Textination Newsline

With most donated clothes exported or thrown away, experts are calling for a shakeup of how we deal with the growing fashion waste issue.

A first of its kind study, published in Nature Cities, analysed what happens to clothes and other textiles after consumers no longer want them in Amsterdam, Austin, Berlin, Geneva, Luxembourg, Manchester, Melbourne, Oslo and Toronto.

Across most western cities from Melbourne to Manchester it found the same pattern of textile waste being exported, going to landfill or being dumped in the environment.

Global textiles waste each year weighs 92 million tonnes and this could double by 2030.

Charity shops handle a large amount of used clothes, but the study found because many are poor quality and there's little financial benefit to manage them locally, charities trade some valuable items and discard or export the rest.

In Melbourne, charities export high-quality, often vintage, second-hand clothes to Europe, forcing the city’s independent resale businesses to import similar apparel back from Europe or the United States.
But overall, charities and collectors have been reporting the plummeting quality of garments over the past 15 to 20 years, decreasing resale potential.

Study co-author Dr Yassie Samie, from RMIT University, said local governments and charities need to coordinate more to manage textile waste.

“We're used to charities doing the heavy lifting, but they’ve been unable to fully handle the volume of donated clothes for a long time now,” Samie said.

“Charities are driven by social welfare values and need to raise funds for their programs.

“However, their operations are ill-equipped to deal with the volume of used textiles that need to be reused and recycled.

“Given the role of charities within communities, it's essential they expand beyond direct resale in second-hand shops and explore other business models, such as swapping and repair centres.”

Overconsumption and oversupply were the main drivers of the cities’ textile waste, causing the export of between 33% (Australia) and 97% (Norway) of donated clothes.

Collaboration in local networks the key
Most local governments in the cities studied did not get involved in textile waste beyond providing public spaces and licenses for charity bins and commercial resellers.

Across cities like Melbourne, local governments send dumped textiles directly to landfill, instead of diverting to recycling or reuse facilities or other local alternatives.

“This indicates the lack of mechanism and incentives in place to drive real systemic change,” Samie said.

Amsterdam was the opposite – its municipality manages collection and sorting of unwanted clothes and encourages collection of all textiles, including nonreusable ones.

From January 2025, European Union Member States must establish separate collection systems for used textiles.

But the biggest per capita discarders of textile waste, Australia and the US, have no such regulation.

Fashion advertising ban
Samie said it was important to incentivise promotion of local alternatives to fast fashion, including reselling, swapping and repairing.

“Sustainable fashion initiatives like second-hand retailers struggle to compete with fashion brands’ big marketing budgets and convenient locations,” she said.

“Fast fashion alternatives exist but they are under-promoted, despite their potential to significantly reduce cities’ textile waste.”

To create more space for these alternatives, the study’s authors called for a ban on fashion advertising in cities. “A ban on fashion advertisements would give more space to promote more sustainable alternatives,” Samie said.

France recently introduced a ban on advertising ultra-fast fashion, while each item will come with a penalty of up to 10 euros by 2030.

Samie said she would like to work with local governments to find better uses for discarded textiles.

‘Urban transitions toward sufficiency-oriented circular post-consumer textile economies’, with Katia Vladimirova, Yassie Samie, Irene Maldini, Samira Iran, Kirsi Laitala, Claudia E. Henninger, Sarah Ibrahim Alosaimi, Kelly Drennan, Hannah Lam, Ana-Luisa Teixeira, Iva Jestratijevic and Sabine Weber, is published in Nature Cities (DOI: 10.1038/s44284-024-00140-7).
Source: Aеden Rаtcliffe, RMIT University

ISPO Munich, the world’s leading trade fair for the sports industry and the world’s largest sports business event, is about to begin and will soon present the prestigious ISPO Awards to the most innovative products and newcomers of tomorrow. The ISPO Awards are regarded as a global driving force for the sports industry. Showcasing the latest trends and innovations in product design, materials and digital solutions, these awards set new standards for the future of the sports industry.

The best products of 2024 will be honoured at ISPO Munich in December and can be seen at the ISPO Award area in Hall B1 from 3 to 5 December 2024. At the same time, newcomers to the sports and outdoor industry will be given a stage at ISPO Brandnew, the largest start-up competition in the sports business, where they will present their innovative products in exciting live pitches during ISPO Munich. The grand finale will take place on the second day of the event on the Main Stage.

The ISPO Award seal of quality is given to sports products with a particularly high level of innovation, thus providing a curated overview of the most important trends in the industry. For the brands, innovations are enormously important and indispensable, whether in the textile sector, where much has changed in terms of materials, or in the integration of AI into all sub-sectors of the sporting goods industry. An expert jury of business professionals and regularly changing, sports-loving retail consumers from the ISPO Collaborators Club will review the submitted product innovations in advance and award prizes to the ones that meet the relevant criteria.

The submitted products make it possible to identify and observe trends. In 2024, the spectrum of trends continues to include sustainability in relation to textile innovations, the circular economy and recycling, as well as retail consumers’ desire for multipurpose use of diverse products. The integration of technology and the ever-growing role of AI numbers among the most exciting observations.

SUSTAINABILITY AS THE STANDARD
New EU legislation has led to an acceleration in the development of sustainable, functional materials. At this year’s ISPO Award jury meetings, numerous exciting material innovations were observed, especially in the textile sector. Progress in chemical treatments, such as PFC-free DWRs and textiles, is also remarkable. “Sustainability is increasingly becoming the norm, which means that consumers are coming to expect it as standard”, says juror and textile expert Dr Regina Henkel. “Progress is visible, for example, in the use of mono-materials or bio-based fabrics such as wool-Tencel blends”, which are used, for example, in this year’s ISPO Award winner Icebreaker with the Merino Blend 800 RealFleece Classic Pile LS Zip.

