Textination Newsline

The fashion industry is massively influenced by the change in social values. Which trends can be observed and in which direction is the fashion future developing - an excerpt from the Retail Report 2023¹ by Theresa Schleicher.

The fashion industry has been slowed down by the global health pandemic and further affected by the measures taken in the wake of the Ukraine war: Fragile supply chains, increased transportation and energy costs, and rising prices are having an impact on the globalized fashion industry. Those who were moving the fastest are being hit the hardest. Fast fashion based on the principle of "faster and faster, cheaper and cheaper, more and more" - which has been in the fast lane for years - is now experiencing an unprecedented crash. Even without these momentous events, the fashion system would have reached its limits. What could have developed evolutionarily is now being revolutionized. Now and in the future, it will be particularly difficult for brands and retail companies that do not have a sharp profile or that have lost many customers in the attempt to offer mass-produced goods at prices that are still lower than those of their competitors.

New value paradigm in society - also for fashion
While fashion retailers and fashion brands are focusing on expanding online and have been putting their foot on the gas pedal since the corona pandemic at the latest, a parallel change in values is taking place in society. Many behaviors that have been practiced, tested and lived for months will continue to shape our consumer behavior and lifestyles in the future. The uncertainty in society as well as a shrinking economy and rising consumer prices as a result of the Ukraine war will further contribute to this shift in values.

The old paradigm was "primarily shaped by pragmatic factors such as price, quantity, safety and convenience, so consumer behavior was predominantly based on relatively simple cost-benefit calculations." The new value paradigm, on the other hand, is more strongly influenced by "soft factors". For example, the quality of a product is defined more holistically. In addition to price, "ecological, [...] ethical and social aspects are also taken into account. It is about positive or negative experiences that one has had with producers and about the visions that they pursue with their companies". This new value paradigm is forcing the large chain stores in particular to rethink. They have to develop their business models further in the direction of sustainability, transparency and responsibility - and show attitude. The influence of the neo-ecology megatrend combined with the push towards the sense economy is reshuffling the cards in the fashion industry.

The most important driver for the change in consumer behavior is climate protection, which is also becoming personally more important to more and more people because they are feeling the effects of climate change themselves in their everyday lives. The transition to a sustainable, bio-based and circular economy is accompanied by fundamental changes in the technical, economic and social environment.

Circular fashion as an opportunity for fast fashion
The development of the fashion industry - especially the fast fashion industry - towards a more circular economy is not a short-term trend, but one of the most long-term and at the same time forward-looking trends in retailing of all.

Even before the pandemic, a growing proportion of consumers placed value on sustainably produced clothing instead of constantly shopping the latest trends. A reset is needed, but the fashion industry faces a difficult question: How can it respond to the demand for new trends without neglecting its responsibility for the environment?

The solution for reducing emissions and conserving raw materials and resources seems obvious: produce less. On average, 2,700 liters of water are needed to produce a T-shirt - that much drinking water would last a person for two and a half years. In Europe, each person buys an average of 26 kilograms of textiles per year - and disposes eleven kilograms. Of this, almost 90 percent is incinerated or ends up in landfills. Overproduction, precarious working conditions during production and the use of non-sustainable materials are the major problems of the fast fashion industry. It is time to slow down fast fashion.

Fashion recycling by Design & Recycling as a Service
A first step towards keeping fashion and textiles in the cycle for longer is to recycle materials properly. In the future, recycling must be considered as early as the design stage - not only for sustainably produced fashion, but also for fast fashion. The H&M Group, for example, developed the Circulator for this purpose: The digital evaluation tool guides the designer through materials, components and design strategies that are best suited for the product depending on its purpose, and evaluates them in terms of their environmental impact, durability and recyclability.

However, more and more young companies are specializing in offering recycling for textiles as a service. They work directly with fashion retailers or fashion brands to enable the best possible recycling, re-circulation or even upcycling. Until now, it has not been worthwhile for large textile companies to invest in their own recycling systems. But Recycling as a Service is a market of the future, led by innovative start-ups such as Resortecs that are tackling previous hurdles in our recycling system. In the future, more and more new service providers will pop up around returns and recycling and help fashion retailers to align their material cycles more sustainably.

Secondhand conquers the fast fashion market
Another way to extend the life of clothing is to pass it on to new users. We are witnessing the triumph of vintage, retro and more - chic secondhand stores and chains like Resales and Humana are popping up everywhere. The renaming of secondhand to pre-owned or pre-loved also illustrates the increased appreciation of worn clothing. The trend toward secondhand also pays off economically for companies: The number of platforms whose business model revolves around the resale of clothing is increasing, and secondhand fashion is arriving in the middle of society. The luxury segment and especially vintage fashion are stable in price because the availability of these unique pieces is limited. Fast fashion, on the other hand, is available in sufficient quantities and is particularly interesting for price-sensitive customers, as secondhand is considered one of the most sustainable forms of consumption - meaning that fashion can be shopped with a clear conscience - and is usually even offered at a lower price than new goods. The second-hand market will continue to professionalize and become more socially acceptable. As a result, the fast fashion industry will also be forced to produce higher quality clothing in order to become or remain part of the circular system.

Slow fashion gains momentum thanks to technology
The development and orientation of fast fashion towards circular processes is also changing sustainable fashion. In the future, fast fashion and slow fashion can learn from each other to fully exploit their potential: fast fashion will become more sustainable, while slow fashion will focus on faster availability and delivery and make the customer experience as pleasant as possible. Fast and slow fashion are no longer compelling opposites - because the sustainable fashion movement can also benefit from technological innovations that are being established above all by the fashion platforms, and lift slow fashion to a new level.

At the same time, Sustainable Luxury is a new form of luxury consumption - especially in the field of designer fashion, sustainability is becoming the all-important criterion. Sustainability as a means of distinction for true luxury and sustainability as a basic prerequisite for a functioning fashion industry are increasingly converging. This is where the transition between a slowdown of fast fashion and an acceleration of slow fashion takes place.

Trend Sustainable Luxury
Luxury is defined less and less by the object and its possession and is increasingly becoming an expression of one's own lifestyle and values. Consumers' understanding of premium and luxury has changed - not least driven by the neo-ecology megatrend. In the future, it will no longer be just about owning something as expensive and ostentatious as possible. What began as a rebellion against careless consumption of luxury brands that promise high-end products but accept unfair and environmentally damaging manufacturing conditions in the process has increasingly become accepted as a value attitude. Luxury products have no less a claim than to improve the world.

Sustainable and ethical products and services made from innovative materials that have the power to solve problems and make the world a better place. At the same time, this highly ethically and morally charged form of sustainability is turning into a means of distinction: For the materials are so new, the manufacturing processes still so experimental, that the products are unique and often only available in very small quantities or on order. And this exclusive sustainability naturally comes at a price. After all, a company that pursues a mission is not concerned with simply cutting costs - certainly not at the expense of others or the environment. Instead of leather and fur, luxury fashion is now made from oranges, pineapples, hemp, cacti: there are more and more new, innovative and sustainable materials from which unique garments and accessories can be made.

Predictive, Pre-Order & Made-to-Order
Artificial intelligence and Big Data analysis can help predict fashion demand. Fast fashion leaders like Shein are characterized by agile production which is supported by AI algorithms for trend prediction fed with data from TikTok and other social media services. This could sustainably reduce overproduction and unsaleable goods in the future. As critical as Shein's practices are, the automation of processes also offers immense opportunities for a more sustainable fashion industry, as production only starts when goods are in demand.

AI support in the design process can be used to produce more sustainable fashion - and make it available more quickly. In a future of an avatar economy and in the world of virtual influencers, it may even be possible to dispense with part of the production process: Fashion will remain virtual - and thus more resource-efficient. Digital fashion will become increasingly important as the metaverse is built.

