Textination Newsline

From risottos to sauces, mushrooms have long been a staple in the kitchen. Now fungi are showing the potential to serve up more than just flavor—as a sustainable, bendy material for the fashion industry.

Researchers are using the web-like structure of the mushroom's root system—the mycelium—as an alternative to synthetic fibers for clothing and other products such as car seats.

"It's definitely a change of mindset in the manufacturing process," said Annalisa Moro, EU project leader at Italy-based Mogu, which makes interior-design products from the mycelium. "You're really collaborating with nature to grow something rather than create it, so it's kind of futuristic."

Mogu, located 50 kilometers northwest of Milan, is managing a research initiative to develop nonwoven fabrics made of mycelium fibers for the textile industry.

Called MY-FI, the project runs for four years through October 2024 and brings together companies, research institutes, industry organizations and academic institutions from across Europe.

MY-FI highlights how the EU is pushing for more sustainable production and consumption in the textile and apparel industry, which employs around 1.3 million people in Europe and has annual turnover of €167 billion.

While getting most of its textiles from abroad, the EU produces them in countries including France, Germany, Italy and Spain. Italy accounts for more than 40% of EU apparel production.

Delicate and durable
The mycelium grows from starter spawn added to crops such as cereals. The threadlike filaments of the hyphae, the vegetative part of the fungus, create a material that grows on top. It is harvested and dried, resulting in soft, silky white sheets of nonwoven fabric that are 50 to 60 square centimeters.

The delicate material is made stronger and more durable through the addition of bio-based chemicals that bind the fibers together.

Its ecological origins contrast with those of most synthetic fibers such as nylon and polyester, which derive from fossil fuels such as coal and oil.

That means production of synthetic fibers adds to greenhouse-gas emissions that are accelerating climate change. In addition, when washed, these materials shed microplastics that often end up polluting the environment including rivers, seas and oceans.

The MY-FI mycelium needs very little soil, water or chemicals, giving it greener credentials than even natural fibers such as cotton.

Dress rehearsal
For the fashion industry, the soft, water-resistant properties of the mycelium are as appealing as its environmental credentials.

Just ask Mariagrazia Sanua, sustainability and certification manager at Dyloan Bond Factory, an Italian fashion designer and manufacturer that is part of MY-FI.

The company has used the mycelium-based material—in black and brown and with a waxed finish—to produce a prototype dress, a top-and-midi-skirt combination, bags and small leather accessories.

Laser cutting and screen printing were used to evaluate the material's behavior. The challenge was to adapt to the sheets of fabric—squares of the mycelium material rather than traditional rolls of textiles like cotton, linen and polyester—as well as properties such as tensile strength and seam tightness.

"We have had to completely change the paradigm and design processes and garments based on the material," said Sanua.

The company hopes the mycelium material will be a way of offering consumers a range of products that can be alternatives to animal leather.

Leather-unbound
Meanwhile, Germany-based Volks¬wagen, the world's No. 2 car manufacturer, is looking to mycelium technologies to reduce its environmental footprint and move away from leather for vehicle interiors.

Customers increasingly want animal-free materials for interiors from seat covers and door panels to dashboards and steering wheels, so adding a sustainable substitute for leather is an exciting prospect, according to Dr. Martina Gottschling, a researcher at Volkswagen Group Innovation.

"A fast-growing biological material that can be produced animal-free and with little effort, which also does not require petroleum-based resources, is a game-changer in interior materials," she said.

The mycelium material is also lighter than leather, another positive for reducing VW's carbon footprint.

The company's involvement in MY-FI is driving project researchers at Utrecht University in the Netherlands and I-TECH Lyon in France to enhance the durability of the mycelium fabric. To move from prototype to production line, the fabric must meet quality requirements set by VW to ensure the material lasts for the life of the vehicle.

It's a challenge that Gottschling believes will be met in the coming decade.

"We already see the material as one of the high-quality materials for interior applications that will be possible in the future," she said.

When life gives you tomatoes
Mushrooms aren't the only food with the potential to spin a sustainable-yarn revolution. Tomato stems have a hidden talent too, according to Dr. Ozgur Atalay and Dr. Alper Gurarslan of Istanbul Technical University in Turkey.

Seeing tomato vines left to wither in the fields after the crop was harvested, Atalay and Gurarslan began to investigate whether the stems could be transformed into sustainable fibers.

Tests proved that the agricultural waste could indeed be turned into yarn. But Atalay and Gurarslan were determined to go a step further. They wanted to use tomato stems to create a type of yarn for garments that monitor heart beats, respiratory rates and joint movements.

The two researchers lead a project to create this kind of electrically conductive apparel using—for the first time—sustainable materials.