The ISPO Award entries also make it obvious that the performance of sustainable products made from recycled fibres has improved markedly so that the functionality of these products is now fully on a par with non-recycled items. Nevertheless, recycling will not be the solution to all future challenges, which is why manufacturers are increasingly incorporating into their collections natural fibres and biodegradable sports textiles, either in pure form or as a blend.

MULTI-USE REMAINS A TOP TREND
The trend towards multifunctional products reflects consumers’ desire for practical solutions. Particularly in Asia, multifunctional hardware products are perceived positively, while in Europe the focus is on textiles for multifunctional use. “High-quality, high-performance materials and designs are being adapted as everyday fashion, thus appealing to a broader target group”, explains trade journalist Dr Martina Wengenmeir, who is also one of the ISPO Award’s jurors. The “urban outdoor” trend is continuing and multipurpose products are also coming into focus in the area of commitment. One example of this is the Outdoor Backpack 45L from Peak Design, which combines fashionable and multifunctional design with full performance.

ISPO Award juror Dr Wengenmeir has identified another trend: “There is a growing focus on technical sports products designed specifically for women. These include football shoes with a design that is genuinely their own. This development goes beyond simple adjustments and includes well-thought-out designs in terms of fit and functionality.” These also include the BettHer - Bra Antishock+: the bra relies on a patented thermoplastic gel technology that provides excellent shock absorption and protection during intense activities.

INTEGRATION OF TECHNOLOGY
A trend from Asia that is also arriving in Europe is the integration of technology into clothing, for example through sensors and warmth apps. The personalisation of garments using technologies such as AI and sensor technology for temperature regulation is regarded as a potential growth area, despite concerns about sustainability.

Technology is also playing an increasingly important role for brick-and-mortar retailers, for example, when it comes to analysing the right product for the customer. Treadmills for running analysis are well known, but this year’s ISPO Award winner, the Skimulator, is a patented world first for a perfect fit of ski boots. This state-of-the-art simulator precisely simulates slope gradients, thus enabling the perfect fit of the ski boot.

ISPO BRANDNEW AWARD
ISPO Munich also provides a stage for the most innovative and creative newcomers in the sports and outdoor industry. Previous ISPO Brandnew winners include pioneering brands from all over the world that have redefined the boundaries of their respective fields with innovative materials, cutting-edge technology and sustainable action. Four start-ups each from the categories “Outdoor & Adventure & Snowsports”, “Performance, Body & Mind (physical product)”, “Sustainability” and “Sports Technology & Platforms” will pitch their ideas live on the main stage. A sneak peek at the innovations on show includes: BreezeLabs, which monitors breathing patterns during exercise; no normal coffee, coffee in a tube; and the AeroGraph Puffer Jacket, a weather-insulating jacket. The winner will be announced in the grand finale on the second day of the fair (4 December 2024).

Developed by the Self-Assembly Lab, the 4D Knit Dress uses several technologies to create a custom design and a custom fit, while addressing sustainability concerns.

Until recently, bespoke tailoring — clothing made to a customer’s individual specifications — was the only way to have garments that provided the perfect fit for your physique. For most people, the cost of custom tailoring is prohibitive. But the invention of active fibers and innovative knitting processes is changing the textile industry.

“We all wear clothes and shoes,” says Sasha MicKinlay MArch ’23, a recent graduate of the MIT Department of Architecture. “It’s a human need. But there’s also the human need to express oneself. I like the idea of customizing clothes in a sustainable way. This dress promises to be more sustainable than traditional fashion to both the consumer and the producer.”

McKinlay is a textile designer and researcher at the Self-Assembly Lab who designed the 4D Knit Dress with Ministry of Supply, a fashion company specializing in high-tech apparel. The dress combines several technologies to create personalized fit and style. Heat-activated yarns, computerized knitting, and robotic activation around each garment generates the sculpted fit. A team at Ministry of Supply led the decisions on the stable yarns, color, original size, and overall design.

“Everyone’s body is different,” says Skylar Tibbits, associate professor in the Department of Architecture and founder of the Self-Assembly Lab. “Even if you wear the same size as another person, you're not actually the same.”

Active textiles
Students in the Self-Assembly Lab have been working with dynamic textiles for several years. The yarns they create can change shape, change property, change insulation, or become breathable. Previous applications to tailor garments include making sweaters and face masks. Tibbits says the 4D Knit Dress is a culmination of everything the students have learned from working with active textiles.

McKinlay helped produce the active yarns, created the concept design, developed the knitting technique, and programmed the lab’s industrial knitting machine. Once the garment design is programmed into the machine, it can quickly produce multiple dresses. Where the active yarns are placed in the design allows for the dress to take on a variety of styles such as pintucks, pleats, an empire waist, or a cinched waist.

“The styling is important,” McKinlay says. “Most people focus on the size, but I think styling is what sets clothes apart. We’re all evolving as people, and I think our style evolves as well. After fit, people focus on personal expression.”

Danny Griffin MArch ’22, a current graduate student in architectural design, doesn’t have a background in garment making or the fashion industry. Tibbits asked Griffin to join the team due to his experience with robotics projects in construction. Griffin translated the heat activation process into a programmable robotic procedure that would precisely control its application.

“When we apply heat, the fibers shorten, causing the textile to bunch up in a specific zone, effectively tightening the shape as if we’re tailoring the garment,” says Griffin. “There was a lot of trial and error to figure out how to orient the robot and the heat gun. The heat needs to be applied in precise locations to activate the fibers on each garment. Another challenge was setting the temperature and the timing for the heat to be applied.”