5 Key Takeaways on the Future of Fashion

1. The current crisis in the fashion industry is an opportunity to move more in the direction of circular fashion. Above all, the new value paradigm in society, understanding quality more holistically and consuming more mindfully, is providing a push towards fairer, more ecological and more social fashion. Fast fashion and sustainability are not mutually exclusive.
2. There are already first approaches to keep fast fashion in the cycle longer or to return it to the cycle. One important development is to consider recycling or reuse as early as the design and manufacturing process - known as recycling by design. In addition, there is a growing number of start-ups specializing in the optimized recycling of textiles and cooperating with major fashion players.
3. Above all, the booming online trade in used fashion, often communicated as the pre-loved or pre-owned category, is making secondhand respectable for the mainstream. Such fashion, with a story and an aura of uniqueness, is also a cost-effective but more sustainable alternative to fast fashion.
4. But slow fashion is also changing, especially due to the dominance of new technologies. Slow fashion can also benefit from processes that are currently manifesting themselves in the online fashion market, such as fast delivery or pre-order services. Slow fashion thus becomes more convenient, better and faster available. It will be easier for sustainably oriented fashion enthusiasts to consume according to their values and attitudes.
5. The trend toward sustainable luxury continues: Sustainability as a means of distinction for a new form of luxury enables alternative manufacturing processes and innovative materials in the luxury fashion market. These are being showcased by an avant-garde and, if they prove successful, adapted by fast fashion.

¹ https://onlineshop.zukunftsinstitut.de/shop/retail-report-2023/

The international OEKO-TEX^® Association, which consists of a total of 17 independent research and testing institutes in Europe and Japan, turns thirty this year. As one of the founding members, OETI is taking this as an opportunity to talk to OEKO-TEX^® expert Helene Melnitzky (Head of the Ecology Department at OETI) about the role of the OEKO-TEX^® Association, market trends and current OEKO-TEX^® certifications and labels.

The international OEKO-TEX^® Association is celebrating its thirtieth anniversary this year. What role has it played so far with regard to the product safety of textile and leather products?
Helene Melnitzky: In the area product safety¹, OEKO-TEX^® has had a great impact over the last three decades by ensuring certain pollutant additives, some of which were found in large quantities in textiles 30 years ago, no longer exist. The OEKO-TEX^® Association was also the first to limit certain heavy metals. Based on our actions, legal provisions were ultimately passed. We have been testing banned dyes since before there even was an EU regulation in this regard. Of course, we now test according to the EU regulation, but in this respect OEKO-TEX^® was a clear trailblazer.

In addition to product safety, OEKO-TEX^® has been working on the topics of ‘environmentally friendly textile products manufactured under fair working conditions for 30 years, which also included leather products for the last five years, and with STeP by OEKO-TEX^® on the ‘certification of environmentally friendly production sites’ since 2013. In one way or another, we have been preparing the market for thirty years. In the process, we are always creating new things: currently the Impact Calculator and, in autumn-2022, a new certification for brands and retailers: RESPONSIBLE BUSINESS by OEKO-TEX^®.

How does that benefit the customers of OEKO-TEX^®?
Helene Melnitzky: Customers can use these calculations for external communication to demonstrate on their products or webpages that their products have a lower footprint than their competitors. This means that customers sourcing everything regionally will have a smaller footprint than companies that source products from different countries. In the future, it will be necessary to display the water and carbon footprint on the product, so that consumers can decide whether they want to buy product A or B.

How is the aspect of fair working conditions taken into account?
Helene Melnitzky: This topic has also been gaining significant momentum over the last ten years. There is now enough pressure on brands and retailers to improve local working conditions. We cover this area as part of our STeP by OEKO-TEX^® certification² with our ‘social responsibility’ module. The advantage for our customers is that they can subsequently use the MADE IN GREEN by OEKO-TEX^® label to show how they have performed in the social module.

What does Transparency with MADE IN GREEN by OEKO-TEX^® mean?
Helene Melnitzky: Everything that is written on the product is transparent. The MADE IN GREEN by OEKO-TEX^® label is a traceable product label for all types of textiles and leather items that have been produced in environmentally friendly factories and at safe and socially responsible workplaces. Furthermore, the MADE IN GREEN by OEKO-TEX^® label gives consumers the certainty that the textile or leather product is made from materials tested for harmful substances. In order to ensure that textile or leather products with the MADE IN GREEN by OEKO-TEX^® label have been produced using environmentally friendly processes under socially acceptable working conditions, manufacturing and wet production sites must be certified according to STeP by OEKO-TEX^®.

For a year now, it has been possible to have recycled materials STANDARD 100 certified and display that certification as a hangtag to communicate that the product consists of a certain proportion³ of recycled materials. Which market demand is this certification addressing?
Helene Melnitzky: There is an increasing demand that at least part of the product must be made from recycled material. This is partly attributable to market pressure because raw materials are scarce and expensive. However, we are also voluntarily informing consumers about recycling as part of the circular economy.

What is your outlook for the next few years?
Helene Melnitzky: Producing textile and leather products in a more environmentally friendly and fair manner, while making the value chain more transparent, is a global challenge that sets new environmental standards. In the long term, however, it also involves important economic and social aspects. The goal is to raise awareness of these interdependencies and a common understanding of environmental issues – among producers and, of course, end consumers. It is clear that the demand for certified and traceable products is growing among consumers. This trend is reflected in purchasing behaviour and thus in manufacturing. Nevertheless, there’s still a lot to do.

¹ STANDARD 100 by OEKO-TEX^® und LEATHER STANDARD by OEKO-TEX^®
2 The STeP by OEKO-TEX^® certification includes the modules Chemical Management, Environmental Performance, Environmental Management, Quality Management, Occupational Health and Safety, and Social Responsibility
³ To qualify, the product must contain at least 20 per cent recycled material.

A bandage that releases medication as soon as an infection starts in a wound could treat injuries more efficiently. Empa researchers are currently working on polymer fibers that soften as soon as the environment heats up due to an infection, thereby releasing antimicrobial drugs.

It is not possible to tell from the outside whether a wound will heal without problems under the dressing or whether bacteria will penetrate the injured tissue and ignite an inflammation. To be on the safe side, disinfectant ointments or antibiotics are applied to the wound before the dressing is applied. However, these preventive measures are not necessary in every case. Thus, medications are wasted and wounds are over-treated.

Even worse, the wasteful use of antibiotics promotes the emergence of multi-resistant germs, which are an immense problem in global healthcare. Empa researchers at the two Empa laboratories Biointerfaces and Biomimetic Membranes and Textiles in St. Gallen want to change this. They are developing a dressing that autonomously administers antibacterial drugs only when they are really needed.

The idea of the interdisciplinary team led by Qun Ren and Fei Pan: The dressing should be "loaded" with drugs and react to environmental stimuli. "In this way, wounds could be treated as needed at exactly the right moment," explains Fei Pan. As an environmental stimulus, the team chose a well-known effect: the rise in temperature in an infected, inflamed wound.

Now the team had to design a material that would react appropriately to this increase in temperature. For this purpose, a skin-compatible polymer composite was developed made of several components: acrylic glass (polymethyl methacrylate, or PMMA), which is used, for example, for eyeglass lenses and in the textile industry, and Eudragit, a biocompatible polymer mixture that is used, for example, to coat pills. Electrospinning was used to process the polymer mixture into a fine membrane of nanofibers. Finally, octenidine was encapsulated in the nanofibers as a medically active component. Octenidine is a disinfectant that acts quickly against bacteria, fungi and some viruses. In healthcare, it can be used on the skin, on mucous membranes and for wound disinfection.

Signs of inflammation as triggers
As early as in the ancient world, the Greek physician Galen described the signs of inflammation. The five Latin terms are still valid today: dolor (pain), calor (heat), rubor (redness), tumor (swelling) and functio laesa (impaired function) stand for the classic indications of inflammation. In an infected skin wound, local warmth can be as high as five degrees. This temperature difference can be used as a trigger: Suitable materials change their consistency in this range and can release therapeutic substances.

Shattering glove
"In order for the membrane to act as a "smart bandage" and actually release the disinfectant when the wound heats up due to an infection, we put together the polymer mixture of PMMA and Eudragit in such a way that we could adjust the glass transition temperature accordingly," says Fei Pan. This is the temperature, at which a polymer changes from a solid consistency to a rubbery, toughened state. Figuratively, the effect is often described in reverse: If you put a rubber glove in liquid nitrogen at –196 degrees, it changes its consistency and becomes so hard that you can shatter it like glass with one blow.

