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Interview with vombaur - pioneers in special textiles
Technical narrow textiles, custom solutions, medium-sized textile producer and development partner for filtration textiles, composite textiles and industrial textiles: vombaur. Digitalisation, sustainability, energy prices, pioneering work and unbroken enthusiasm – Textination spoke to two passionate textile professionals: Carl Mrusek, Chief Sales Officer (CSO), and Johannes Kauschinger, Sales Manager for Composites and Industrial Textiles, at vombaur GmbH, which, as well as JUMBO-Textil, belongs to the Textation Group.
 
If you look back at your history and thus to the beginnings of the 19th century, you will see a ribbon manufactory and, from 1855, a production of silk and hat bands. Today you produce filtration textiles, industrial textiles and composites textiles. Although you still produce narrow textiles today, the motto "Transformation as an opportunity" seems to be a lived reality at vombaur.
 
Carl Mrusek, Chief Sales Officer: Yes, vombaur has changed a few times in its almost 220-year history.  Yet the company has always remained true to itself as a narrow textiles manufacturer. This testifies to the willingness of the people in the company to change and to their curiosity. Successful transformation is a joint development, there is an opportunity in change. vombaur has proven this many times over the past almost 220 years: We have adapted our product portfolio to new times, we have built new factory buildings and new machinery, we have introduced new materials and developed new technologies, we have entered into new partnerships – as most recently as part of the Textation Group. We are currently planning our new headquarters. We are not reinventing ourselves, but we will go through a kind of transformation process with the move into the brand new, climate-friendly high-tech space.

Could you describe the challenges of this transformation process?
 
Johannes Kauschinger, Sales Manager for Composites and Industrial Textiles: A transformation usually takes place technically, professionally, organisationally and not least – perhaps even first and foremost – culturally. The technical challenges are obvious. Secondly, in order to manage and use the new technologies, appropriate expertise is needed in the company. Thirdly, every transformation entails new processes, teams and procedures have to be adapted. And finally, fourthly, the corporate culture also changes. Technology can be procured, expertise acquired, the organisation adapted. Time, on the other hand, cannot be bought. I therefore consider the greatest challenge to be the supply of human resources: In order to actively shape the transformation and not be driven by development, we need sufficient skilled workers.

Visiting your website, the claim "pioneering tech tex" immediately catches the eye. Why do you see your company as a pioneer, and what are vombaur's groundbreaking or pioneering innovations?

Carl Mrusek: With our unique machine park, we are pioneers for seamless circular woven textiles. And as a development partner, we break new ground with every order. We are always implementing new project-specific changes: to the end products, to the product properties, to the machines. It happens regularly that we adapt a weaving machine for a special seamless woven shaped textile, sometimes even develop a completely new one.
 
With our young, first-class and growing team for Development and Innovation led by Dr. Sven Schöfer, we repeatedly live up to our promise of "pioneering tech tex" by developing special textile high-tech solutions with and for our customers. At the same time, we actively explore new potentials. Most recently with sustainable materials for lightweight construction and research into novel special filtration solutions, for example for the filtration of microplastics. A state-of-the-art textile technology laboratory is planned for this team in the new building.

The development of technical textiles in Germany is a success story. From a global perspective, we manage to succeed with mass-produced goods only in exceptional cases. How do you assess the importance of technical textiles made in Germany for the success of other, especially highly technological industries?

Carl Mrusek: We see the future of industry in Europe in individually developed high-tech products. vombaur stands for high-quality, reliable and durable products and made-to-order products. And it is precisely this – custom-fit products, instead of surplus and throwaway goods – that is the future for sustainable business in general.

What proportion of your production is generated by being project-based as opposed to a standard range, and to what extent do you still feel comfortable with the term "textile producer"?

Johannes Kauschinger: Our share of special solutions amounts to almost 90 percent. We develop technical textile solutions for our customers' current projects. For this purpose, we are in close contact with the colleagues from our customers' product development departments. Especially in the field of composite textiles, special solutions are in demand. This can be a component for space travel – after all, a spaceship is not manufactured off the peg. We also offer high-quality mass-produced articles, for example in the area of industrial textiles, where we offer round woven tubulars for conveyor belts. In this sense, we are a textile producer, but more than that: we are also a textile developer.

In August, Composites Germany presented the results of its 21st market survey. The current business situation is viewed very critically, the investment climate is becoming gloomier and future expectations are turning negative. vombaur also has high-strength textile composites made of carbon, aramid, glass and hybrids in its portfolio. Do you share the assessment of the economic situation as reflected in the survey?