“We couldn’t use a commercial heat gun — which is like a handheld hair dryer — because they’re too large,” says Griffin. “We needed a more compact design. Once we figured it out, it was a lot of fun to write the script for the robot to follow.”

A dress can begin with one design — pintucks across the chest, for example — and be worn for months before having heat re-applied to alter its look. Subsequent applications of heat can tailor the dress further.

Beyond fit and fashion
Efficiently producing garments is a “big challenge” in the fashion industry, according to Gihan Amarasiriwardena ’11, the co-founder and president of Ministry of Supply.

“A lot of times you'll be guessing what a season's style is,” he says. “Sometimes the style doesn't do well, or some sizes don’t sell out. They may get discounted very heavily or eventually they end up going to a landfill.”

“Fast fashion” is a term that describes clothes that are inexpensive, trendy, and easily disposed of by the consumer. They are designed and produced quickly to keep pace with current trends. The 4D Knit Dress, says Tibbits, is the opposite of fast fashion. Unlike the traditional “cut-and-sew” process in the fashion industry, the 4D Knit Dress is made entirely in one piece, which virtually eliminates waste.

“From a global standpoint, you don’t have tons of excess inventory because the dress is customized to your size,” says Tibbits.

McKinlay says she hopes use of this new technology will reduce the amount of waste in inventory that retailers usually have at the end of each season.

“The dress could be tailored in order to adapt to these changes in styles and tastes,” she says. “It may also be able to absorb some of the size variations that retailers need to stock. Instead of extra-small, small, medium, large, and extra-large sizes, retailers may be able to have one dress for the smaller sizes and one for the larger sizes. Of course, these are the same sustainability points that would benefit the consumer.”

The Self-Assembly Lab has collaborated with Ministry of Supply on projects with active textiles for several years. Late last year, the team debuted the 4D Knit Dress at the company’s flagship store in Boston, complete with a robotic arm working its way around a dress as customers watched. For Amarasiriwardena, it was an opportunity to gauge interest and receive feedback from customers interested in trying the dress on.

“If the demand is there, this is something we can create quickly” unlike the usual design and manufacturing process, which can take years, says Amarasiriwardena.

Griffin and McKinlay were on hand for the demonstration and pleased with the results. For Griffin, with the “technical barriers” overcome, he sees many different avenues for the project.

“This experience leaves me wanting to try more,” he says.

McKinlay too would love to work on more styles.

“I hope this research project helps people rethink or reevaluate their relationship with clothes,” says McKinlay. “Right now when people purchase a piece of clothing it has only one ‘look.’ But, how exciting would it be to purchase one garment and reinvent it to change and evolve as you change or as the seasons or styles change? I'm hoping that's the takeaway that people will have.”

One of the major concerns of online shopping is a consumer’s inability to touch, feel and experience products. This concern is more problematic for fashion products, when the right fit is critical for purchase decisions. Virtual Fitting Room (VFR), a technology that allows consumers to test size and fit without having to try clothing on themselves, eases this concern.

What is a Virtual Fitting Room (VFR)?
A Virtual Fitting Room (VFR) is a function that shows and visualizes a shopper’s outfit without physically trying on and touching items. VFR utilizes Augmented Reality (AR) and Artificial Intelligence (AI). By using AR for VFR, a webcam scans the body shape of shoppers and creates a 360-degree, 3D model based on their body shape.

AI further operates VFR by using algorithms and machine learning to design a full-body 3D model of a shopper standing in front of the camera. A combination of AR and AI technology allows VFR to place items on real-time images as a live video so that customers can check the size, style and fit of the products they’re considering purchasing.

Shoppers can try on clothes and shoes at home without visiting a physical store. In order to do this, customers need to first make sure they have the right settings on their phone. Then, they download a brands’ mobile applications with the Virtual Fitting Room function or visit apparel brands’ websites that support this VFR function and upload a photo of their body shape. Some brands allow a customer to create an avatar using their body shape to test out the fashion items virtually, instead of uploading a photo of themselves.

How does using a Virtual Fitting Room benefit fashion retailers?

• Provides a convenient shopping experience
  Research conducted by the National Retail Federation in 2020 stated that 97% of consumers have ended a shopping trip or stopped searching for the item they had in mind because the process was inconvenient.
  Shoppers surveyed not only said that in-person shopping was inconvenient but that online shopping felt even more inconvenient to them.
  VFR eliminates all of these processes. Shoppers can walk over to the VFR and see what the clothes look like quickly without needing to change them.
   
• Overcomes the limitations of online shopping
  As of 2017, 62% of shoppers preferred to shop at physical apparel stores because they could see, touch, feel and experience products. This was a major problem that online shopping could not overcome.
  VFR solves this problem effectively. According to a Retail Perceptions Report, about 40% of buyers said they would be willing to pay more if they could experience the product through AR technology. By incorporating new technologies, VFR makes shopping fun and offers a personalized shopping experience to customers, which can attract more people to online channels.
   
• Reduces the return rate
  High return rates are a big administrative headache for fashion brands. Moreover, it threatens to cut into the profits of fashion brands if they offer free returns. 30% of the return rate in e-commerce fashion shopping is due to purchases of small-sized products, and another 22% happens due to purchases of too large-sized products.
  However, VFR alleviates this problem. Whether in store or online, people can check the fit and size of items without having to wear them themselves.

Which brands are already using Virtual Fitting Room (VFR) technology?
Gucci
Gucci is the first luxury brand which adopted VFR. They partnered with Snapchat to launch an augmented reality shoe try-on campaign. It created a virtual lens that superimposed and overlaid a digital version of the shoe on the shopper’s foot when the foot was photographed using a cell phone camera.

