Textination Newsline

In a world first for the fashion industry, in October 2020 twelve pioneering players came together to break new ground by demonstrating a circular model for commercial garment production. Over more than three years, textile waste was collected and sorted, and regenerated into a new, man-made cellulosic fiber that looks and feels like cotton – a “new cotton” – using Infinited Fiber Company’s textile fiber regeneration technology.
 
The pioneering New Cotton Project launched in October 2020 with the aim of demonstrating a circular value chain for commercial garment production. Through-out the project the consortium worked to collect and sort end-of-life textiles, which using pioneering Infinited Fiber technology could be regenerated into a new man-made cellulosic fibre called Infinna™ which looks and feels just like virgin cotton. The fibres were then spun into yarns and manufactured into different types of fabric which were designed, produced, and sold by adidas and H&M, making the adidas by Stella McCartney tracksuit and a H&M printed jacket and jeans the first to be produced through a collaborative circular consortium of this scale, demonstrating a more innovative and circular way of working for the fashion industry.
 
As the project completes in March 2024, the consortium highlights eight key factors they have identified as fundamental to the successful scaling of fibre-to-fibre recycling.

The wide scale adoption of circular value chains is critical to success
Textile circularity requires new forms of collaboration and open knowledge exchange among different actors in circular ecosystems. These ecosystems must involve actors beyond traditional supply chains and previously disconnected industries and sectors, such as the textile and fashion, waste collection and sorting and recycling industries, as well as digital technology, research organisations and policymakers. For the ecosystem to function effectively, different actors need to be involved in aligning priorities, goals and working methods, and to learn about the others’ needs, requirements and techno-economic possibilities. From a broader perspective, there is also a need for a more fundamental shift in mindsets and business models concerning a systemic transition toward circularity, such as moving away from the linear fast fashion business models. As well as sharing knowledge openly within such ecosystems, it also is important to openly disseminate lessons learnt and insights in order to help and inspire other actors in the industry to transition to the Circular Economy.

Circularity starts with the design process
When creating new styles, it is important to keep an end-of-life scenario in mind right from the beginning. As this will dictate what embellishments, prints, accessories can be used. If designers make it as easy as possible for the recycling process, it has the bigger chance to actually be feedstock again. In addition to this, it is important to develop business models that enable products to be used as long as possible, including repair, rental, resale, and sharing services.

Building and scaling sorting and recycling infrastructure is critical
In order to scale up circular garment production, there is a need for technological innovation and infrastructure development in end-of-use textiles collection, sorting, and the mechanical pre-processing of feedstock. Currently, much of the textiles sorting is done manually, and the available optical sorting and identification technologies are not able to identify garment layers, complex fibre blends, or which causes deviations in feedstock quality for fibre-to-fibre recycling. Feedstock preprocessing is a critical step in textile-to-textile recycling, but it is not well understood outside of the actors who actually implement it. This requires collaboration across the value chain, and it takes in-depth knowledge and skill to do it well. This is an area that needs more attention and stronger economic incentives as textile-to-textile recycling scales up.

Improving quality and availability of data is essential
There is still a significant lack of available data to support the shift towards a circular textiles industry. This is slowing down development of system level solutions and economic incentives for textile circulation. For example, quantities of textiles put on the market are often used as a proxy for quantities of post-consumer textiles, but available data is at least two years old and often incomplete. There can also be different textile waste figures at a national level that do not align, due to different methodologies or data years. This is seen in the Dutch 2018 Mass Balance study reports and 2020 Circular Textile Policy Monitoring Report, where there is a 20% difference between put on market figures and measured quantities of post-consumer textiles collected separately and present in mixed residual waste. With the exception of a few good studies such as Sorting for Circularity Europe and ReFashion’s latest characterization study, there is almost no reliable information about fibre composition in the post-consumer textile stream either. Textile-to-textile recyclers would benefit from better availability of more reliable data. Policy monitoring for Extended Producer Responsibility schemes should focus on standardising reporting requirements across Europe from post-consumer textile collection through their ultimate end point and incentivize digitization so that reporting can be automated, and high-quality textile data becomes available in near-real time.