Carl Mrusek: We foresee a very positive development for vombaur because we develop in a very solution-oriented way and offer our customers genuine added value. This is because future technologies in particular require individual, reliable and lightweight components. This ranges from developments for the air taxi to wind turbines. Textiles are a predestined material for the future. The challenge here is also to offer sustainable and recyclable solutions with natural raw materials such as flax and recycled and recyclable plastics and effective separation technologies.

There is almost no company nowadays that does not use the current buzzwords such as climate neutrality, circular economy, energy efficiency and renewable energies. What is your company doing in these areas and how do you define the importance of these approaches for commercial success?

Carl Mrusek: vombaur pursues a comprehensive sustainability strategy. Based on the development of our mission statement, we are currently working on a sustainability declaration. Our responsibility for nature will be realised in a very concrete and measurable way through our new building with a green roof and solar system. In our product development, the high sustainability standards – our own and those of our customers – are already flowing into environmentally friendly and resource-saving products and into product developments for sustainable projects such as wind farms or filtration plants.

Keyword digitalisation: medium-sized businesses, to which vombaur belongs with its 85 employees, are often scolded for being too reluctant in this area. How would you respond to this accusation?

Johannes Kauschinger:

We often hear about the stack crisis at the present time. Based on this, we could speak of the stack transformation. We, the small and medium-sized enterprises, are transforming ourselves in a number of different dimensions at the same time: Digital transformation, climate neutrality, skilled labour market and population development, independence from the prevailing supply chains. We are capable of change and willing to change. Politics and administration could make it a bit easier for us in some aspects. Key words: transport infrastructure, approval times, energy prices. We do everything we can on our side of the field to ensure that small and medium-sized enterprises remain the driving economic force that they are.

How do you feel about the term shortage of skilled workers? Do you also take unconventional paths to find and retain talent and skilled workers in such a specialised industry? Or does the problem not arise?

Carl Mrusek: Of course, we are also experiencing a shortage of skilled workers, especially in the industrial sector. But the development was foreseeable. The topic played a major role in the decision to move together with our sister company JUMBO-Textil under the umbrella of the Textation Group. Recruiting and promoting young talent can be better mastered together – for example with cross-group campaigns and cooperations.

If you had to describe a central personal experience that has shaped your attitude towards the textile industry and its future, what would it be?

Johannes Kauschinger: A very good friend of my family pointed out to me that we live in an area with a very active textile industry, which at the same time has problems finding young talents. I visited two companies for an interview and already on the tour of each company, the interaction of people, machines and textiles up to the wearable end product was truly impressive. In addition, I was able to learn a profession with a very strong connection to everyday life. To this day, I am fascinated by the wide range of possible uses for textiles, especially in technical applications, and I have no regrets whatsoever about the decision I made back then.

Carl Mrusek: I came into contact with the world of textiles and fashion at a young age. I still remember the first time I went through the fully integrated textile production of a company in Nordhorn with my father Rolf Mrusek. Since then, the subject has never left me. Even before I started my studies, I had made a conscious decision to pursue a career in this industry and to this day I have never regretted it, on the contrary. The diversity of the special solutions developed in the Textation Group fascinates me again and again.

vombaur is a specialist for seamless round and shaped woven narrow textiles and is known throughout the industry as a development partner for filtration textiles, composite textiles and industrial textiles made of high-performance fibres. Technical narrow textiles from vombaur are used for filtration – in the food and chemical industries, among others. As high-performance composite materials, they are used, for example, in aircraft construction or medical technology. For technical applications, vombaur develops specially coated industrial textiles for insulation, reinforcement or transport in a wide range of industrial processes – from precision mechanics to the construction industry. The Wuppertal-based company was founded in 1805. The company currently employs 85 people.

Sectors

• Aviation & Automotive
• Sports & Outdoor   
• Construction & Water Management
• Safety & Protection   
• Chemistry & Food
• Plant construction & electronics   
• Medicine & Orthopaedics

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

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

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

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

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

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

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

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

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

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

For the third time, the nova-Institut awarded the "Cellulose Fibre Innovation of the Year" prize at the "Cellulose Fibres Conference 2023" in Cologne, 8-9 March 2023.

The yearly conference is a unique meeting point of the global cellulose fibres industry. 42 speakers from twelve countries highlighted the innovation potential of cellulosic fibres and presented the latest market insights and trends to more than 220 participants from 30 countries.

