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20.06.2023

Innovative sportswear: Swim and run without changing

Just in time for summer: The Swiss start-up Swijin is launching a new sportswear category with its SwimRunner – a sports bra together with matching bottoms that works as both swimwear and running gear and dries in no time. The innovative product was developed together with Empa researchers in an Innosuisse project. The SwimRunner can be tested this weekend at the Zurich City Triathlon.
 
A quick dip after jogging without having to change clothes? Swijin (pronounced Swie-Djin), a new Swiss TechTex start-up, is launching its first product, the SwimRunner: a sports bra and bottoms that function as both swimwear and running gear and dry in a flash.

Just in time for summer: The Swiss start-up Swijin is launching a new sportswear category with its SwimRunner – a sports bra together with matching bottoms that works as both swimwear and running gear and dries in no time. The innovative product was developed together with Empa researchers in an Innosuisse project. The SwimRunner can be tested this weekend at the Zurich City Triathlon.
 
A quick dip after jogging without having to change clothes? Swijin (pronounced Swie-Djin), a new Swiss TechTex start-up, is launching its first product, the SwimRunner: a sports bra and bottoms that function as both swimwear and running gear and dry in a flash.

For the first time, this innovation enables women to make a smooth transition between land and water sports without having to change clothes. For example, hikers and runners can easily go into the water to cool off. Stand-up paddlers wearing the SwimRunner enjoy unrestricted freedom of movement and at the same time sufficient support, both on the board and in the water.
Science to boost sports performance
 
What appears to be a relatively simple requirement at first glance has turned out to be an extremely complex product to develop. As part of an Innosuisse project, Swijin collaborated with the Empa Biomimetic Membranes and Textiles laboratory in St. Gallen. Led by Empa engineer Martin Camenzind, the researchers first defined the requirements for the material and cut of the sports bra. "During development, we faced three main challenges: On the one hand, the product had to meet the requirements of a heavy-duty sports bra on land. At the same time, it had to maintain the compression of a swimsuit in the water – and do so with a very short drying time," says Camenzind.

Since no comparable garment exists on the market yet, the team also developed new tests for evaluating the high-performance textile. "Moreover, we designed a mannequin: a model of the female torso that can be used to measure the mechanical properties of bras," explains the researcher. In addition to scientific findings, the product development process also incorporated a great deal of expertise from sports physiologists, textile engineers, industry specialists, designers and, of course, female athletes.

Highest demands
Many of these athletes come from the swimrun scene. Swimrun is a fast-growing adventure sport that originated in the skerry gardens of Sweden. Unlike triathletes, who start out by swimming, then bike, and finally run, swimrunners switch back and forth between trail running and open water swimming throughout the race. The intensity of this sport provided Swijin with the optimal conditions for product development – and gave its name to the first collection, SwimRunner. "The feedback from female athletes was one of the deciding factors for the success of the product. They often swim and run for six to seven hours at a stretch. When they were satisfied with our prototypes, we knew: The SwimRunner is ready for market," says Swijin founder Claudia Glass.

The product idea first came to Claudia Glass while she was on vacation on Mallorca. During her morning runs, she longed to be able to take a quick dip in the sea. "Sports bras, however, are not designed for swimming," the founder explains. "They soak up the water and never seem to dry because of their thick compression material. Last summer, I wore the SwimRunner prototype all day. In the morning, I ran to Lake Zurich with my dog and jumped in. When I got back home, I could have just sat down at my desk and started working – I was completely dry and felt very comfortable."

Design and sustainability
The young company makes a point of combining engineering and design. Swijin's creative director, Valeria Cereda, is based in the center of the world's fashion capital, Milan, and infuses her experience with luxury brands into Swijin's aesthetic. But as a former competitive swimmer, she is also focused on functionality.

Swijin's high-performance products can only be realized with synthetic materials. The young company is determined to reduce the environmental impact of its products to a minimum. The tight supply chain keeps the CO2 footprint low. The materials of the SwimRunner are 100% made in the EU and designed for quality.

Traditional garment labels only provide information about where the garment was made. Swijin is working with supplier Avery Dennison to provide all products with a Digital Identity Label. This gives consumers detailed information about the entire value chain, right down to the textile manufacturer's investment in reducing its carbon footprint and the use of the water-based, solvent-free logo. Swijin packages all materials in Cradle-to-Cradle Gold certified packaging, which is produced by Voegeli AG in Emmental.