The desired glass transition temperature of the polymer membrane, on the other hand, was in the range of 37 degrees. When inflammation kicks in and the skin heats up above its normal temperature of 32 to 34 degrees, the polymer changes from its solid to a softer state. In laboratory experiments, the team observed the disinfectant being released from the polymer at 37 degrees – but not at 32 degrees. Another advantage: The process is reversible and can be repeated up to five times, as the process always "switches itself off" when it cools down. Following these promising initial tests, the Empa researchers now want to fine-tune the effect. Instead of a temperature range of four to five degrees, the smart bandage should already switch on and off at smaller temperature differences.

Smart and unsparing
To investigate the efficacy of the nanofiber membranes against wound germs, further laboratory experiments are now in the pipeline. Team leader Qun Ren has long been concerned with germs that nestle in the interface between surfaces and the environment, such as on a skin wound. "In this biological setting, a kind of no man's land between the body and the dressing material, bacteria find a perfect biological niche," says the Empa researcher. Infectious agents such as staphylococci or Pseudomonas bacteria can cause severe wound healing disorders. It was precisely these wound germs that the team allowed to become acquainted with the smart dressing in the Petri dish. And indeed: The number of bacteria was reduced roughly 1000-fold when octenidine was released from the smart dressing. "With octenidine, we have achieved a proof of principle for controlled drug release by an external stimulus," said Qun Ren. In future, she said, the technology could be applied to other types of drugs, increasing the efficiency and precision in their dosage.

The smart dressing
Empa researchers are working in interdisciplinary teams on various approaches to improve medical wound treatment. For example, liquid sensors on the outside of the dressing are to make it visible when a wound is healing poorly by changing their color. Critical glucose and pH values serve as biomarkers.

To enable bacterial infections to be contained directly in the wound, the researchers are also working on a polymer foam loaded with anti-inflammatory substances and on a skin-friendly membrane made of plant material. The cellulose membrane is equipped with antimicrobial protein elements and kills bacteria extremely efficiently in laboratory tests.

Moreover, digitalization can achieve more economical and efficient dosages in wound care: Empa researchers are developing digital twins of the skin that allow control and prediction of the course of a therapy using real-time modeling.

Further information:
Prof. Dr. Katharina
Maniura Biointerfaces
Phone +41 58 765 74 47
Katharina.Maniura@empa.ch

Prof. Dr. René Rossi
Biomimetic Membranes and Textiles
Phone +41 58 765 77 65
Rene.rossi@empa.ch

• Increase from 132 to 155 transactions - transaction value increases eightfold to 12.4 billion US dollars
• Number of Chinese acquisitions in Germany rises from 28 to 35
• UK most popular investment destination for Chinese companies followed by Germany

After the pandemic-related decline in Chinese company acquisitions in Europe in 2020, the number of transactions increased again in 2021: from 132 to 155. The transaction volume also increased: The value of investments and acquisitions has increased more than eightfold from $1.5 billion to $12.4 billion.

Chinese investors also appeared more frequently again in Germany: After only 28 transactions by Chinese companies were counted in 2020, there were 35 of such investments or acquisitions in 2021. The investment volume rose from USD 0.4 billion to USD 2.0 billion. This figure does not include venture capital investments in German startups totaling USD 1.9 billion in 2021, in which Chinese companies were active as part of international investor groups.

These are the findings of a study by the audit and consulting firm EY, which examines investments by Chinese companies in Germany and Europe.

"Chinese companies remain cautious about investing in Europe overall," observes Yi Sun, partner and head of China Business Services in the Europe West region at EY. "One contributing factor is still the pandemic, which continued to cause disruptions in 2021 - partly because of mitigation measures such as travel restrictions, strict quarantine rules for people traveling to China from abroad, and lockdowns both in Europe and in China itself. Most Chinese companies that have already acquired companies abroad have been more concerned with restructuring in Europe in recent years rather than expanding further - especially in the automotive supply and machinery sectors."

According to Sun, the now high hurdles for foreign investments, especially in certain critical industries, as well as increasing competition from financial investors with strong capital, also had a dampening effect. "Purchase prices on the M&A market have risen sharply recently - in some cases, the Chinese interested parties didn't want to go along with that. Listed Chinese companies in particular fear putting pressure on their own share price with expensive acquisitions," Sun said. "In addition, some of the potential takeover candidates own production facilities or R&D centers in the US. In such cases, they may fear rejection by the Committee on Foreign Investment in the U.S. (CFIUS) - and potential Chinese bidders may not even be invited."

Declining interest in industrial companies
Traditional industrial companies continue to account for the majority of deals - especially in Germany: 12 of the 35 transactions in Germany and 30 of the 155 transactions in Europe took place in the industrial sector.

However, their number is declining: In 2020, 36 industrial transactions were counted across Europe. "Chinese investors are still interested in European automotive suppliers or mechanical engineering companies - but now more in the subsectors of electromobility, autonomous driving and high-tech materials," says Sun.

However, Yi Sun identifies a significant increase in interest elsewhere: "Chinese private equity funds and venture capitalists are becoming increasingly active. In Germany in particular, there were some very large investments in startups last year in which Chinese investors were significantly involved. In addition to German engineering skills, e-commerce expertise is increasingly in demand."

High tech/software companies accounted for 27 transactions across Europe last year (previous year: 20). "We see an increased interest in game developers and software programmers, for example. Especially the most active Chinese investor last year, Tencent, has recently become heavily involved in this segment," observes Sun.

The number of acquisitions and investments in the healthcare sector also increased: from 16 to 26 transactions. "The healthcare sector - whether pharma, biotech or medical technology - is increasingly becoming one of the most important target sectors for Chinese companies because there is a lot of pent-up demand in this sector in China, especially in research and development."

Great Britain replaces Germany as top destination in Europe
Most transactions were recorded in the UK last year. With 36 acquisitions and investments, the UK is just ahead of Germany (35 transactions) and well ahead of the third-placed Netherlands (13).

In the previous year, the order at the top was reversed: in 2020, Germany with 28 transactions was ahead of the UK with 21 deals.

"To the extent that the interest of Chinese investors is moving away from classic industrial companies toward technology, software and media companies, the target market of Great Britain is gaining in importance," says Sun. However, she is convinced that Germany remains an attractive market for Chinese investors: "Many Chinese companies have had good experiences with their investments in Germany in particular. In addition, there are now close and resilient ties between China and Germany at many levels. We will see more Chinese transactions in Germany in the coming months - especially when the impact of the pandemic on the economy subsides," Sun expects.

The largest investment in Europe last year was the sale of Philips' home appliances division to Hong Kong-based investment firm Hillhouse Capital for $4.4 billion.

The second largest transaction was Tencent's acquisition of the British developer studio Sumo Digital for US$1.1 billion, followed by China International Marine Containers' takeover of the Danish reefer container manufacturer Maersk Container Industry for also US$1.1 billion.

Study Design:

• Sources: EY research, Thomson ONE, Merger Market, communications from the companies or consulting firms and law firms involved.
• Acquisitions and investments originating from companies headquartered in China and Hong Kong or their subsidiaries were examined.
• The target companies are headquartered in Europe and are operationally active.
• Pure real estate transactions were not included.
• The analysis also included transactions that had not yet been completed as of the reporting date of Feb. 17, 2022

Increasingly, Chinese investors are also participating in venture capital financing rounds, mostly as part of investor groups. In these cases, it is often not possible to determine the amount provided by the Chinese investor. Therefore, these transactions are included in the number of transactions but not in the total values.

• Exhibition in Hamburg Museum für Kunst & Gewerbe: 25/02/ - 28/08/2022

Our wardrobe is among our most personal possessions. Nothing is closer to our bodies. Alongside its purely practical function, clothing is also a nuanced means of communication and self-expression. The exhibition DRESSED. 7 WOMEN – 200 YEARS OF FASHION presents seven fashion-conscious women and their wardrobes, ranging from the nineteenth century to the present day.
The spotlight is on the personalities and biographies of the wearers, who reveal themselves to be both performers and consumers of fashion. Whether haute couture, daywear, protest gear or avant-garde trends – what they chose to wear is every bit as diverse as their lifestyles. Their wardrobes tell of the status-consciousness of high-society wives, of an existence marked by illness, of “power dressing” for projecting confidence in the executive suite, of Hamburg’s punk scene, and of the aesthetics embraced by an art and design collector.
 