Leading international experts introduced new technologies for recycling of cellulose rich raw materials and practices for circular economy in textiles, packing and hygiene, which were discussed in seven panel discussion with active audience participation.    

Prior to the conference, the conference advisory board had nominated six remarkable innovations. The winners were elected in an exciting head-to-head live-voting by the conference audience on the first day of the event.

The collaboration between Nanollose (AU) and Birla Cellulose (IN) with tree-free lyocell from bacterial cellulose called Nullarbor™ is the winning cellulose fibre innovation 2023, followed by Renewcell (SE) cellulose fibres made from 100 % textile waste, while Vybrana – the new generation banana fibre from Gencrest Bio Products (IN) won third place.
    
Winner: Nullarbor™ – Nanollose and Birla Cellulose (AU/IN)
In 2020, Nanollose and Birla Cellulose started a journey to develop and commercialize treefree lyocell from bacterial cellulose, called Nullarbor™. The name derives from the Latin “nulla arbor” which means “no trees”. Initial lab research at both ends led to the joint patent application “production of high-tenacity lyocell fibres made from bacterial cellulose”.
Nullarbor is significantly stronger than lyocell made from wood-based pulp; even adding small amounts of bacterial cellulose to wood pulp increases the fibre toughness. In 2022, the first pilot batch of 260 kg was produced with 20 % bacterial pulp share. Several high-quality fabrics and garments were produced with this fibre. The collaboration between Nanollose and Birla Cellulose now focuses on increasing the production scale and amount of bacterial pulp in the fibre.  

Second place: Circulose® – makes fashion circular – Renewcell (SE)
Circulose® made by Renewcell is a branded dissolving pulp made from 100 % textile waste, like worn-out clothes and production scraps. It provides a unique material for fashion that is 100 % recycled, recyclable, biodegradable, and of virgin-equivalent quality. It is used by fibre producers to make staple fibre or filaments like viscose, lyocell, modal, acetate or other types of man-made cellulosic fibres. In 2022, Renewcell, opened the world’s first textile-to-textile     
chemical recycling plant in Sundsvall, Sweden – Renewcell 1. The plant is expected to reach an annual capacity of 120,000 tonnes.

Third place: Vybrana – The new generation banana fibre – Gencrest Bio Products (IN)
Vybrana is a Gencrest’s Sustainable Cellulosic Fibre upcycled from agrowaste. Raw fibres are extracted from the banana stem at the end of the plant lifecycle. The biomass waste is then treated by the Gencrest patented Fiberzyme technology. Here, cocktail enzyme formulations remove the high lignin content and other impurities and help fibre fibrillation. The company's proprietary cottonisation process provides fine, spinnable cellulose staple fibres suitable for blending with other staple fibres and can be spun on any conventional spinning systems giving yarns sustainable apparel. Vybrana is produced without the use of heavy chemicals and minimized water consumption and in a waste-free process where balance biomass is converted to bio stimulants Agrosatva and bio-based fertilizers and organic manure.

The Danish company Continuum Group ApS with its subsidiary companies in Denmark (Continuum Aps) and the UK (Continuum Composite Transformation (UK) Limited) wants to give end-of-life wind blades and composites a new purpose, preventing them going to waste. The goal is to reduce the amounts of CO₂ emitted to the atmosphere by the current waste streams, delivering a value to Europe’s Net Zero efforts.

Continuum states that it ensures all wind turbine blades are 100% recyclable and plans to build industrial scale recycling factories across Europe.

Net zero is the phrase on everyone’s lips, and as 2030 rapidly approaches we constantly hear updates about wind energy generating renewable energy that powers millions of European homes – but what happens when those turbine blades reach the end of their lifespan?

Currently the general answer is to put them into landfill or co-process them into cement, but neither is planet friendly. Many countries in Europe look to ban landfill from 2025, so this option is likely to be eliminated in the near future.

Continuum provides an alternative: When the end of their first life arrives, Continuum recycles them into new, high performing composite panels for the construction, and related industries. The vision of the Danes: Abandon the current landfilling, and drastically reduce CO₂ emitted during currently applied incineration & co-processing in cement factories by 100 million tons by 2050, via their mechanical composite recycling technology and their industrial scale factories.  

The technology is proven, patented, and ready to go, says Reinhard Kessing, co-founder and CTO of Continuum Group ApS, who has spent more than 20 years of research and development in this field, and advanced the reclamation of raw materials from wind blades and other composite products and transformation of these materials into new, high performing panel products.