The need for continuous research and development across the entire value chain
Overall, the New Cotton Project’s findings suggest that fabrics incorporating Infinna™ fibre offer a more sustainable alternative to traditional cotton and viscose fabrics, while maintaining similar performance and aesthetic qualities. This could have significant implications for the textile industry in terms of sustainability and lower impact production practices. However, the project also demonstrated that the scaling of fibre-to-fibre recycling will continue to require ongoing research and development across the entire value chain. For example, the need for research and development around sorting systems is crucial. Within the chemical recycling process, it is also important to ensure the high recovery rate and circulation of chemicals used to limit the environmental impact of the process. The manufacturing processes also highlighted the benefit for ongoing innovation in the processing method, requiring technologies and brands to work closely with manufacturers to support further development in the field.

Thinking beyond lower impact fibres
The New Cotton Project value chain third party verified LCA reveals that the cellulose carbamate fibre, and in particular when produced with a renewable electricity source, shows potential to lower environmental impacts compared to conventional cotton and viscose. Although, it's important to note that this comparison was made using average global datasets from Ecoinvent for cotton and viscose fibres, and there are variations in the environmental performance of primary fibres available on the market. However, the analysis also highlights the importance of the rest of the supply chain to reduce environmental impact. The findings show that even if we reduce the environmental impacts by using recycled fibres, there is still work to do in other life cycle stages. For example; garment quality and using the garment during their full life span are crucial for mitigating the environmental impacts per garment use.
          
Citizen engagement
The EU has identified culture as one of the key barriers to the adoption of the circular economy within Europe. An adidas quantitative consumer survey conducted across three key markets during the project revealed that there is still confusion around circularity in textiles, which has highlighted the importance of effective citizen communication and engagement activities.

Cohesive legislation
Legislation is a powerful tool for driving the adoption of more sustainable and circular practices in the textiles industry. With several pieces of incoming legislation within the EU alone, the need for a cohesive and harmonised approach is essential to the successful implementation of policy within the textiles industry. Considering the link between different pieces of legislation such as Extended Producer Responsibility and the Ecodesign for Sustainable Products Regulation, along with their corresponding timeline for implementation will support stakeholders from across the value chain to prepare effectively for adoption of these new regulations.

The high, and continuously growing demand for recycled materials implies that all possible end-of-use textiles must be collected and sorted. Both mechanical and chemical recycling solutions are needed to meet the demand. We should also implement effectively both paths; closed-loop (fibre-to-fibre) and open -loop recycling (fibre to other sectors). There is a critical need to reconsider the export of low-quality reusable textiles outside the EU. It would be more advantageous to reuse them in Europe, or if they are at the end of their lifetime recycle these textiles within the European internal market rather than exporting them to countries where demand is often unverified and waste management inadequate.

Overall, the learnings spotlight the need for a holistic approach and a fundamental mindset shift in ways of working for the textiles industry. Deeper collaboration and knowledge exchange is central to developing effective circular value chains, helping to support the scaling of innovative recycling technologies and increase availability of recycled fibres on the market. The further development and scaling of collecting and sorting, along with the need to address substantial gaps in the availability of quality textile flow data should be urgently prioritised. The New Cotton Project has also demonstrated the potential of recycled fibres such as Infinna™ to offer a more sustainable option to some other traditional fibres, but at the same time highlights the importance of addressing the whole value chain holistically to make greater gains in lowering environmental impact. Ongoing research and development across the entire value chain is also essential to ensure we can deliver recycled fabrics at scale in the future.

The New Cotton Project has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement No 101000559.

• With fast fashion, the quantity of clothes produced and thrown away has boomed.

Fast fashion is the constant provision of new styles at very low prices. To tackle the impact on the environment, the EU wants to reduce textile waste and increase the life cycle and recycling of textiles. This is part of the plan to achieve a circular economy by 2050.

Overconsumption of natural resources
It takes a lot of water to produce textile, plus land to grow cotton and other fibres. It is estimated that the global textile and clothing industry used 79 billion cubic metres of water in 2015, while the needs of the EU's whole economy amounted to 266 billion cubic metres in 2017.

To make a single cotton t-shirt, 2,700 litres of fresh water are required according to estimates, enough to meet one person’s drinking needs for 2.5 years.

The textile sector was the third largest source of water degradation and land use in 2020. In that year, it took on average nine cubic metres of water, 400 square metres of land and 391 kilogrammes (kg) of raw materials to provide clothes and shoes for each EU citizen.

