line’ are: Assyst (CAD/design), Mitwill (materials), Caddon, ErgoSoft, Mimaki and Multiplot (printing), Zünd (cutting), Juki and Stoll (assembling), Veit (finishing) and Vuframe (AR/VR).

3D knitting on the way to Industry 4.0
From 3D image to finished prototype in 18 minutes: the future is here in the world of knitting too! The ‘Digital Textile Micro-Factory’ at Texprocess and Techtextil shows a workflow which enables 3D-knitted uppers for shoes to be produced directly from the customer’s own particular foot measurements.
The ‘3D-knitting Line’ of the micro-factory demonstrates the process from the 3D model to the creation of a geometrically accurate knitting pattern by the software, based on the 3D data set, and the development of a specification of the final knitting data, through to the manufacture of a 3D-knitted prototype. Knitting is the additive manufacturing process for textiles. The ‘3D-knitting Line’ is partnered by Stoll.

Processing technical textiles in the micro-factory
Industry 4.0 live: the focus of the third production line of the ‘Digital Textile Micro-Factory’ 2019 is on the automated processing of technical textiles, personalised for the individual customer, taking us right through to the finished product. Trade visitors will see here on-demand inkjet printing and networked machines with integrated sensors, which are linked through a bus system – a future-oriented topic for integrated manufacturing. A robot arm with a special claw for use with textiles sorts the cut items as they emerge from the cutter in a free-moving open shuttle. The items to be sewn are conveyed automatically to the sewing stations. Tracing and tracking procedures show the progress of each order through the individual stages of the manufacturing process using an auto ID. In addition, the display will also show how creative ideas from the Cloud can be incorporated in the manufacture of technical products. Technology meets creativity. Partners of the production line: Mitwill (design), ErgoSoft (RIP), Caddon (colour management), HP (large-format inkjet printing), Zünd (cutting), Dürkopp Adler (networking, integration of an open shuttle, sewing), Veit (finishing), Next Robotics (material handling).

Smart Textiles Micro-Factory: industrial-type production of smart textiles
In their ‘Smart Textiles Micro-Factory’, located in the walkway between Halls 4.1 and 5.1, the Institute for Textile Technology (ITA) at the RWTH Aachen University, together with partners from industry and research, will be producing a ‘smart’ pillow which, with the help of integrated LEDs, provides new ways of interaction. With this demonstration, the partners in the project will present an exemplary, industrial-style manufacturing process for a smart textile from design to finished product. The prototype of the pillow was displayed in advance at Heimtextil 2019. The following are all involved in the ‘Smart Textiles Micro-Factory’: the Institute for Textile Technology (ITA) of the RWTH Aachen University (project coordination), Gerber Technology GmbH (cutting), the Korea Institute for Industrial Technology KITECH (electronics), VETRON TYPICAL Europe GmbH (sewing), Wear it GmbH (product design and concept) and ZSK Stickmaschinen GmbH (embroidery).
 
World of Digital Fashion: customisation of apparel
Six companies have grouped together under the ‘World of Digital Fashion’ umbrella. They work in areas of visualisation, CAD-cutting systems, automated body measurement, cutting out and process automation. Together, they will be showcasing, in Hall 4.0, ways of integrating and combining their products in a variety of workflows within the value creation chain and will enable visitors to experience what the digital process chain is like in practice. The focus will fall particularly on the customisation of apparel and fashion items. Partners of the ‘World of Digital Fashion’ are: Browzwear Solutions and Tronog (visualisation), Software Dr. K. Friedrich (CAD), Fision (automated body measurement), Bullmer (cutting), as well as Gertsch Consulting and Mode Vision (process automation).

Micro-factory presented by Efka and Gemini: easy to implement
Manufacturers of drive mechanisms for industrial sewing machines Efka will,in collaboration with CAD suppliers Gemini, be showcasing the production of a knitted garment that can be individually designed. The core element of their micro-factory, which closely reflects industrial practice, is the link to the sewing stage of production, something which is already available today as an economic, partially automated solution. The display presents a solution that can be easily implemented and adopted by most companies, using already available resources.

 

• Competition from the Far East increases modernization pressure

Turkey is an important market for German manufacturers of textile machinery. However, the textile and clothing industry has a problem: exports have been stagnating for years.