Rather than basing the selection on status or celebrity, the protagonists cover the greatest possible variety of women’s lifestyles and their expression through fashion. Around 150 garments and accessories from the Fashion and Textiles Collection at the Museum für Kunst und Gewerbe Hamburg (MK&G) illuminate seven different walks of life and 200 years of fashion, women’s liberation and contemporary history. The fashion items were produced by famous designers, couturiers/couturières and fashion ateliers such as Maison Worth, Elsa Schiaparelli, Yves Saint Laurent, Yohji Yamamoto, Rei Kawakubo and Martin Margiela as well as by anonymous tailors and seamstresses. They are supplemented by biographical testimonies, photographs and documents.

„The idea of approaching not only fashion history but also the former wearers through the seven wardobes on display immediately excited me”, remarks Tulga Beyerle, director of the Museum für Kunst und Gewerbe Hamburg. “The narrative also goes beyond that and deals with a topic that is still relevant today: the changing role of women in society.”
 
Senator Dr Carsten Brosda says of the exhibition:” The history of clothing is the history of man. The history of fashion is the history of our social self-image. “Dressed” tells both the story of individual lives and the spirit of the times. The exhibition traces our understanding of aesthetics, the relationship between no-go’s and avant-garde, do’s and don’ts and as a whole is a symbol of possibilities. With the exhibition „Dressed”, the MK&G once again sensitises us to the social value of clothing in a time of material hyperconsumption.”
               
SEVEN PERSONALITIES – SEVEN WARDROBES
The earliest apparel ensemble, which once belonged to ELISE FRÄNCKEL (1807 – 1898), consists mainly of accessories and reveals the up to date fashion sense of the senator’s wife from Oldenburg in Holstein around 1820. The wardrobe of the diplomat’s wife EDITH VON MALTZAN FREIFRAU ZU WARTENBERG UND PENZLIN (1886 – 1976) includes elegant daywear and exquisite afternoon and evening attire from the years 1895 to 1950. The life and clothing of ERIKA HOLST (1917 – 1946) were shaped by war and her illness with tuberculosis. Dating from 1935 to 1945, her wardrobe contains mostly daywear. The Hamburg gallery owner and museum founder ELKE DRÖSCHER (b. 1941) wore almost exclusively pret-à-porter models by Yves Saint Laurent between 1968 and 1986, opting for a form of “power dressing”. INES ORTNER (b. 1968), active in Hamburg’s punk scene since the mid-1980s, combines an interest in fashion with a socio-critical stance in her ”self-constructed”, in some cases anarchic clothing objects. ANGELICA BLECHSCHMIDT (1942 – 2018), editor-in-chief of German Vogues from 1989 to 2002, clad herself in high-end products from international fashion houses as befitting position. Her “work uniform” consisted of little black dresses in combination with chunky costume jewellery. The art and design collector ANNE LÜHN (b. 1944) has over the years donated individual pieces from her wardrobe to MK&G. The often asymmetrical garments created by an international design avant-garde display an aesthetic of resistance.

THE DEVELOPMENT OF FASHION
The seven wardrobes selected for the show shed light on the development of fashion since the early nineteenth century. The items on view can be seen in one sense as an abstract succession of generations. The Second World War marked a clear turning point in terms of women’s opportunities, as revealed by the marital status and occupation of the carious women portrayed. Women born after 1940 were no longer confined to the role of mother, wife and house wife but were able to pursue their own professional goals. The garments also tell of contemporary political and social developments. The rigid corset disappeared after the First World War, roughly concurrently with the rise of women’s suffrage. The proliferation of trousers in women’s fashion from the 1970s onwards went hand in hand with the women’s liberation movement. And in the 1980s, an increasing plurality of clothing styles reflected developments in society at large.
          
CLOTHING AS AN ARCHIVE
The design of the exhibition is inspired by the concept of an archive. Reference is thus made to the museum’s mission of collecting and research but also to the archival function of clothing itself, which serves as a material but also to the archival function of clothing itself, which serves as a material witness to the history of design, technology and trade. At the same time, garments perpetuate the traces of individual bodies, movement and use, providing immaterial clues to the wearer’s aura and calling to mind notions of femininity, beauty and chic as well as personal and collective memories.
 
CLOTHING AS OBJECT OF DAILY USE
Garments are everyday items inscribed with signs of their use and of the body that wears them and bearing the marks of material wear and tear and of storage. These visible marks are just as unwelcome in private wardrobes as they are in museum collections – and yet they prove to be extremely valuable as evidence for object-based research. The exhibition therefore also shows objects with clear signs of wear and provides information about their state of preservation.

CLOTHING AS A MEANS OF SOCIAL COMMUNICATION
Clothing norms and dress codes depend on factors such as age, gender, body shape, occasion, location, status and social group. We already start learning in childhood how to navigate this maze of rules and find the right mix for ourselves between conformity and individuality. As demonstrated by the biographies recounted here, fashion and a preoccupation with how we look is even today primarily a topic for women and people who read as female. Women are judged more by their appearance that their male counterparts and
are held to account more harshly for ostensible “mistakes” in how they present themselves. The role dress plays in social communication cannot be overestimated. Its effect is immediate. Whether consciously or unconsciously, we send and receive signals with our clothes bodies – not to communicate is impossible.

FASION HOUSES AND DESIGNERS REPRESENTED
The exhibition provides a detailed look at high-quality items of clothing in the MK&G collection along with glimpses of the creative work of a wide range of both anonymous makers and famous national and international fashion designers, couturiers/couturières and ateliers, including Georges Doeuillet, Romeo Gigli, Rei Kawakubo/Comme des Garçons, Alice Lanot, Emilienne Manassé, Maison Martin Margiela, Issey Miyake, Rick Owens, Prada, Yves Saint Laurent, Elsa Schiaparelli, Worth, Yohji Yamamoto and others.

CATALOGUE
The exhibition is accompanied by a catalogue of the same name, published by Hirmer Verlag Munich, edited by Turga Beyerle and Angelika Riley, and with essays by Claire Beermann, Turga Beyerle, Joanne Entwistle, Birgit Haase, Peter Kempe, Ingrid E. Mida, Angelika Riley and Maria Stavel, and photographs ny Anne Schönharting. In German with two essays in English, ca. 250 pages, ca. 475 colour illustrations, 90 of them full-page plates, 49.90 Euro.

Ingo Offermanns (Hamburg) is responsible for the graphic design of the catalogue and exhibition. The exhibition architecture is the work of designer and scenographer Katleen Arthen (Berlin).

EDUCTAIONAL PROGRAMM
As part of the exhibition, the MK&G is organising numerous analogue and digital guided tours, including the exhibition tour “With Pen and paper” – a drawing workshop on the seven wardrobes on display with the artist Anne Pflug. You can participate in the exhibition via MK6G’s social media channels: Which favourite piece of clothing should be preserved for posterity? The best photos and stories that are shared with MK&G links can be seen digitally in the exhibition shortly afterwards. More information on the event programme on the website under CALENDAR.

The exhibition is made possible by funds from the Exhibition Fund of the Free and Hanseatic City of Hamburg, the Hubertus Wald Foundation and the Ernst von Siemens Art Foundation.

High-performance fibres that have been exposed to high temperatures usually lose their mechanical properties undetected and, in the worst case, can tear precisely when lives depend on them. For example, safety ropes used by fire brigades or suspension ropes for heavy loads on construction sites. Empa researchers have now developed a coating that changes color when exposed to high temperatures through friction or fire.

The firefighter runs into the burning building and systematically searches room by room for people in need of rescue. Attached to him is a safety rope at the other end of which his colleagues are waiting outside in front of the building. In an emergency - should he lose consciousness for any reason - they can pull him out of the building or follow him into the building for rescue. However, if this rope has been exposed to excessive heat during previous operations, it may tear apart. This means danger to life!

And up to now there has been no way of noticing this damage to the rope. 2021 a team of researchers from Empa and ETH Zurich has developed a coating which changes color due to the physical reaction with heat, thus clearly indicating whether a rope will continue to provide the safety it promises in the future.