Along with the Shop Now button, which guides shoppers to its online store, Gucci achieved 18.9 million Snapchat users and reported positive return on ad spend, which is a marketing metric that measures the amount of revenue earned on all dollars spent on advertising from this campaign.

Otero Menswear
Otero Menswear is a brand focused on apparel for men shorter than 5’10” (1,78 m). Otero added VFR software to its online store to provide perfect fitting sizes to its customers. First, it asks customers four quick questions about their height, leg length, waist size and body type. Then, it offers a virtual avatar corresponding with the answers. Shoppers then use this avatar to see how different sizes of Otero clothing would look on them.
 
Walmart
In May 2021, Walmart announced that they plan to acquire Zeekit, a virtual fitting room platform, to provide enhanced and social shopping experiences for customers during the pandemic.

When customers upload pictures of themselves and enter their body dimensions, Zeekit builds a virtual body and then customers can dress it accordingly. Customers will simply post their photos or choose virtual models on the platform that represent the best fitting of their height, body and skin tone. Shoppers can even share their virtual clothes with others to get various opinions. Walmart brings a comprehensive and social experience to digital shopping for customers through this acquisition of VFR.

According to research by Valuates Reports, it is expected that sales of the global virtual fitting room market will grow to $6.5 million by 2025. By adopting VFR, consumers will be able to experience convenience in an advanced shopping environment. At the same time, fashion retailers will be able to increase online sales and reduce return rates by offering customers personalized online shopping experiences using VFR technology.

Interview on the trade fair landscape for floor coverings in Germany

The effects of the Corona pandemic were felt in almost all areas of social and economic life. The trade fair industry in particular was severely affected, with many events cancelled or postponed. With the return to normality, the question arises as to what significance leading trade fairs will have in the post-Corona era and how the competition between different organisers will develop. For its KLARTEXT interview series, Textination talked to Ms Sonia Wedell-Castellano, Global Director of DOMOTEX Events.

After DOMOTEX was unable to take place in 2021 and 2022 due to the pandemic, the trade fair returned in 2023 with a successful event. Nevertheless, the number of exhibitors has almost halved compared to 2020. How do you assess the future importance of leading trade fairs after the industry had to come to terms with online meetings and travel restrictions for a long period of time?

I think it is important to remember that this was the first DOMOTEX since the outbreak of the pandemic, and at a time when the global economic situation is rather difficult. Of course, this situation has made some companies reluctant to participate in DOMOTEX 2023, so we have not yet been able to welcome all companies back as exhibitors at the show. In addition, there were still significant travel restrictions in place at the beginning of the year, for example in China, which simply made it more difficult for our exhibitors to participate in a trade fair abroad. As far as our expectations for the next event are concerned, I can say that many companies - even those that did not exhibit this year - have communicated their interest in wanting to be back at DOMOTEX 2024.
 
We are certain that leading trade fairs and exhibitions in general will continue to be of great importance in the future! You may be able to cultivate existing customers at digital events, but you can't generate new ones. The focus of DOMOTEX is on products you can touch, on the haptic experience on site. You can't transfer that to the digital world. Even the chance encounters at the stand or in the halls do not happen digitally. But a trade fair thrives on personal encounters, personal exchanges. Business is done between people, not between screens. Both exhibitors and visitors have told us quite clearly that they want and need DOMOTEX to be a trade fair where people are present.

The degree of internationalisation among DOMOTEX visitors was between 62 and 67 percent in the last three years of the event before the pandemic; in 2023 it even reached 69 percent. Would you agree that leading international trade fairs in Germany are now primarily only important for export-oriented companies? And what does that imply for the economic efficiency of trade fairs?

Certainly, leading international trade fairs in Germany are particularly interesting for export-oriented companies, but not exclusively. That doesn't change anything at all about the profitability of trade fairs. We generate our turnover with all our exhibitors, regardless of whether they are export-oriented or only interested in the Germany-Austria-Switzerland region. That's why satisfied exhibitors are very important to us. And an exhibitor is satisfied when he can do good business or make good contacts at our fairs. It's more and more about the right quality of visitors, less about the quantity. In any case, all our exhibitors very much welcome international visitors!

For the 2024 edition, Deutsche Messe has announced that its DOMOTEX concept has been changed to focus on different areas each year: Carpet & Rugs in the odd-numbered years and Flooring in the even-numbered years. Flooring covers wood and laminate flooring, parquet, design flooring, resilient floor coverings, carpets, outdoor flooring and application and installation technology. Carpet & Rugs stands for hand-made carpets and runners as well as for machine-woven carpets.

Yet you say that the Carpet & Rugs segment in particular needs an annual presentation platform, while the flooring segment would like to see DOMOTEX every two years as the central platform for the industry due to longer innovation cycles. Doesn't that actually mean that floor coverings are only in Hannover every other year, but carpets continue to exhibit annually in Hannover? Could you clarify that?

DOMOTEX - Home of Flooring will take place in 2024 and in all even years: This is a DOMOTEX with all exhibitors as we know them from the past. So, from herringbone parquet to outdoor coverings, oriental carpets and contemporary designs - everything, under one roof. In the odd years, i.e. from 2025, there will then be DOMOTEX - Home of Carpets and Rugs, with a focus on suppliers of fitted carpets. The background to this is that the hard flooring industry had wanted DOMOTEX to be held every two years. After this year's DOMOTEX, the suppliers of wall-to-wall carpets have again clearly spoken out in favour of an annual platform. With our new focus model, we are meeting the needs that the market has expressed to us.