By working with partners, Continuum’s cost-effective solution covers end-to-end logistics and processes. This spans from the collection of the end-of-life blades through to the reclamation of the pure clean raw materials and then the remanufacturing of all those materials into high value, highly performing, infinitely recyclable composite panels for the construction industry or the manufacture of many day-to-day products such as facades, industrial doors, and kitchen countertops. The panels are 92% recycled blade material and are said to outperform competing products.

Nicolas Derrien: Chief Executive Officer of Continuum Group ApS said: “We need solutions for the disposal of wind turbine blades in an environmentally friendly manner, we need it now, and we need it fast, and this is where Continuum comes in! As a society we are rightly focussed on renewable energy production, however the subject of what to do with wind turbine blades in the aftermath of that production has not been effectively addressed. We’re changing that, offering a recycling solution for the blades and a construction product that will outperform most other existing construction materials and be infinitely recyclable, and with the lowest carbon footprint in its class.”

Martin Dronfield, Chief Commercial Officer of Continuum Group ApS and Managing Director of Continuum Composite Transformation (UK) Ltd, adds: “We need wind energy operators & developers across Europe to take a step back and work with us to solve the bigger picture challenge. Continuum is offering them a service which won’t just give their business complete and sustainable circularity to their operations but help protect the planet in the process.“

Each Continuum factory in Europe will have the capacity to recycle a minimum of 36,000 tons of end-of-life turbine blades per year and feed the high value infinitely recyclable product back into the circular economy by 2024/25.

Due to an investment by Climentum Capital and a grant from the UK’s ‘Offshore Wind Growth Partnership’, Continuum are planning for the first of six factories in Esbjerg to be operational by the end of 2024 and for a second factory in the United Kingdom to follow on just behind it. After that they are looking to build another four in France, Germany, Spain, and Turkey by 2030.

As part of their own pledge to promote green behaviour, Continuum have designed their factories to be powered by only 100% green energy and to be zero carbon emitting environments; meaning no emissions to air, no waste fluids to ground, and no carbon fuel combustion.

The Heimtextil Trend Preview 23/24 presented future-oriented design concepts and inspiration for the textile furnishing sector. With ‘Textiles Matter’, Heimtextil 2023 wants to set the benchmark for tomorrow’s forward-facing and sustainable textile furnishing. Hence, the focus is on circularity. Marta Giralt Dunjó of futures research agency FranklinTill (Great Britain) presented the design prognoses for 23/24. At the coming Heimtextil in Frankfurt am Main from 10 to 13 January 2023, the presentations of new products will generate stimulating impulses in the Trend Space.

The Heimtextil Trend Council – consisting of FranklinTill Studio (London), Stijlinstituut Amsterdam and Denmark’s SPOTT Trends & Business agency – offers insights into the future of the national and international market. The focus is more than ever before on sustainability and the circular economy, the main factors in setting the trends for the season 23/24.

Textiles Matter: bear responsibility
Textiles are an integral part of modern life. The material applications and the manufacturing processes are no less multifarious than user expectations. And this represents a great challenge for the international textile industry, which obtains its raw materials from a broad spectrum of sources and uses numerous processes to make a huge variety of products. This offers a great potential for the sustainable development of the textile industry in the future. The Heimtextil Trends show ways in which this potential can be utilized and sustainable developments promoted. Under the motto ‘Textiles Matter’, visitors can explore concepts for increased circularity, which will generate new impulses for the sustainable market of the future.

"Considering the state of environmental emergency we are currently living through, the textile industry has a responsibility to examine its processes, and change for the better. That is why for this edition of the Heimtextil Trends we are taking a material’s first approach, and focusing on the sourcing, design, and sustainability of materials. Textiles Matter showcases the potential of circularity and celebrates design initiatives that are beautiful, relevant and importantly sustainable”, explains Marta Giralt Dunjó of FranklinTill.

Change via circularity
The Trend Space at the coming Heimtextil 2023 will revolve around ideas and solutions for circularity in the textile sector. How can textiles be produced in a sustainable way? What recycling options are there? What does the optimum recycling of textile products look like? Within the framework of the circular economy, materials are continuously reused. On the one hand, this reduces the need for new raw materials and, on the other hand, cuts the amount of waste generated. In the technical cycle, inorganic materials, such as nylon, polyester, plastic and metal, can be recycled with no loss of quality. In the biological cycle, organic materials, such as linen and bast fibres, are returned to nature at the end of their useful life. This is the basis of the four trend themes: ‘Make and Remake’, ‘Continuous’, ‘From Earth’ and ‘Nature Engineered’.