Researchers from ETH Zurich and Empa developed a coating system in 2018 as part of a Master's thesis, which the Empa team was now able to apply to fibers. "It was a process involving several steps," says Dirk Hegemann from Empa's Advances Fibers lab. The first coatings only worked on smooth surfaces, so the method first had to be adapted so that it would also work on curved surfaces. Empa has extensive know-how in the coating of fibers - Hegemann and his team have already developed electrically conductive fibers in the past. The so-called sputtering process has now also been successfully applied to the latest coating.

Three layers are required to ensure that the fiber actually changes color when heated. The researchers apply silver to the fibre itself, in this case PET (i.e. polyester) and VectranTM, a high-tech fibre. This serves as a reflector - in other words, as a metallic base layer. This is followed by an intermediate layer of titanium nitrogen oxide, which ensures that the silver remains stable. And only then follows the amorphous layer that causes the color change: Germanium-antimony tellurium (GST), which is just 20 nanometers thick. When this layer is exposed to elevated temperatures, it crystallizes, changing the color from blue to white. The colour change is based on a physical phenomenon known as interference. Two different waves (e.g. light) meet and amplify or weaken each other. Depending on the chemical composition of the temperature-sensitive layer, this color change can be adjusted to a temperature range between 100 and 400 degrees and thus adapted to the mechanical properties of the fiber type.

Tailor-made solutions
The possible areas of application for the colour-changing fibres are still open, and Hegemann is currently looking for possible project partners. In addition to safety equipment for firefighters or mountaineers, the fibres can also be used for load ropes in production facilities, on construction sites, etc. In any case, research on the subject is far from complete. At present, it is not yet possible to store the fibers for long periods of time without losing their functionality. "Unfortunately, the phase-change materials oxidize over the course of a few months," says Hegemann. This means that the corresponding phase change - crystallization - no longer takes place, even with heat, and the rope thus loses its "warning signal". In any case, it has been proven that the principle works, and durability is a topic for future research, says Hegemann. "As soon as the first partners from industry register their interest in our own products, the fibers can be further optimized according to their needs".

Information:
Dr. Dirk Hegemann
Advanced Fibers
Tel. +41 58 765 7268
Dirk.Hegemann@empa.ch

The network for the development of fiber materials technology for healthcare and sports will receive funding from the Central Innovation Programme for SMEs (ZIM) for another two years.

The Federal Ministry for Economic Affairs and Climate Action (BMWi) approved a corresponding application in December 2021. This will continue to provide funding for the development of innovative functional fibers, smart textiles and application-optimized fiber composite materials until June 2023 and strengthen the technological competitiveness and innovative strength of small and medium-sized enterprises (SMEs).

For this purpose, the FIMATEC innovation network combines competences from different engineering and scientific disciplines with small and medium-sized manufacturers and service providers from the target sectors in medicine and sports (e.g. orthopaedics, prosthetics, surgery, smart textiles) as well as players from the textile and plastics industry.      

This interdisciplinary combination of industrial partners and application-oriented research institutions increases competitiveness and enables the players to realise their technical research and development projects quickly and in a targeted manner. The focus for the joint R&D projects of the companies and research institutions is on the development of innovative materials and efficient manufacturing technologies. 
          
Fiber-based materials have become indispensable in many applications in medicine and sports. As a pure fiber, processed into a textile or as a fiber composite plastic, they offer an almost unlimited variety for adjusting property and functional profiles. At the same time, the demands on the range of functions, performance and cost-effectiveness are constantly increasing, so that there is great potential for innovation. Developments are driven on the one hand by new materials and manufacturing processes, and on the other by innovative applications. Products with new and superior functions create a technological advantage over international competitors and enable higher sales revenues. In addition, efficient processes, application-optimized materials or even the integration of functions into the basic structure of textile materials lead to lower production costs and improved marketing opportunities in the future.
For developments in this context, the partners have joined forces in the FIMATEC innovation network, thus combining their expertise. Within the network, innovative materials and processes are being developed jointly in the following areas and tested in future-oriented products and services:

• Functional fibers
  Innovative fiber materials with integrated functionalities
• Preforming
  Highly load path optimized fiber orientations for complex fiber composite components.    
• Smart Textiles
  Textile-based sensors and actuators
• Hybrid material and manufacturing technologies
  Application-optimized components through cross-technology solution approaches.    
• Fiber composites  
  Intelligent matrix systems and function-optimized fiber materials.    
• Fiber-reinforced 3D printing  
  High-quality additive manufacturing processes for the efficient production of individualized products.

 
17 network partners are researching fiber-based materials for medical and sports technologyCurrently, ten companies and seven research institutions are involved in FIMATEC. Interested companies and research institutions as well as potential users can continue to participate in the cooperation network or R&D projects. In the course of membership, the partners are actively supported in identifying and initiating innovation projects as well as securing financing through funding acquisition. One application for ZIM project funding has already been approved by FIMATEC in its first year.

The aim of the already approved project "CFKadapt" is to develop a thermoformable fiber-plastic composite material for optimally adaptable orthopedic aids such as prostheses and orthoses. In the "Modul3Rad" project, which is currently being worked out in detail, the project partners intend to develop a modular lightweight frame system for the construction of user-friendly therapy tricycles, suitable for everyday use by severely and very severely disabled children. Three further collaborative projects are already in the planning stage.

The technology and knowledge transfer enables in particular small and medium-sized enterprises (SMEs) to access cutting-edge technological research, especially these are often denied access to innovations due to the lack of their own research departments. The IWS GmbH has taken over the network management for FIMATEC and supports the partners from the first idea to the search for suitable project partners and the preparation and coordination of funding applications. The aim is to obtain funding from the Central Innovation Programme for SMEs (ZIM), which offers companies funding opportunities for a wide range of technical innovation projects in cooperation with research institutions.

FIMATEC-netzwork partners
all ahead composites GmbH | Veitshöchheim | www.bike-ahead-composites.de
Altropol Kunststoff GmbH | Stockelsdorf | www.altropol.de
Diondo GmbH | Hattingen | www.diondo.com
Mailinger innovative fiber solutions GmbH | Sontra | www.mailinger.de
Sanitätshaus Manfred Klein GmbH & Co. KG | Stade | www.klein-sanitaetshaus.de
STREHL GmbH & Co KG | Bremervörde | www.rehastrehl.de
WESOM Textil GmbH | Olbersdorf | www.wesom-textil.de
Faserinstitut Bremen e.V. (FIBRE) | www.faserinstitut.de
E.F.M. GmbH | Olbersdorf | www.efm-gmbh.de
REHA-OT Lüneburg Melchior und Fittkau GmbH | Olbersdorf | www.rehaot.de
Fraunhofer-Institut für Fertigungstechnik und Angewandte Materialforschung IFAM | Bremen | www.ifam.fraunhofer.de
Leibniz-Institut für Polymerforschung Dresden e.V. (IPF) | www.ipfdd.de
Institut für Polymertechnologien Wismar e.V. (IPT) | www.ipt-wismar.de
Institut für Verbundwerkstoffe GmbH | Kaiserslautern | www.ivw.uni-kl.de

Associated network partners
9T Labs AG | Zürich, Schweiz | www.9tlabs.com
Fachhochschule Nordwestschweiz, Institut für Kunststofftechnik (FHNW) | www.fhnw.ch
KATZ - Kunststoff Ausbildungs- und Technologie-Zentrum | Aarau, Schweiz | www.katz.ch

• ▪ Painting and Drawing by Jutta Jung
• ▪ Exhibition in the gallery ART ROOM in Düsseldorf-Gerresheim (Germany) from 05-02-2022 – 04-03-2022
• ▪ From Neo-Pop Art to Magic Realism

The creative signature of textile designer Jutta Jung cannot be pigeonholed - in her artistic expression, she moves between Neo-Pop Art, Figurative Expressionism and Magical Realism. In her upcoming exhibition at the ART ROOM-Düsseldorf gallery, the Neuss-based artist will be showing new realistic-expressive paintings with motifs of women, in which she combines textile-like structures with luminous pours of paint.

Jutta Jung: "We all live in one world, and yet we do not. We all see the same thing, but perceive it differently. The diversity of external and internal views has always fascinated me."