Messe Frankfurt has declared a new product segment for next year's Heimtextil - interestingly, under the name Carpets & Rugs. While the watchword at DOMOTEX in the even year 2024 is Flooring, Heimtextil offers an alternative trade fair venue for carpets. How do you assess this situation - do exhibitors now have to choose between Hannover and Frankfurt and what does this mean for the split concept?

No, exhibitors from the carpet sector will not have to choose between Hannover and Frankfurt in future - because DOMOTEX is and will remain the home of the entire industry, even in the even years! At DOMOTEX, Home of Flooring means, as I explained earlier, that we present the entire spectrum of floor coverings and carpets. But what is even more important is that we have been told by exhibitors and many visitors that the market does not want to be split up any further. Through the many (small) events, the flooring industry is only competing with itself. To put it bluntly: if only some of the exhibitors take part in ten events, it can't really work. The critical mass is missing. A trade fair is only as good as its participants and they often don't have the time to visit several events.    

Another innovation for DOMOTEX is the country focus. What do you expect from this and why did you choose "Insight Italy" for 2024?

With our new special presentation, we want to arouse the curiosity of our visitors - especially retailers, architects and contractors - and highlight the international character of DOMOTEX. After all, what could be more exciting than getting to know a country in depth?  

That is why the INSIGHT concept will in future feature a different country at each DOMOTEX - Home of Flooring. Special exhibition areas will showcase innovations and products, present partnerships with designers and universities, and stage trends. In addition, the conference will provide insights into the respective market and references.  
In 2024, we will start with Italy, a very design-savvy and creative country from which many trends come.

Deutsche Messe wants to strengthen the Hannover venue for the leading trade fair DOMOTEX and to hold additional fairs only in Shanghai and in Gaziantep. There will be no Carpet Expo in Istanbul. What influence does the changing entrepreneurial landscape in terms of production countries and markets have on your international concept?

First of all, it must be noted that the business landscape for carpets has not changed in Turkey. Here, only the associations have decided to organise a carpet fair in Istanbul in the future. The background is the continuing visa problem for Turkish exhibitors in Germany as well as the immensely high inflation in Turkey, which makes foreign participation extremely costly for Turkish companies. We would have liked to organise a carpet fair in Istanbul together with the Turkish associations, but not at any price and not on their terms alone. Hannover is and will remain the international platform for DOMOTEX, and we will continue to strengthen this location.

But of course, we also keep an eye on the global market and keep our eyes and ears open at all times, for all our brands, by the way. It was only in this way that DOMOTEX asia/Chinafloor in Shanghai was able to develop into what is now a very successful event. The potential was there, we were in the right place at the right time. If we hadn't seized the opportunity at the time, there would still be a strong floor coverings trade fair in Shanghai - but it would be run by one of our competitors and it wouldn't be called DOMOTEX today.

Many thanks to Ms Sonia Wedell-Castellano for the KLARTEXT.

International trade fair for Green Fashion focuses on new formats and strategic partnerships:

From 21 to 23 January 2023, INNATEX will be taking place for the 51st time in ac-cordance with its usual daily schedule. So far, well over 200 brands have regis-tered from Saturday to Monday in Hofheim-Wallau, near Frankfurt am Main, getting back towards pre-COVID levels. Its motto, ‘One Goal, Endless Styles’, refers not only to the diversity and solidarity in the INNATEX community but also to the fact that Green Fashion is a fundamental business area for the future.

Sustainability: a business model fit for the future
“We are seeking to promote constant new development in a sustainable textile industry through new formats and cooperation agreements,” says Alexander Hitzel, INNATEX Project Manager. “We are currently working with the Retail Federation (HDE) on addressing conventional retailers. In addition, we are planning creative and entirely novel concepts for the presentation of labels, as well as a business panel designed to deliver insights and hard facts for the trade. Sustainability projects are only truly sustainable if they are also selfsupporting business models.

From live presentations and strategic communication to fundraising campaigns
But, he says, the demand for established natural fibres and specifically designed production and certification options is also rising. The International Association of the Natural Textile Industry (IVN) will again be on site to offer its expertise and provide information on the implementation of the new German Supply Chain Act. The DesignDiscoveries support program, which will be on display in a freshly designed Special Area, offers selected newcomer labels a platform for their creative ideas. Applications are still open until 15 December.

“At INNATEX, retailers can seek out trends and discover new ideas and products, directly compare an unbeatable range of collections and articles from different suppliers, and get down to networking – those are the benefits of this ordering fair,” says Hitzel.

INNATEX is collaborating for the first time with the organisation Europe Cares, which provides humanitarian assistance for ‘people on the move’. Surplus goods that exhibitors can donate to the campaign will be used for the benefit of refugees at Europe’s borders.

Study reveals need for action

How well are online and in-store businesses linked in the German fashion industry? How smoothly do omnichannel models like click & collect work? And how satisfactory is this for consumers? These questions were addressed by the Cologne-based company fulfillmenttools as part of its study "Click & Collect in the German Fashion Industry".

For the study, around 80 of the largest fashion retailers in Germany were examined in the first and second quarters of 2022. Of these, 22 companies in the sample offered Click & Collect as part of their service portfolio and could be analyzed in detail as part of test purchases. The mystery shoppers focused on how Click & Collect orders are processed via the retailers' online stores, the shopping experience when picking up the merchandise at the stores, and the handling of the returns process. The result: there is a clear need for optimization in all steps. According to the study, none of the retailers analyzed is currently in a position to offer its customers a consistent and convenient omnichannel experience.