Make and Remake
Pre-used materials, deadstock and remnant textiles are given a new lease of life with the focus shifting to the aesthetics of repair and taking the form of a specific design element of the recycled product. Bright and joyful colours and techniques, such as overprinting, overdyeing, bricolage, collage and patchwork, result in new and creative products. Layered colour patterns and graphics lead to bold and maximalist, yet conscious, designs.

Continuous
The Continuous trend theme describes closed-loop systems in which materials are recycled into new, waste-free products again and again. Putative waste materials are separated out and reprocessed as new fibres, composites and textiles. Thus, synthetic and cellulose yarns can be produced zero-waste. Thanks to technically advanced reclamation processes, the materials retain their original quality and aesthetic. Practicality, essentialism and longevity determine the design of Continuous products.

From Earth
This theme focuses on the natural world and harmony with the nature of organic materials. Natural colours communicate warmth and softness. Imperfect textures, signs of wear and irregularities create ecological and earth-born aesthetics. Earthen and botanic shades, natural variation and tactile richness dominate the From Earth segment. Unrefined and raw surfaces, unbleached textiles and natural dyes celebrate materials in their original states.

Nature Engineered
Nature Engineered uses mechanical means to elevate and perfect organic materials, such as bast fibres, hemp, linen and nettles. Cutting-edge techniques process natural textiles into sophisticated and smart products. Combined with shades of beige and brown, clean lines and shapes are the distinguishing features of this theme.

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.

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

MAI Scrap SeRO | From Scrap to Secondary Ressources – Highly Orientated Wet-Laid-Nonwovens from CFRP-Waste

The »Scrap SeRO« project is an international joint project in the field of »recycling of carbon fibers«.

The technical project goal is the demonstration of a continuous process route for processing pyrolytically recycled carbon fibers (rCF) in high-performance second-life component structures. In addition to the technological level, the focus of the project is particularly on the international transfer character, in the sense of a cross-cluster initiative between the top cluster MAI Carbon (Germany) and CVC (South Korea).

Through direct cooperation between market-leading companies and research institutions of the participating cluster members, the technical project processing takes place in the context of the global challenge of recycling, as well as the need for increased resource efficiency, with reference to the economically strategic material carbon fibers.

Efficient processing of recycled carbon fibers
The technological process route within the project runs along the industrial wet-laying technology, which is comparable to classic paper production. This enables a robust production of high-quality rCF nonwovens, which are characterized, among other things, by particularly high homogeneity and stability of characteristic values.

A special development focus is on a specific process control, which allows the generation of an orientation of the individual fiber filaments in the nonwoven material.

The given preferred fiber direction of the discontinuous fiber structure opens up strong synergy effects in relation to increased packing densities, i.e. fiber volume content, as well as a significantly optimized processing behavior in relation to impregnation, forming and consolidation, in addition to a load path-oriented mechanics.

The innovative wetlaid nonwovens are then further processed into thermoset and thermoplastic semi-finished products, i.e. prepregs or organosheets, using impregnation processes that are suitable for large-scale production.

rCF tapes are produced from this in an intermediate slitting step. By means of automated fiber placement, load path-optimized preforms can be deposited, which are then consolidated into complex demonstrator components.

The process chain is monitored at key interfaces by innovative non-destructive measurement technology and supplemented by extensive characterization methods. Especially for the processing of pyrolysed recycled carbon fibers, which were recovered from end-of-life waste or PrePreg waste, for example, there are completely new potentials with significant added value compared to the current state of the art for the overall process route presented here.

International Transfer
The fundamentally global challenge of recycling and the striving for increased sustainability is strongly influenced by national recycling strategies as a result of country-specific framework conditions. The globalized way in which companies deal with high-volume material flows places additional demands on a functioning circular economy. A networked solution can only be created on the basis of and in compliance with the respective guidelines and structural factors.

In the case of the high-performance material carbon fiber, there is a particularly high technical requirement for an ecologically and economically viable recycling industry. At the same time, the specific market size already opens up interesting scaling effects and potential for market penetration.

The Scrap SeRO project connects two of the world's leading top clusters in the field of carbon composites from South Korea and Germany on the basis of a cross-cluster initiative. As part of this first promising technology project, the foundation stone for future cooperation is to be laid that supports the effective recycling of carbon fibers. The project makes an important contribution to closing the material cycle for carbon fibers and thus paves the way for renewed use in further life cycles of this high-quality and energy-intensive material.