Water pollution
Textile production is estimated to be responsible for about 20% of global clean water pollution from dyeing and finishing products.

Laundering synthetic clothes accounts for 35% of primary microplastics released into the environment. A single laundry load of polyester clothes can discharge 700,000 microplastic fibres that can end up in the food chain.

The majority of microplastics from textiles are released during the first few washes. Fast fashion is based on mass production, low prices and high sales volumes that promotes many first washes.

Washing synthetic products has caused more than 14 million tonnes of microplastics to accumulate on the bottom of the oceans. In addition to this global problem, the pollution generated by garment production has a devastating impact on the health of local people, animals and ecosystems where the factories are located.

Greenhouse gas emissions
The fashion industry is estimated to be responsible for 10% of global carbon emissions – more than international flights and maritime shipping combined.

According to the European Environment Agency, textile purchases in the EU in 2020 generated about 270 kg of CO2 emissions per person. That means textile products consumed in the EU generated greenhouse gas emissions of 121 million tonnes.

Textile waste in landfills and low recycling rates
The way people get rid of unwanted clothes has also changed, with items being thrown away rather than donated. Less than half of used clothes are collected for reuse or recycling, and only 1% of used clothes are recycled into new clothes, since technologies that would enable clothes to be recycled into virgin fibres are only now starting to emerge.

Between 2000 and 2015, clothing production doubled, while the average use of an item of clothing has decreased.

Europeans use nearly 26 kilos of textiles and discard about 11 kilos of them every year. Used clothes can be exported outside the EU, but are mostly (87%) incinerated or landfilled.

The rise of fast fashion has been crucial in the increase in consumption, driven partly by social media and the industry bringing fashion trends to more consumers at a faster pace than in the past.

The new strategies to tackle this issue include developing new business models for clothing rental, designing products in a way that would make re-use and recycling easier (circular fashion), convincing consumers to buy fewer clothes of better quality (slow fashion) and generally steering consumer behaviour towards more sustainable options.

Work in progress: the EU strategy for sustainable and circular textiles
As part of the circular economy action plan, the European Commission presented in March 2022 a new strategy to make textiles more durable, repairable, reusable and recyclable, tackle fast fashion and stimulate innovation within the sector.

The new strategy includes new ecodesign requirements for textiles, clearer information, a Digital Product Passport and calls companies to take responsibility and act to minimise their carbon and environmental footprints

On 1 June 2023, MEPs set out proposals for tougher EU measures to halt the excessive production and consumption of textiles. Parliament’s report calls for textiles to be produced respecting human, social and labour rights, as well as the environment and animal welfare.

Existing EU measures to tackle textile waste
Under the waste directive approved by the Parliament in 2018, EU countries are obliged to collect textiles separately by 2025. The new Commission strategy also includes measures to, tackle the presence of hazardous chemicals, calls producers have to take responsibility for their products along the value chain, including when they become wasteand help consumers to choose sustainable textiles.

The EU has an EU Ecolabel that producers respecting ecological criteria can apply to items, ensuring a limited use of harmful substances and reduced water and air pollution.

The EU has also introduced some measures to mitigate the impact of textile waste on the environment. Horizon 2020 funds Resyntex, a project using chemical recycling, which could provide a circular economy business model for the textile industry.

A more sustainable model of textile production also has the potential to boost the economy. "Europe finds itself in an unprecedented health and economic crisis, revealing the fragility of our global supply chains," said lead MEP Huitema. "Stimulating new innovative business models will in turn create new economic growth and the job opportunities Europe will need to recover."

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.

• The “Bioconcept-Car” moves ahead

In automobile racing, lightweight bodies made from plastic and carbon fibers have been standard for many years because they enable drivers to reach the finish line more quickly. In the future, lightweight-construction solutions could help reduce the energy consumption and emissions of everyday vehicles. The catch is that the production of carbon fibers is not only expensive but also consumes considerable amounts of energy and petroleum. In collaboration with Porsche Motorsport and Four Motors, researchers at the Fraunhofer WKI have succeeded in replacing the carbon fibers in a car door with natural fibers. This is already being installed in small series at Porsche. The project team is now taking the next step: Together with HOBUM Oleochemicals, they want to maximize the proportion of renewable raw materials in the door and other body parts - using bio-based plastics and paints.