In the fashion industry in particular, Click & Collect allows customers to benefit from on-site service and the convenience of online shopping. Immediate fitting, simple returns and no shipping costs are just a selection of the many advantages. Last but not least, the restrictions imposed in the wake of the Corona pandemic have accelerated the spread of Click & Collect in the retail sector. But how well does it work and how is it perceived by customers? "There is currently still a lack of data in operational practice that illustrates how well Click & Collect is implemented in reality from the customer's point of view. That's why we took a closer look at the status quo of Click & Collect models in the German fashion industry," says project manager Marleen Ratert.

In the study of around 80 of the largest fashion retailers in Germany, it was initially surprising that only 22 of the 80 (27%) retailers surveyed offer Click & Collect as an option for their customers in their service portfolio.

In analyzing and evaluating the companies that offer Click & Collect, the focus was on the entire journey of a customer order: ordering process, communication, pickup, returns processing and refunding.

According to the study's authors, a positive aspect is that the ordering process in the online store runs smoothly at most fashion retailers. However, customer communication before, during and after the click & collect order process was generally deficient. Missing order confirmations and non-existent information about delivery time and pick-up time were particularly negative.

he German fashion retailers performed worst in the area of the collection process. In particular, long delivery times, a lack of service points at the point of sale, and forms that have to be filled out by hand are the main reasons for dissatisfaction with the pickup process. In the area of returns processing, it was primarily the lack of digitization of the process that stood out: A large proportion still work with manual forms. However, the majority of fashion retailers in Germany have no problems processing the payment afterwards.

Monolithic IT structures, different solutions for many operational areas, traditional processes, missing interfaces - the reasons for the problems with the quick and easy introduction of omnichannel processes are numerous on the part of the companies. The demands of customers, on the other hand, have risen rapidly in recent years.

The checklist for successful omnichannel retailers provides tips and tricks for optimizing online and offline business in a process- and customer-oriented manner:

SIMPLIFY ONLINE ORDERS

• Prominently feature Click & Collect as a service in the online store in order to draw customers' attention to it more quickly and fully exploit sales potentials
• Improve availability of Click & Collect products

CREATE SEAMLESS IN-STORE EXPERIENCES

• Install service points for picking up orders and clearly mark them as such to avoid waiting times at the checkout and provide customers with better orientation
• Make store staff aware of upselling and cross-selling opportunities to encourage additional purchases

OPTIMIZE PROCESSES

• Pick online orders in the store to significantly speed up delivery times and easily meet delivery promises
• Digitize handover and return processes to make store operations more efficient and reduce the workload on staff
• Regularly test omnichannel processes to identify gaps in communication and potential for optimization

IMPROVE SERVICE QUALITY

• Implement end-to-end communication throughout the process to keep customers informed about the status of their order at all times
• Offer various return options to best meet customer expectations

Modular software-as-a-service solutions for fulfillment processes are available to simplify complex processes for retailers, reduce the workload of employees and prevent errors in order picking. The entire study (in German) is available for download here.

• Off-price becomes a growth machine for the fashion industry
• Off-price segment grows five times faster than regular offer
• Growth of online sales in the off-price segment tripled - market share 40%
• Future growth almost exclusively online

Fashion consumers in Germany appreciate bargain hunting. The off-price segment, in which high-end fashion brands are offered at lower prices in online and offline outlets, was already growing faster than the entire fashion industry before 2020 and has shrunk less during the pandemic. Between 2025 and 2030, the segment is expected to grow five times faster than the entire fashion industry. One reason for this is the strong online presence of this product offering, which benefited from the boom in online shopping during the pandemic.

"Online accounts for 40% of the market in the off-price segment and is growing rapidly at an average of 13% per year. Almost all of the growth in off-price will take place online in the next three years," says Katharina Schumacher, digital expert and author of the study entitled "Mastering off-price fashion in an omnichannel world". "This opens up opportunities for fashion companies to reach new consumers with their brand who would not normally consider a full-price purchase."
          
For the study, global data on the off-price market was analysed and 11,000 consumers in ten countries were surveyed. German shoppers are particularly interested in bargains. In the past year, many consumers in Germany have increasingly shopped online. In the off-price segment, the growth of the online market has tripled: from 9% compound annual growth rate (CAGR) in 2020 to 27% in 2021.

By 2025, growth in Germany as well as in Austria could amount to 16% per year. The average in the EU lies at 13%. In addition, offprice offers fashion brands the opportunity to sell their surplus goods in a sustainable way.

Typical online off-price consumers, so-called enthusiasts, are particularly interested in luxury, affordable luxury and premium products and buy on specialised platforms such as dress-for-less, BestSecret, brands4friends or Scarce. They value style and usually start without a specific brand in mind. They enjoy comparing prices and spend 2.3 times more than other fashion consumers. In Germany, 30% of off-price shoppers who spend more than 1,000 euros per year account for 70% of total fashion spending. "However, these shoppers are generally willing to pay full price for premium and luxury brands," says Achim Berg, fashion industry expert at McKinsey. "Fashion suppliers should therefore carefully consider which goods they offer off-price."

Offline purchases with increasing expectations
Off-price shoppers who shop in stores are often younger and have a higher purchasing power than other fashion consumers. They like to shop in outlet centres, while they often shy away from going to a regular luxury shop on a shopping mall.
"Outlets therefore offer luxury fashion companies the opportunity not only to increase their profitability but also to reach new groups of shoppers without cannibalising their full-price assortment and damaging their brand," says Felix Rölkens, McKinsey expert for the fashion industry and co-author of the study. "However, shoppers expect more and more from outlets: comparable shop layouts as in regular brick-and-mortar retail, multilingual shoppers, restaurants and a good shopping experience."
          