The Turkish textile industry is broadly based: Companies manufacture all intermediate products in the country, including yarns, fibers and fabrics. Production along the entire textile value chain means great sales potential for German suppliers of textile machinery. In fact, Turkey is the second most important export market for German spinning, weaving, textile finishing machines and the like after China, as it can be seen from the figures of the Federal Statistical Office Destatis.Nevertheless, the sector is not a growth market. Apart from a few outliers upwards and downwards, Turkish textile machinery imports have remained at the same level for several years. This is due to the fact that Turkish exports of textiles and clothing are also stagnating. Particularly noticeable: companies benefited only marginally from the weak lira last year.

Textile and apparel industry benefits little from weak lira

Year	Turkish exports of clothing and textiles (in US$ billion)	Annual change (in %)
2015	26.3	-10.3
2016	26.1	-0.6
2017	26.7	2.1
2018	27.7	3.6

Source: Turkish Statistical Office TÜIK (http://www.tuik.gov.tr)

Increasing pressure from the Far East
Turkish clothing manufacturers are increasingly feeling the effects of competition from the Far East. Despite the high number of informal workers, wages in Turkey have risen to such an extent that they cannot keep up with the low wages of Asian sewing factories. The geographical advantage of Turkish companies over Chinese competitors is at stake because of the new Silk Road and the development of faster transport routes. Free trade agreements that the European Union is currently negotiating with India and South Korea will further increase the pressure on Turkish producers.

Slump in 3rd quarter 2018
In addition, there is the difficult economic situation in the country: the Turkish lira reached a record low, especially in the months of August to October 2018, and commercial banks raised their lending rates. As a result, financing costs for machinery from abroad suddenly increased, orders from Turkey failed to materialize, especially in the third quarter. The German knitting machine manufacturer Mayer & Cie has also noticed this, as Stefan Bühler, who is responsible for the Turkish business, reports: "In the last three months of 2018, the market was virtually dead. In the meantime, however, the industry is gradually recovering.

Akar Textile plans new factory
Announcements about new investments cannot yet be heard at this time. As early as June 2018, Akar Textile (http://www.akartextile.com) announced that it would build a new factory for 47 million Turkish lira (TL) in the municipality of Savur in southeastern Turkey. 3,000 employees are there to become employed. Akar Textile produces for companies such as C&A, Mango and H&M. Only a few months after the announcement of the project, the economic crisis in Turkey deepened in September. The extent to which the turbulence has affected the project implementation is not known.

Technical textiles as a driving force for growth
Far Eastern competition is increasing the pressure to modernize the Turkish textile industry. In the future, industry will have to compete primarily with high-quality products. Growth impulses are currently coming from the sector of technical textiles. According to industry reports, more than 200 small and medium-sized enterprises are already producing technical textiles and nonwovens in Turkey. These textiles and fabrics are being used in the automotive, packaging and cosmetics industries.

In June 2018, the Turkish METYX Group (http://www.metyx.com) invested in its machinery parc. The company is manufacturing technical textiles and has ordered a line of warp knitting machines from the German textile machine manufacturer Karl Mayer. The manufacturer of composite materials is thus increasing its capacity by 12,000 tons of glass and carbon fibers. In recent years, more and more research and development centers have emerged to promote the necessary technology transfer in the industry. The Institute for Technical Textiles at RWTH Aachen University (ITA) founded a research center in Istanbul in October 2016. In the Teknosab industrial zone in Bursa the BUTEKOM research and development center for textile technology was established in 2008. The institute offers training as well as research and development cooperation to and with companies.

However, many medium-sized textile companies often lack the money to invest in modern machinery. The short planning horizon makes an access to research and development more difficult. As a member of the management board of the German-Turkish Chamber of Industry and Commerce, Frank Kaiser has been observing the Turkish business landscape for eight years. He points out that the textile manufacturers, like other medium-sized companies in the country too, often plan in short terms. "In view of the volatile business environment, this is rational," Kaiser explains.

Turkish imports of textile machinery and exchange rate comparison  ¹⁾

Year	Import from Germany (in USD million)	Total imports (in USD million)	Exchange rate (1 US$ = ?TL)
2009	143	505	1.55
2011	521	1,851	1.67
2013	619	2,211	1.90
2015	382	1,398	2.72
2017	447	1,478	3.65
2018 1) 2)	490	1,774	4.81

¹⁾ the slump in the 3rd quarter is not yet visible in the annual figures for 2018; it will not become noticeable until 2019
Sources: UN-Comtrade, TurkStat ²⁾, Bundesbank