As a counterpoint to her paintings of women, some of which are autobiographical in origin or can also stimulate the viewer's imagination for stories of their own, she is presenting a current series of surface paintings in the gallery. These are presented in her typical colourfulness and overlapping forms and structures.

This is complemented by an excerpt from her collection of "Women's Stories and Dream Landscapes" with expressive portrait drawings and abstract paintings. On large canvas formats, Jutta Jung works out in a painterly-gestural way what she wants to make visible. Power meets colour. Fine strokes and drawings are combined with painting on paper and in smaller formats - from contemplative to impulsive. Worlds of colour, abstracted landscapes, compositions that take up symbols and signs, figurative elements or depictions of people: Jutta Jung combines a variety of materials and artistic techniques in her paintings to depict her perspectives and ways of seeing. "There are always new worlds to discover," she says.

On the occasion of its 50th anniversary, the Kreismuseum Zons is showing the special event "Art to the Last Corner" from 13 May to 26 June 2022. Jutta Jung is one of seven selected artists and will present works on her theme "Global Ethno". The museum as part of a former castle with buildings from the 17th to the end of the 20th century gives exhibitions a special presentation framework. It also contains the 900 works of Prof. Helmut Hahn's life's work from forty years of activity.

Vita
Jutta Jung lives and works in the Rhineland. She completed her design studies (specialising in textile design) at the Niederrhein University of Applied Sciences in Krefeld with a diploma under Professor Helmut Hahn with the grade "very good". Her main subjects were free drawing, free painting, illustration, colour composition, conception & design, art science, design theory. In addition to her many years of work as a textile designer and collection designer in the Rhineland textile industry, she has been working as a freelance designer and artist in her own studio since 2003:
▪ Textile design and collection design for companies in Europe and Asia. (including fabric designs, porcelain decors and designs for handmade carpets).
▪ Free painting and sale of works to private collectors.
Since 2010, Jutta Jung has concentrated exclusively on free artistic work in painting and drawing. She is a member of Kunst.Neuss e.V. and the artist network crossart international.

Contact:
E-Mail: jutta-jung-artwork@gmx.de
Web: https://juttajungartwork.com/

For centuries, old textiles have been used to make tear fibers and processed into new textile products. This effective recycling is one of the oldest material cycles in the world. Today, it is not only clothing that is recycled, but also high-quality technical textiles. As the products of the textile industry evolve, so do the demands on textile recycling. The basis for this is a clear assessment and classification of raw materials.

In the research project of the German Institutes of Textile and Fiber Research Denkendorf (DITF) and the Sächsisches Textilforschungsinstitut e.V. (STFI - Saxony Textile Research Institute), a methodology is being developed that will make it possible to analyze the tearing as well as the subsequent processes with regard to fiber quality. The systematic analysis should make it possible to optimize the subsequent spinning processes in such a way that the recycled content of the yarn can be increased without the yarn properties differing significantly from those of a yarn consisting of 100% good fibers. These yarns can then be processed into sustainable textile products such as clothing or composite components.

The project, which is funded by the BMWi/IGF, is scheduled to run for two years and will end on December 31, 2022. The main benefits for the participating companies are to enable them to make greater use of secondary raw materials, to open up new markets through technologies or products developed in the project, to initiate synergies and long-term cooperation, and to prepare a joint market presence.    

The project includes several steps:

• Material selection and procurement
  Cotton fibers to be processed are obtained from used textiles (T-shirts) and waste from the cotton spinning mill. Aramid fibers are processed from used protective clothing and technical textiles.
• Optimization of the preparation / dissolution of the textiles
  To ensure that the fibers are detached from the corresponding textiles as gently as possible and with a not too high reduction, exact settings have to be found for the tearing process, which are technologically very demanding and require a lot of experience.
• Determination of the quality criteria for the evaluation of the fiber dissolution
  In order to define the quality criteria, the fibers coming from the tearing mill are determined by means of an MDTA-4 measuring device from Textechno GmbH & Co. KG. The criteria determined are to be used to characterize the (lowest possible) fiber shortening caused by the tearing process.
• Determination of optimized settings in the spinning process
  In order to determine the optimum settings for producing a yarn from the recycled fibers, they are spun after the rotor spinning process. By adjusting the spinning process, the aim is to produce a yarn that has good uniformity and also appropriate firmness.
• Production and comparison of yarns from recycled raw materials
  In order that the recycled fibers - consisting of aramid and cotton - can each be used to produce an area-measured material, the material is to be processed at industrial scale. For this purpose, the fibers are processed over a complete blowroom line with following sliver production over adapted cards. After drawing and the following roving production, yarns are produced according to the rotor or ring spinning process. The finished yarns are used to produce knitted fabrics.
• Coordination, analysis of results and preparation of reports
  The final report is prepared by the DITF and the STFI. The results will be transferred through publications, technical information to associations and trade fair presentations. Regular meetings with the participating companies are planned.

Textination spoke with Stephan Baz, Deputy Head of the Competence Center Staple Fiber, Weaving & Simulation, Head of Staple Fiber Technology and Markus Baumann, Research Associate at the Competence Center Staple Fiber, Weaving & Simulation (both DITF) as well as Bernd Gulich, Head of Department Nonwovens/Recycling and Johannes Leis, Research Associate Focus Nonwovens/Recycling (both STFI) about the current status of the funding project.

What is the current status of the project?
We are currently in the phase of carrying out trials and the iterative optimization of several project components. As expected, several loops are necessary for the mechanical preparation itself and also for the adjustment of the spinning process with the different variants. Ultimately, after all, the project aims at coordinating the processes of mechanical preparation and spinning as processing in order to achieve optimum results. At the same time, determining the quality criteria of the fibers produced is not trivial. This also requires the further development of processes and test methods that can be implemented productively in industry and that allow the quality of the fibers produced to be assessed effectively and unaffected by residual yarns, for example. What is really remarkable is the interest and willingness of the industry to drive the project work forward. The considerable quantities of materials required for our trials were purchased from ReSales Textilhandel und -recycling GmbH, Altex Textil-Recycling GmbH & Co. KG and Gebrüder Otto GmbH & Co. KG. Furthermore, with Temafa Maschinenfabrik GmbH, Nomaco GmbH & Co. KG, Schill + Seilacher GmbH, Spinnerei Neuhof GmbH & Co. KG and Maschinenfabrik Rieter AG, many members of the project-supporting committee are actively involved in the project, from consulting to the providing of technologies. The company Textechno Herbert Stein GmbH & Co. KG has provided a testing device of the type MDTA4 for the duration of the project and supports our work with regard to the evaluation of the mechanically prepared fibers. We are of course particularly pleased about this, as it has allowed us to look at and analyze several technologies in both mechanical preparation, testing and spinning. We expect to be able to make more detailed statements at the beginning of the coming year.

Which approaches do you think are particularly promising?
With regard to technologies, we must refer to the evaluation and analysis of the trials, which are currently still ongoing. We will be able to go into more detail in the first quarter of next year.

Of course, things are already emerging. With meta-aramid waste, promising approaches could be found very quickly; with post-consumer cotton, this is considerably more complex. Obviously, there is a link between the quality of the raw material and the quality of the products. In some cases, we have already been able to determine very low average fiber lengths in the procured goods; to a certain extent, these are of course directly reflected in the output of our processes. From this, and this is not a new finding, a great importance of the design of the textiles is again derived.

What are the challenges?
In addition to the expected high short fiber content, the residual yarns after the tearing process are an issue of particular focus. The proportion of these residual yarns can vary between the materials and preparation technologies, but the further dissolution of the products of the tearing process is essential.

If the processes are considered further in a utilization phase, the question of design naturally also arises for the best possible use of recycled fibers. Many problems, but also the approaches to solutions for the use of comparatively short fibers, can also be expected to apply to the (multiple) use of mechanically recycled fibers.

Can we speak of upcycling in the final product?
We see yarn-to-yarn recycling neither as upcycling nor downcycling, but as closed-loop recycling. The background is that the products are to go into the same application from which they came and have to compete with primary material. This means that certain specific requirements have to be met and at the same time there is considerable price pressure. In the case of downcycling, a significant reduction in properties is accepted, while in the case of upcycling, the higher-priced application can make up for the reprocessing effort. In the attempt to produce yarn material again from yarn material, both are only permissible to a small extent. This represents the particular challenge.