Info »Scrap SeRO«

• Duration: 05/2019 – 04/2022
• Funding: BMBF
• Funding Amount: 2.557.000 €

National Consortium

• Fraunhofer Institute for Casting, Composite and Processing Technology IGCV
• ELG Carbon Fibre
• J.M. Voith SE & Co. KG
• Neenah Gessner
• SURAGUS GmbH
• LAMILUX Composites GmbH
• Covestro Deutschland AG
• BA Composites GmbH
• SGL Carbon

International Consortium

• KCarbon
• Hyundai
• Sangmyung University
• TERA Engineering

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.

Stand-up paddling has become a popular sport. However, conventional surfboards are made of petroleum-based materials such as epoxy resin and polyurethane.

Researchers at the Fraunhofer Institute for Wood Research, Wilhelm-Klauditz-Institut, WKI, want to replace plastic boards with sustainable sports equipment: They are developing a stand-up paddle board that is made from one hundred percent renewable raw materials. The ecological lightweight material can be used in many ways, such as in the construction of buildings, cars and ships.

Stand-up paddling (SUP) is a sport that is close to nature, but the plastic boards are anything but environmentally friendly. As a rule, petroleum-based materials such as epoxy resin, polyester resin, polyurethane and expanded or extruded polystyrene are used in combination with fiberglass and carbon fiber fabrics to produce the sports equipment. In many parts of the world, these plastics are not recycled, let alone disposed of correctly. Large quantities of plastic end up in the sea and collect in huge ocean eddies. For Christoph Pöhler, a scientist at Fraunhofer WKI and an avid stand-up paddler, this prompted him to think about a sustainable alternative. In the ecoSUP project, he is driving the development of a stand-up paddle board that is made from 100 percent renewable raw materials and which is also particularly strong and durable. The project is funded by the German Federal Ministry of Education and Research (BMBF). The Fraunhofer Center for International Management and Knowledge Economy IMW is accompanying the research work, with TU Braunschweig acting as project partner.

Recovering balsa wood from rotor blades
“In standard boards, a polystyrene core, which we know as styrofoam, is reinforced with fiberglass and sealed with an epoxy resin. We, instead, use bio-based lightweight material,” says the civil engineer. Pöhler and his colleagues use recycled balsa wood for the core. This has a very low density, i.e. it is light yet mechanically stressable. Balsa wood grows mainly in Papua New Guinea and Ecuador, where it has been used in large quantities in wind turbines for many years – up to six cubic meters of the material can be found in a rotor blade. Many of the systems are currently being disconnected from the grid. In 2020 alone, 6000 were dismantled. A large proportion of this is burnt. It would make more sense to recover the material from the rotor blade and recycle it in accordance with the circular economy. “This was exactly our thinking. The valuable wood is too good to burn,” says Pöhler.

Since the entire sandwich material used in conventional boards is to be completely replaced, the shell of the ecological board is also made from one hundred percent bio-based polymer. It is reinforced with flax fibers grown in Europe, which are characterized by very good mechanical properties. To pull the shell over the balsa wood core, Pöhler and his team use the hand lay-up and vacuum infusion processes. Feasibility studies are still underway to determine the optimal method. The first demonstrator of the ecological board should be available by the end of 2022. “In the interests of environmental protection and resource conservation, we want to use natural fibers and bio-based polymers wherever it is technically possible. In many places, GFRP is used even though a bio-based counterpart could do the same,” Pöhler sums up.

Patented technology for the production of wood foam
But how is it possible to recover the balsa wood from the rotor blade — after all, it is firmly bonded to the glass-fiber reinforced plastic (GFRP) of the outer shell? First, the wood is separated from the composite material in an impact mill. The density differences can be used to split the mixed-material structures into their individual components using a wind sifter. The balsa wood fibers, which are available as chips and fragments, are then finely ground. “We need this very fine starting material to produce wood foam. Fraunhofer WKI has a patented technology for this,” explains the researcher. In this process, the wood particles are suspended to form a kind of cake batter and processed into a light yet firm wood foam that holds together thanks to the wood’s own binding forces. The addition of adhesive is not required. The density and strength of the foam can be adjusted. “This is important because the density should not be too high. Otherwise, the stand-up paddle board would be too heavy to transport.”

Initially, the researchers are focusing on stand-up paddle boards. However, the hybrid material is also suitable for all other boards, such as skateboards. The future range of applications is broad: For example, it could be used as a facade element in the thermal insulation of buildings. The technology can also be used in the construction of vehicles, ships and trains.