Furthermore, Swijin proactively addresses the challenges at the end of the product life cycle. In order to come one step closer to a truly circular economy for functional textiles, Swijin participates in the Yarn-to-Yarn® pilot project of Rheiazymes AG as a lighthouse partner. This biotech solution uses microorganisms and enzymes to generate new starting materials directly from used textiles in a climate-neutral way. When customers return end-of-life Swijin products – for which the company offers incentives – the high-quality monomers can be returned to the supply chain in their original quality: true circularity.

"As an emerging brand, we have both the obligation and the luxury of choosing partners whose vision and values align with our own," says Claudia Glass. "I had a clear understanding of what kind of brand I would buy, but I couldn't find it anywhere. With Swijin, we feel obligated to actually make our values a reality."

Source:

Claudia Glass, Anna Ettlin, EMPA

Textile Prototyping Lab The modules from the prototyping kit can be used to create a variety of e-textiles © Textile Prototyping Lab
14.09.2021

Art meets Science: Prototyping Lab for textile electronics

Anyone who thinks of research laboratories only in terms of protective suits and clean rooms is not quite right: Since April, patterns, seams and mannequins have not been uncommon in the new Textile Prototyping Lab (TPL) at Fraunhofer IZM in Berlin. With the TPL, there is now a place where creative high-tech textiles are produced and which already distinguishes itself from the style of usual research laboratories by its design. As a collaborative project with the Weißensee Kunsthochschule Berlin, textile-integrated electronics are created here for a wide range of applications from architecture to medicine.

Anyone who thinks of research laboratories only in terms of protective suits and clean rooms is not quite right: Since April, patterns, seams and mannequins have not been uncommon in the new Textile Prototyping Lab (TPL) at Fraunhofer IZM in Berlin. With the TPL, there is now a place where creative high-tech textiles are produced and which already distinguishes itself from the style of usual research laboratories by its design. As a collaborative project with the Weißensee Kunsthochschule Berlin, textile-integrated electronics are created here for a wide range of applications from architecture to medicine.

Since its opening, the lab has been available to designers and product developers to prototype individual visions in the field of e-textiles. The possibilities are virtually unlimited: From interfaces between textiles and electronics to the testing of process chains, parts of the laboratory or even the entire laboratory can be used freely. In addition to the pure development and construction work, the premises can be converted in a few moves and repurposed for workshops or exhibitions.

Malte von Krshiwoblozki, who is providing scientific support for the project at Fraunhofer IZM, cited other advantages: “Not only the modular workstations and the meeting area are attractive for joint project work, especially the machinery offers a wide range for interested parties. The ‘sewing and embroidery’ work area, for example, is equipped with several sewing machines as well as a computer-controlled embroidery machine. It thus becomes central to the TPL, as textile finishing with small-format machines is the focus of this lab's work.” Another work area covers “Cutting & Separating” with a laser cutter and a cutting plotter. In addition, there are several presses and laminators, a soldering station and a 3D printer.

In the TPL, beginners can also try their hand at e-textiles and expand their knowledge: The prototyping kit developed at Fraunhofer IZM, which includes a series of electronic modules, LEDs and sensors that can be embroidered by hand as well as by machine, is particularly helpful in this regard.

“For particularly durable electronic textiles, the textile bonder developed and built by Fraunhofer IZM researchers can also be used in cooperative projects of the Textile Prototyping Lab. The versatile modules of the prototyping kit are deliberately designed so that integration into the textile can take place not only with classic textile technology such as embroidery during the prototyping phase, but also for subsequent, more industrial implementations using the textile bonder. In keeping with the motto ‘sharing is caring’ and the principle of interdisciplinarity, we at Fraunhofer IZM are available to provide advice and support during the realization of the textile projects, so that the artists' ideas can be enriched using such new technology,” said Malte von Krshiwoblozki.

Even before the opening of the laboratory, the collaboration between the Weißensee Kunsthochschule Berlin and Fraunhofer IZM had already produced developments that combine art and research in revolutionary ways. For example, a light rail for lamps that is made of a soft and conductive textile belt was created in cooperation with the designer Stefan Diez. For the Hans Riegel Foundation's Touch Tomorrow educational project, an interactive jacket was developed that can control the color of integrated LEDs via arm movements. The team of the Textile Prototyping Lab is looking forward to upcoming, exciting and agile projects and is open for ideas from start-ups, SMEs as well as industry partners.

Source:

Fraunhofer Institute for Reliability and Microintegration IZM

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).