What does a recyclate prepared from used textiles mean for the spinning process?
Part of this question is to be answered in the project by the detailed classification of the processed fibers and is thus the subject of the tests currently underway. It turns out that, in addition to the rather obvious points such as significantly reduced fiber length, process disturbances due to undissolved fabrics and yarn pieces, there are also less obvious aspects to be considered, such as a significantly increased outgoing quantity for processing in the spinning process. The outgoing quantity is of particular interest here, because in the end the newly produced yarn should also contain a considerable proportion of prepared fibers.

What consequences does this have for textile machinery manufacturing?
The consequences that can already be estimated at the present time are that, particularly in the processing of cotton, the machinery in the spinning preparatory mill is specialized in the processing of (new) natural fibers with a certain amount of dirt. In contrast to new fibers, processed fibers are clean fibers with a significantly higher proportion of short fibers. Elements that are good at removing dirt also reject an increased amount of short fibers, which can lead to unintentionally high waste quantities under certain circumstances. It is therefore necessary to adapt the established machine technology to the new requirement profile of the raw material "processed fibers". Analogous adaptations are probably necessary along the entire processing chain up to the yarn. In the drafting system of the spinning machine, of course, this is due more to the high short fiber ratio than to elements that have been optimized for cleaning out dirt and foreign substances.

Founded in January 1926, Tokyo-based Japanese chemical company Toray Industries, Inc. is known as the world's largest producer of PAN (polyacrylonitrile)-based carbon fibers. But its overall portfolio includes much more. Textination spoke with Koji Sasaki, General Manager of the Textile Division of Toray Industries, Inc. about innovative product solutions, new responsibilities and the special role of chemical companies in today's world.

Toray Industries is a Japanese company that - originating in 1926 as a producer of viscose yarns - is on the home stretch to its 100th birthday. Today, the Toray Group includes 102 Japanese companies and 180 overseas. They operate in 29 countries. What is the current significance of the fibers and textiles business unit for the success of your company?

The fibers’ and textiles’ business is both the starting point and the foundation of Toray's business development today. We started producing viscose yarns in 1926 and conducted our own research and development in nylon fibers as early as 1940. And since new materials usually require new processing methods, Toray also began investing in its own process technology at an early stage. On the one hand, we want to increase our sales, and on the other hand, we want to expand the application possibilities for our materials. For this reason, Toray also began to expand its business from pure fibers to textiles and even clothing. This allows us to better respond to our customers' needs while staying at the forefront of innovation.

Over the decades, Toray has accumulated a great deal of knowledge in polymer chemistry and organic synthesis chemistry - and this know-how is the foundation for almost all of our other business ventures. Today, we produce a wide range of advanced materials and high-value-added products in plastics, chemicals, foils, carbon fiber composites, electronics and information materials, pharmaceuticals, medicine and water treatment. However, fibers and textiles remain our most important business area, accounting for around 40% of the company's sales.

What understanding, what heritage is still important to you today? And how do you live out a corporate philosophy in the textile sector that you formulate as "Contributing to society through the creation of new value with innovative ideas, technologies and products"?

Toray has consistently developed new materials that the world has never seen before. We do this by focusing on our four core technologies: Polymer chemistry, organic synthetic chemistry, biotechnology and nanotechnology. We do this by focusing on our four core technologies: Polymer chemistry, organic synthetic chemistry, biotechnology and nanotechnology. For textiles, this means we use new polymer structures, spinning technologies and processing methods to develop yarns with unprecedented properties. We always focus on the needs and problems of the market and our customers.

This approach enables us to integrate textiles with new functions into our everyday lives that natural fibers and materials cannot accomplish. For example, we offer sportswear and underwear that absorb water excellently and dry very quickly, or rainwear and outdoor clothing with excellent water-repellent properties that feature a less bulky inner lining. Other examples include antibacterial underwear, uniforms, or inner linings that provide a hygienic environment and reduce the growth of odor-causing bacteria. People enjoy the convenience of these innovative textiles every day, and we hope to contribute to their daily comfort and improve their lives in some way.

In 2015, the United Nations adopted 17 sustainable development goals – simply known as the 2030 Agenda, which came into force on January 01, 2016. Countries were given 15 years to achieve them by 2030. In your company, there is a TORAY VISION 2030 and a TORAY SUSTAINABILITY VISION. How do you apply these principles and goals to the textile business? What role does sustainability play for this business area?

Sustainability is one of the most important issues facing the world today - not only in the textile sector, but in all industries. We in the Toray Group are convinced that we can contribute to solving various problems in this regard with our advanced materials. At the same time, the trend towards sustainability offers interesting new business approaches. In our sustainability vision, we have set four goals that the world should achieve by 2050. And we have defined which problems need to be addressed to achieve this.

We must:

1. accelerate measures to combat climate change,
2. implement sustainable, recycling-oriented solutions in the use of resources and in production,
3. provide clean water and air, and
4. contribute to better healthcare and hygiene for people around the world.

We will drive this agenda forward by promoting and expanding the use of materials that respond to environmental issues. In the textile sector, for example, we offer warming and cooling textiles – by eliminating the need for air conditioning or heating in certain situations, they can help reduce energy costs. We also produce environmentally friendly textiles that do not contain certain harmful substances such as fluorine, as well as textiles made from biomass, which use plant-based fibers instead of conventional petrochemical materials. Our product range also includes recycled materials that reduce waste and promote effective use of resources.

The TORAY VISION 2030, on the other hand, is our medium-term strategic plan and looks at the issue of sustainability from a different angle: Toray has defined the path to sustainable and healthy corporate growth in it. In this plan, we are focusing on two major growth areas: Our Green Innovation Business, which aims to solve environmental, resource and energy problems, and the Life Innovation Business, which focuses on improving medical care, public health, personal safety and ultimately a longer expectancy of life.

Innovation by Chemistry is the claim of the Toray Group. In a world where REACH and Fridays for Future severely restrict the scope of the chemical industry, the question arises as to what position chemistry can have in the textile industry. How do chemistry, innovation and sustainability fit together here?

The chemical industry is at a turning point today. The benefits that this industry can bring to civilization are still enormous, but at the same time, disadvantages such as the waste of resources and the negative impact on the environment and ecosystems are becoming increasingly apparent. In the future, the chemical industry will have to work much more towards sustainability - there is no way around it.

As far as textiles are concerned, we believe there are several ways to make synthetic materials more sustainable in the future. One of these, as I said, is materials made from plants instead of petrochemical raw materials. Another is to reduce the amount of raw materials used in production in the first place – this can be achieved, for example, by collecting and recycling waste materials from production or sales. Biodegradable materials that reduce the impact of waste products on the environment are another option worth pursuing, as is the reduction of environmentally harmful substances used in the production process. We are already looking at all of these possibilities in Toray's synthetic textiles business. At the same time, by the way, we make sure to save energy in our own production and minimize the impact on the environment.

Toray's fibers & textiles segment focuses on synthetic fibers such as nylon, polyester and acrylic, as well as other functional fibers. In recent years, there has been a clear trend on the market towards cellulosic fibers, which are also being traded as alternatives to synthetic products. How do you see this development – on the one hand for the Toray company, and on the other hand under the aspect of sustainability, which the cellulosic competitors claim for themselves with the renewable raw material base?

Natural fibers, including cellulose fibers and wool, are environmentally friendly in that they can be easily recycled and are rapidly biodegradable after disposal. However, to truly assess their environmental impact, a number of other factors must also be considered: Primarily, there is the issue of durability: precisely because natural fibers are natural, it is difficult to respond to a rapid increase in demand, and quality is not always stable due to weather and other factors.

Climatic changes such as extreme heat, drought, wind, floods and damages from freezing can affect the quantity and quality of the production of natural fibers, so that the supply is not always secured. In order to increase production, not only does land have to be cleared, but also large amounts of water and pesticides have to be used to cultivate it – all of which is harmful to the environment.