Carbon fibers reinforce plastics and therefore provide lightweight components with the necessary stability. Mass-produced natural fibers are not only more cost-effective but can also be produced in a considerably more sustainable manner. For the “Bioconcept-Car” pilot vehicle, researchers at the Fraunhofer WKI have developed body parts with 100 percent natural fibers as reinforcing components.

“We utilize natural fibers, such as those made from hemp, flax or jute. Whilst natural fibers exhibit lower stiffnesses and strengths compared to carbon fibers, the values achieved are nonetheless sufficient for many applications,” explained Ole Hansen, Project Manager at the Fraunhofer WKI. Due to their naturally grown structure, natural fibers dampen sound and vibrations more effectively. Their lesser tendency to splinter can help to reduce the risk of injury in the event of an accident. Furthermore, they do not cause skin irritation during processing.

The bio-based composites were successfully tested by the Four Motors racing team in the “Bioconcept-Car” on the racetrack under extreme conditions. Porsche has actually been using natural fiber-reinforced plastics in a small series of the Cayman GT4 Clubsport since 2019. During production, the researchers at the Fraunhofer WKI also conducted an initial ecological assessment based on material and energy data. “We were able to determine that the utilized natural-fiber fabric has a better environmental profile in its production, including the upstream chains, than the fabric made from carbon. Thermal recycling after the end of its service life should also be possible without any problems,” confirmed Ole Hansen.

In the next project phase of the "Bioconcept-Car", the researchers at the Fraunhofer WKI, in collaboration with the cooperation partners HOBUM Oleochemicals GmbH, Porsche Motorsport and Four Motors, will develop a vehicle door with a biogenic content of 85 percent in the overall composite consisting of fibers and resin. They intend to achieve this by, amongst other things, utilizing bio-based resin-hardener blends as well as bio-based paint systems. The practicality of the door - and possibly additional components - will again be tested by Four Motors on the racetrack. If the researchers are successful, it may be possible to transfer the acquired knowledge into series production at Porsche.

The German Federal Ministry of Food and Agriculture (BMEL) is funding the “Bioconcept-Car” project via the project-management agency Fachagentur Nachwachsende Rohstoffe e. V. (FNR).

Background
Sustainability through the utilization of renewable raw materials has formed the focus at the Fraunhofer WKI for more than 70 years. The institute, with locations in Braunschweig, Hanover and Wolfsburg, specializes in process engineering, natural-fiber composites, surface technology, wood and emission protection, quality assurance of wood products, material and product testing, recycling procedures and the utilization of organic building materials and wood in construction. Virtually all the procedures and materials resulting from the research activities are applied industrially.

• EU Project ALMA: Thinking Ahead to Electromobility

E-mobility and lightweight construction are two crucial building blocks of modern vehicle development to drive the energy transition. They are the focus of the ALMA project (Advanced Light Materials and Processes for the Eco-Design of Electric Vehicles). Nine European organizations are now working in the EU project to develop more energy-efficient and sustainable vehicles. Companies from research and industry are optimizing the efficiency and range of electric vehicles, among other things by reducing the weight of the overall vehicle. The Fraunhofer Institute for Industrial Mathematics ITWM is providing support with mathematical simulation expertise.

According to the low emissions mobility strategy, the European Union aims to have at least 30 million zero-emission vehicles on its roads by 2030. Measures to support jobs, growth, investment, and innovation are taken to tackle emissions from the transport sector. To make transport more climate-friendly, EU measures are being taken to promote jobs, investment and innovation. The European Commission's Horizon 2020 project ALMA represents one of these measures.

For most people, the word "fashion" evokes thoughts of cuts, colors and patterns - but why not of live evaluations of vital functions or training sessions for rehabilitation patients? Up to now, products of the fashion industry have been largely analogous. The project Re-FREAM, however, was created to design smart clothes in the digital area. Here, researchers and artists work side by side, developing innovative and sustainable ideas and implementation options for the fashion industry, while simultaneously providing impulses for user-oriented synergies between textiles and technology.