From the perspective of European consumption, textiles have on average the fourth highest negative life cycle impact on the environment and climate change, after food, housing and mobility. A shift to a circular textile production and consumption system with longer use, and more reuse and recycling could reduce those impacts along with reductions in overall consumption. One important measure is circular design of textiles to improve product durability, repairability and recyclability and to ensure the uptake of secondary raw materials in new products.

Key messages

• In 2019, the EU textile and clothing sector had a turnover of EUR162 billion, employing over 1.5 million people across 160,000 companies. As was the case in many sectors, between 2019 and 2020, the COVID-19 crisis decreased turnover by 9% for textiles as a whole and by 17% for clothing.
• In 2020, textile consumption in Europe had on average the fourth highest impact on the environment and climate change from a global life cycle perspective. It was the consumption area with the third highest impact on water and land use, and the fifth highest in terms of raw material use and greenhouse gas emissions.
• To reduce the environmental impacts of textiles, a shift towards circular business models, including circular design, is crucial. This will need technical, social and business model innovation, as well as behavioural change and policy support.
• Circular design is an important enabler of the transition towards sustainable production and consumption of textiles through circular business models. The design phase plays a critical role in each of the four pathways to achieving a circular textile sector: longevity and durability; optimised resource use; collection and reuse; and recycling and material use.

Textiles are identified as a key value chain in the EU circular economy action plan and will be addressed in the forthcoming European Commission’s 2022 EU strategy for sustainable and circular textiles and EU sustainable products initiative. This briefing aims to improve our understanding of the environmental and climate impacts of textiles from a European perspective and to identify design principles and measures to increase circularity in textiles. It is underpinned by a report from the EEA’s European Topic Centre on Circular Economy and Resource Use available here.

1. Production, trade and consumption of textiles
Textiles is an important sector for the EU economy. In 2019, the EU textile and clothing sector had a turnover of EUR162 billion, employing over 1.5 million people in 160,000 companies. As was the case for many sectors, between 2019 and 2020, the COVID-19 health and economic crisis decreased turnover by 9% for textiles as a whole and by 17% for clothing (Euratex, 2021).

In 2020, 6.9 million tonnes of finished textile products were produced in the EU-27. EU production specialises in carpets, household textiles and other textiles (including non-woven textiles, technical and industrial textiles, ropes and fabrics). In addition to finished products, the EU produces intermediate products for textiles, such as fibres, yarns and fabrics (Köhler et al., 2021).

The textiles sector is labour intensive compared with others. Almost 13 million full-time equivalent workers were employed worldwide in the supply chain to produce the amount of clothing, textiles and footwear consumed in the EU-27 in 2020. This makes the textiles sector the third largest employer worldwide, after food and housing. Most production takes place in Asia, where low production costs come at the expense of workers’ health and safety.
 
Textiles are highly globalised, with Europe being a significant importer and exporter. In 2020, 8.7 million tonnes of finished textile products, with a value of EUR125 billion, were imported into the EU-27. Clothing accounts for 45% of imports in terms of volume, followed by household textiles, other textiles and footwear (Eurostat, 2021a). The EU imports mainly from China, Bangladesh and Turkey, and exports mainly to the United Kingdom, Switzerland and the United States (Euratex, 2020).

Consumption
European households consume large amounts of textile products. In 2019, as in 2018, Europeans spent on average EUR600 on clothing, EUR150 on footwear and EUR70 on household textiles (Köhler et al., 2021; Eurostat, 2021b).

The response to the COVID-19 pandemic, involving stay-at-home measures and the closure of companies and shops, decreased textile production and demand overall (Euratex, 2021). As a result, the consumption of clothing and footwear per person decreased in 2020, relative to 2019, while the consumption of household textiles slightly increased. Average textile consumption per person amounted to 6.0kg of clothing, 6.1kg of household textiles and 2.7kg of shoes in 2020 (see Figure 1).

Apart from this COVID-related drop in consumption in 2020, the estimated consumption of clothing and footwear stayed relatively constant over the last decade, with slight fluctuations between years (see Figure 2). Similarly, the consumption of household textiles was also relatively steady, with a slight increase over the decade.

When calculating the ‘estimated consumption’ based on production and trade data from 2020, and excluding industrial/technical textiles and carpets, total textile consumption is 15kg per person per year, consisting of, on average:

• 6.0kg of clothing
• 6.1kg of household textiles
• 2.7kg footwear.

For 2020, this amounts to a total consumption of 6.6 million tonnes of textile products in Europe. Textile consumption estimates are uncertain, as they vary by study, often using different scopes and calculation methods.

2. Environmental and climate impacts of textiles
The production and consumption of textiles has significant impacts on the environment and climate change. Environmental impacts in the production phase result from the cultivation and production of natural fibres such as cotton, hemp and linen (e.g. use of land and water, fertilisers and pesticides) and from the production of synthetic fibres such as polyester and elastane (e.g. energy use, chemical feedstock) (ETC/WMGE, 2021b). Manufacturing textiles requires large amounts of energy and water and uses a variety of chemicals across various production processes. Distribution and retail are responsible for transport emissions and packaging waste.

During use and maintenance — washing, drying and ironing — electricity, water and detergents are used. Chemicals and microfibres are also emitted into the waste water. Meanwhile, textiles contribute to significant amounts of textile waste. At the end of their life, textiles often end up in general waste and are incinerated or landfilled. When textile waste is collected separately, textiles are sorted and reused, recycled or disposed of, depending on their quality and material composition. In 2017, it was estimated that less than 1% of all textiles worldwide are recycled into new products (Ellen MacArthur Foundation, 2017).