Synthetic fibers, on the other hand, are industrial products manufactured in controlled factory environments. This makes it easier to manage fluctuations in production volume and ensure consistent quality. In addition, certain functional properties such as resilience, water absorption, quick drying and antibacterial properties can be embedded into the material, which can result in textiles lasting longer in use.

So synthetic fibers and natural fibers, including cellulose fibers, have their own advantages and disadvantages – there is no panacea here, at least not at the moment. We believe: It is important to ensure that there are options that match the consumer's awareness and lifestyle. This includes comfort in everyday life and sustainability at the same time.

To what extent has the demand for recycled products increased? Under the brand name &+™, Toray offers a fiber made from recycled PET bottles. Especially with the "raw material base: PET bottles", problems can occur with the whiteness of the fiber. What distinguishes your process from that of other companies and to what extent can you compete with new fibers in terms of quality?

During the production of the "&+" fiber, the collected PET bottles are freed from all foreign substances using special washing and filtering processes. These processes have not only allowed us to solve the problem of fiber whiteness – by using filtered, high-purity recycled polyester chips, we can also produce very fine fibers and fibers with unique cross sections. Our proven process technologies can also be used to incorporate specific textures and functions of Toray into the fiber. In addition, "&+" contains a special substance in the polyester that allows the material to be traced back to the recycled PET bottle fibers used in it.

We believe that this combination of aesthetics, sustainability and functionality makes the recycled polyester fiber "&+" more competitive than those of other companies. And indeed, we have noticed that the number of requests is steadily increasing as companies develop a greater awareness of sustainability as early as the product planning stage.

How is innovation management practiced in Toray's textile division, and which developments that Toray has worked on recently are you particularly proud of?

The textile division consists of three sub-divisions focusing on the development and sale of fashion textiles (WOMEN'S & MEN'S WEAR FABRICS DEPT.), sports and outdoor textiles (SPORTS WEAR & CLOTHING MATERIALS FABRICS DEPT.) and, specifically for Japan, textiles for uniforms used in schools, businesses and the public sector (UNIFORM & ADVANCED TEXTILES DEPT.).

In the past, each division developed its own materials for their respective markets and customers. However, in 2021, we established a collaborative space to increase synergy and share information about textiles developed in different areas with the entire department. In this way, salespeople can also offer their customers materials developed in other departments and get ideas for developing new textiles themselves.

I believe that the new structure will also help us to respond better to changes in the market. We see, for example, that the boundaries between workwear and outdoor are blurring – brands like Engelbert Strauss are a good example of this trend. Another development that we believe will accelerate after the Corona pandemic is the focus on green technologies and materials. This applies to all textile sectors, and we need to work more closely together to be at the forefront of this.

How important are bio-based polyesters in your research projects? How do you assess the future importance of such alternatives?

I believe that these materials will play a major role in the coming years. Polyester is made from purified terephthalic acid (PTA), which again consists of paraxylene (PX) and ethylene glycol (EG). In a first step, we already offer a material called ECODEAR™, which uses sugar cane molasses waste as a raw material for EG production.

About 30% of this at least partially bio polyester fiber is therefore biologically produced, and the material is used on a large scale for sportswear and uniforms. In the next step, we are working on the development of a fully bio-based polyester fiber in which the PTA component is also obtained from biomass raw materials, such as the inedible parts of sugar cane and wood waste.

Already in 2011, we succeeded in producing a prototype of such a polyester fiber made entirely from biomass. However, the expansion of production at the PX manufacturer we are working with has proven to be challenging. Currently, we are only producing small sample quantities, but we hope to start mass production in the 2020s.

Originally starting with yarn, now a leading global producer of synthetic fibers for decades, you also work to the ready-made product. The range extends from protective clothing against dust and infections to smart textiles and functional textiles that record biometric data. What are you planning in these segments?

In the field of protective clothing, our LIVMOA™ brand is our flagship material. It combines high breathability to reduce moisture inside the garment with blocking properties that keep dust and other particles out. The textile is suitable for a wide range of work environments, including those with high dust or grease levels and even cleanrooms. LIVMOA™ 5000, a high quality, also demonstrates antiviral properties and helps to ease the burden on medical personnel. The material forms an effective barrier against bacteria and viruses and is resistant to hygroscopic pressure. Due to its high breathability, it also offers high wearing comfort.

Our smart textile is called hitoe™. This highly conductive fabric embeds a conductive polymer – a polymer compound that allows electricity to pass through - into the nanofiber fabric. hitoe™ is a high-performance material for detecting biosignals, weak electrical signals that we unconsciously emit from our bodies.

In Japan, Toray has developed products for electrocardiographic measurements (ECGs) that meet the safety and effectiveness standards of medical devices. And in 2016, we submitted an application to the Japanese medical administrative authorities to register a hitoe™ device as a general medical device – this registration process is now complete. Overall, we expect the healthcare sector, particularly medical and nursing applications, to grow – not least due to increasing infectious diseases and growing health awareness among the elderly population. We will therefore continue to develop and sell new products for this market.

In 1885, Joseph Wilson Swan introduced the term "artifical silk" for the nitrate cellulose filaments he artificially produced. Later, copper, viscose and acetate filament yarns spun on the basis of cellulose were also referred to as artifical silk. Toray has developed a new innovative spinning technology called NANODESIGN™, which enables nano-level control of the fineness and shape of synthetic fibers. This is expected to create functions, aesthetics and textures that have not existed before. For which applications do you intend to use these products?

In NANODESIGN™ technology, the polymer is split into a number of microscopic streams, which are then recombined in a specific pattern to form a new fiber. By controlling the polymer flow with extreme precision, the fineness and cross-sectional shape of the fiber can be determined much more accurately than was previously possible with conventional microfiber and nanofiber spinning technologies. In addition, this technology enables the combination of three or more polymer types with different properties in one fiber – conventional technologies only manage two polymer types. This technology therefore enables Toray to specify a wide range of textures and functions in the production of synthetic fibers that were not possible with conventional synthetic fibers – and even to outperform the texture and feel of natural fibers. Kinari, our artificial silk developed with NANODESIGN technology, is a prime example here, but the technology holds many more possibilities – especially with regard to our sustainability goals.

What has the past period of the pandemic meant for Toray's textile business so far? To what extent has it been a burden, but in which areas has it also been a driver of innovation? What do you expect of the next 12 months?

The Corona catastrophe had a dramatic impact on the company's results: The Corona catastrophe had a dramatic impact on the company's results: In the financial year 2020, Toray's total sales fell by about 10% to 188.36 billion yen (about 1.44 billion euros) and operating profit by about 28% to 90.3 billion yen (about 690 million euros). The impact on the fiber and textile business was also significant, with sales decreasing by around 13% to 719.2 billion yen (approx. 5.49 billion euros) and operating profit by around 39% to 36.6 billion yen (approx. 280 million euros).

In the financial year 2021, however, the outlook for the fibers and textiles sector is significantly better: So far, the segment has exceeded its goals overall, even if there are fluctuations in the individual areas and applications. In the period from April to June, we even returned to the level of 2019. This is partly due to the recovering sports and outdoor sector. The fashion apparel market, on the other hand, remains challenging due to changing lifestyles that have brought lock-downs and home-office. We believe that a full recovery in business will not occur until the travel and leisure sector returns to pre-Corona levels.

Another side effect of the pandemic that we feel very strongly, is the growing concern about environmental issues and climate change. As a result, the demand for sustainable materials has also increased in the apparel segment. In the future, sustainability will be mandatory for the development and marketing of new textiles in all market segments. Then again, there will always be the question of how sustainable a product really is, and data and traceability will become increasingly important. In the coming years, the textile division will keep a close eye on these developments and develop materials that meet customers' needs.

About the person:
Koji Sasaki joined Toray in 1987. In his more than 30 years with the company, he has held various positions, including a four-year position as Managing Director of Toray International Europe GmbH in Frankfurt from 2016 to 2020. Since 2020, Koji Sasaki has been responsible for Toray's textile division and serves as acting chairman of Toray Textiles Europe Ltd. In these roles, he supervises the company's development, sales and marketing activities in the apparel segment, including fashion, sports and work or school uniforms.

The interview was conducted by Ines Chucholowius, Managing partner Textination GmbH