The writer Maxim Gorki summed up the connection between two social spheres that were long believed to be irreconcilable: "Just as science is the intellect of the world, art is its soul". In the project Re-FREAM they are connected because fashion is not limited to the decision of the external, it is directly afflicted with sociological, technological and ecological world views. It is less and less sufficient to present only the beautiful, because the dark sides of the fashion industry must also be uncovered and countered with sustainable production cycles and fair working conditions. It is precisely this rethinking and redesigning of processes, production methods, but also of functionality and traditions in the world of fashion that is part of the Re-FREAM project.

The aim is to create an interaction between fashion, design, science and urban manufacturing in order to combine creative visions with sustainable technological solutions. In teams, artists and scientists developed projects together and then presented their innovative aesthetics at the virtual Ars Electronica Festival 2020.

The cooperation with Fraunhofer IZM's scientists opens up entirely new technological possibilities for artists: Microelectronics not only serves as a fashion accessory but is also brings new functions to clothing. With the help of integration technologies, clothing can be integrated into networks and textile-integrated sensor technology can be used, which opens up perspectives of wearable applications in the field of e-health.

One difficulty that Fraunhofer researchers are facing is the electronic contact points between electronics and textiles, because these must be manufacturable on an industrial scale and function reliably under typical textile mechanical stress and washing without any loss of performance. The electronic modules are a further challenge. At Fraunhofer IZM, the electronic components are miniaturized to such an extent that they do not stand out in the garment. The connecting conductor tracks are finally laminated or embroidered onto the fabrics.

Each sub-project in Re-FREAM is a unique joint effort, a fact that reflects the versatility of the cooperation partners. The Italian designer Giulia Tomasello, for example, wants to reveal taboos around female health in her project "Alma" and realize a monitoring of the vaginal flora. The team consisting of designers, an anthropologist and Fraunhofer researchers is developing underwear with an integrated pH sensor, designed to enable a non-invasive diagnosis of bacterial vaginosis and fungal diseases in everyday life and prevent serious inflammation.

In the gusset of the underwear, the reusable biosensor collects data and transmits them to a module measuring approximately 1 cm². Thanks to a modular design, the microcontroller can be easily removed from the textiles. The textile sensor, too, can be removed from the underwear. In addition to the technological solution, aesthetic requirements are another main focus. Other potential applications would be the monitoring of abnormal uterine bleeding as well as menopause. "Through close cooperation with the artists, we have gained very special insights into the user's perspective, and they in turn into that of application-oriented technologies. We have always challenged each other and have now found a solution that combines medical technology, wearables and a circular production method to empower women," says Max Marwede, who provided technical support for "Alma" at Fraunhofer IZM.

In the "Connextyle" project around designer and product developer Jessica Smarsch, the team also focuses on developing user-oriented garments: The tops, which are equipped with textile printed circuit boards and laminated EMG sensors, measure muscle activity and thus optimize rehabilitation processes for patients. An app provides visual feedback from the collected data, generates reports on the healing process and makes it easier for therapists to adapt the measures ideally.

Soft Robotics are the key point in the "Lovewear" project, because here inclusive underwear was developed, which is intended to help people with physical limitations in particular to explore their own intimacy and develop a greater awareness of their own body. Through interaction with a connected pillow, which functions as an interface, compressed air inserts are activated in the lace fabric. Instead of the commonly used silicon-based materials, Soft Robotics are made of textiles and thermoplastic materials. The researchers thus avoid the long curing process of silicone-based approaches and enable faster and more cost-effective mass production with available textile machines.

Particularly challenging and at the same time fruitful is the collaboration in creating sustainable and circular production designs in fashion. Ecological principles are taken into account at the design stage, minimizing negative environmental impacts throughout the product life cycle. This includes the reliability of the component contacts, the length of time the sensors adhere to the textile, the choice of materials and the modular design for reuse of the microcontrollers. However, the teams do not create individual pieces - they want to show that the path to high-tech fashion can also be an environmentally friendly one. They also worked on circular business models that fit the sustainable mission of the projects.

Thus Fraunhofer IZM’s expertise in the fields of e-textiles and circular design represents a considerable added value in the Re-FREAM project. With further investigations on suitable conductive materials, the researchers are currently developing sensory textiles and textile-suitable interconnection technologies. They are also working on thermoplastic substrates that can be integrated into almost any textile.

Re-FREAM is part of the STARTS (Science + Technology + Arts) program, which is funded as an initiative of the European Commission within the Horizon 2020 research and innovation program.