To illustrate the magnitude of the impacts of textile consumption on raw material use, water and land use and greenhouse gas emissions compared with other consumption categories, we have updated our calculations of the life cycle environmental and climate impacts in the EU. We used input-output modelling based on data from the Exiobase database and Eurostat. In line with the reduced textile consumption level in 2020 because of the COVID-19 pandemic, the environmental impacts decreased from 2019 to 2020.

Raw material use
Large amounts of raw materials are used for textile production. To produce all clothing, footwear and household textiles purchased by EU households in 2020, an estimated 175 million tonnes of primary raw materials were used, amounting to 391kg per person. Roughly 40% of this is attributable to clothes, 30% to household textiles and 30% to footwear. This ranks textiles as the fifth highest consumption category in Europe in terms of primary raw material use (see Figure 3).

The raw materials used include all types of materials used in producing natural and synthetic fibres, such as fossil fuels, chemicals and fertilisers. It also includes all building materials, minerals and metals used in the construction of production facilities. Transport and retail of the textile products are included as well. Only 20% of these primary raw materials are produced or extracted in Europe, with the remainder extracted outside Europe. This shows the global nature of the textiles value chain and the high dependency of European consumption on imports. This implies that 80% of environmental impacts generated by Europe’s textile consumption takes place outside Europe. For example, cotton farming, fibre production and garment construction mostly take place in Asia (ETC/WMGE, 2019).

Water use
Producing and handling textiles requires large quantities of water. Water use distinguishes between ‘blue’ water (surface water or groundwater consumed or evaporated during irrigation, industry processes or household use) and ‘green’ water (rain water stored in the soil, typically used to grow crops) (Hoekstra et al., 2012).

To produce all clothing, footwear and household textiles purchased by EU households in 2020, about 4,000 million m³ of blue water were required, amounting to 9m³ per person, ranking textiles’ water consumption in third place, after food and recreation and culture (see Figure 4).

Additionally, about 20,000 million m³ of green water was used, mainly for producing cotton, which amounts to 44m³ per person. Blue water is used fairly equally in producing clothing (40%), footwear (30%) and household and other textiles (30%). Green water is mainly consumed in producing clothing (almost 50%) and household textiles (30%), of which cotton production consumes the most.

Water consumption for textiles consumed in Europe mostly takes place outside Europe. It is estimated that producing 1kg of cotton requires about 10m³ of water, typically outside Europe (Chapagain et al., 2006).

Land use
Producing textiles, in particular natural textiles, requires large amounts of land. The land used in the supply chain of textiles purchased by European households in 2020 is estimated at 180,000 km², or 400m² per person. Only 8% of the land used is in Europe. Over 90% of the land use impact occurs outside Europe, mostly related to (cotton) fibre production in China and India (ETC/WMGE, 2019). Animal-based fibres, such as wool, also have a significant land use impact (Lehmann et al., 2018). This makes textiles the sector with the third highest impact on land use, after food and housing (see Figure 5). Of this, 43% is attributable to clothes, 35% to footwear (including leather shoes, which have a high land use impact because of the need for cattle pasture) and 23% to household and other textiles.

Greenhouse gas emissions
The production and consumption of textiles generate greenhouse gas emissions, in particular from resource extraction, production, washing and drying, and waste incineration. In 2020, producing textile products consumed in the EU generated greenhouse gas emissions of 121 million tonnes carbon dioxide equivalent (CO₂e) in total, or 270kg CO₂e per person. This makes textiles the household consumption domain responsible for the fifth largest impact on climate change, after housing, food, transport and mobility, and recreation and culture (see Figure 6). Of this, 50% is attributable to clothes, 30% to household and other textiles, and 20% to footwear. While greenhouse gas emissions have a global effect, almost 75% are released outside Europe, mainly in the important textile-producing regions in Asia (ETC/WMGE, 2019).

About 80% of the total climate change impact of textiles occurs in the production phase. A further 3% occurs in distribution and retail, 14% in the use phase (washing, drying and ironing), and 3% during end of life (collection, sorting, recycling, incineration and disposal) (ECOS, 2021; Östlund et al., 2020).

Textiles made from natural fibres, such as cotton, generally have the lowest climate impact. Those made from synthetic fibres (especially nylon and acrylic) generally have a higher climate impact because of their fossil fuel origin and the energy consumed during production (ETC/WMGE, 2021b; Beton et al., 2014).

3. Design as an enabler of circular business models for textiles
To reduce the environmental and climate change impacts of textiles, shifting towards circular business models is crucial to save on raw materials, energy, water and land use, emissions and waste (ETC/WMGE, 2019). Implementing and scaling circular business models requires technical, social and business model innovation; as well as enablers from policy, consumption and education (EEA, 2021).

Circular design is an important component of circular business models for textiles. It can ensure higher quality, longer lifetimes, better use of materials, and better options for reuse and recycling. While it is important to enable the recycling and reuse of materials, life-extending strategies, such as design for durability, ease of reuse, repair and remanufacturing, should be prioritised. Preventing the use of hazardous chemicals and limiting toxic emissions and release of microplastics at all life cycle stages should be incorporated into product design.

Designing for circularity is the most recent development in design for sustainability. Expanding a technical and product-centric focus to a focus on large-scale system-level changes (considering both production and consumption systems) shows that this latest development requires many more disciplines than traditional engineering design. Product design as a component of a circular business model depends on consumer behaviour and policy to realise its potential and enable implementation. Figure 7 shows the linkages between the circular business model, product design, consumer behaviour and policy. All are needed to slow down and close the loop, making it circular.

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

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

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

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

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

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

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

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

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

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

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

Partners

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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