Called SMARTWASTE, the project runs for four years until the end of 2026 and also involves academic and research organizations from Germany, Italy, the Netherlands and Poland.

"The beauty of the project is that we are starting from waste," said Atalay. "We are taking agricultural waste and not just creating regular textiles but something much more valuable."

While cost estimates will follow later in the project when design partners work on creating actual products, he signaled that smart clothing will be a good deal more expensive than the ordinary kind.

A smart textile shirt could cost as much as €1,000, according to Atalay.

The specialized material, limited production runs and research and development needed to create wearable technologies that are durable, washable and comfortable all contribute to the price tag.

Advancements in technology should eventually lead to lower production costs and consumer prices.

Seeds of poplar success
The Turkish countryside has also inspired a second strand to the project. Turkey's abundant poplar trees and—more specifically—their white, fluffy cotton-like seeds prompted Gurarslan to investigate whether they could be a sustainable textile source.

While their fibers have been dismissed as too short to make a yarn, the seeds have three particular properties that appeal to the textile industry: a hollow, pipe-like structure that can trap heat to provide thermal qualities, an antibacterial nature and water resistance.

The network of SMARTWASTE experts has blended the seeds with recycled polyester to make a nonwoven fabric that the team intends to turn into textile products with enhanced thermal properties.

The researchers hope this is just the start of a far-reaching transformation of textiles.

"Our goal is to train the next generation of researchers and innovators in sustainable textiles," said Atalay.

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

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

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

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

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

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

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

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

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

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

• Interview with Klaus Kottmeier, Elke Giese, Markus Gotta, Prof. Dr.-Ing. habil. Maike Rabe

In June 1988, the shareholders and management of Deutscher Fachverlag announced the Wilhelm Lorch Foundation to the textile and garment industry. Its purpose is to promote vocational training, including student assistance as well as science and research.

Upon its establishment, the Foundation received an initial endowment of DM 300,000 from Deut-scher Fachverlag. Today, the Foundation has assets of approx. 2,85 m. Euro (as at Dec 2019). Since 1988, the foundation has awarded sponsorship prizes of around EUR 1,933,564 (as of June 2020) to date, in order to fund the initial and further training of young people from all areas of the textile industry, with a particular focus on young and up-and-coming talents.

Textination talked to the former chairman of the supervisory board of Deutscher Fachverlag GmbH, the current member of the executive board and founding member of the foundation, Klaus Kottmeier, as well as three members of the board of trustees: Mrs. Elke Giese - trend analyst and fashion journalist, Markus Gotta, managing director of Deutscher Fachverlag GmbH, and Prof. Dr.-Ing. habil. Maike Rabe, who will take over the chairmanship of the foundation board on September 1, 2020, about the challenging task of continuing successfully the foundation's work in an environment characterized by the pandemic.

The figure 3 seems to play a very special role for the Wilhelm Lorch Foundation (WLS). In 1988 announced on the occasion of the 30th Forum of the TextilWirtschaft, it was endowed with assets of DM 300,000. 2019 marked the 30th anniversary of the award of the sponsorship prizes. If you had to introduce the WLS in 100 words to someone who does not know the foundation: Which 3 aspects have particularly influenced its development and made it unique?

Klaus Kottmeier: In more than 30 years the WLS has been in existence, the foundation has received great support all over the sector from the very beginning. This continues to this day and is not only reflected in the financial support provided by generous grants, but above all in an active commitment of many sector leaders on the foundation board and board of trustees. A second aspect is the unique range in the topics of the support, which extends across design, business and technology, covering young talents in retail as well as university graduates, but also involving educational institutions themselves. And thirdly, the motivation of so many applicants we experience every year, who prepare their applications with incredible diligence and thus impressively demonstrate their willingness to perform.

 

The name of the foundation is a tribute to Wilhelm Lorch, the publisher and founder of the trade journal Textil-Wirtschaft and thus of Deutscher Fachverlag, who died in 1966. Which of his characteristics and traits do you still see as exemplary for the next generation in our industry today?

Klaus Kottmeier: We are a publishing media house where professional journalism based on sound research always forms the basis. This is associated with classic values such as entrepreneurial courage and will, diligence and discipline, but also a sense of responsibility and team spirit, which were exemplified by our founder and which still form the culture of our company today. These all are qualities young people should take to heart and which, coupled with a passion for their profession, encourage them to continue on their path.

 

According to its statutes, the primary purpose of the foundation is the awarding of "... awards and prizes to graduates of continuation schools of the German retail textile trade, textile-technical training institutes and [...] for final degree or doctoral theses from universities, as far as these deal with textile topics.” How nationally and internationally does the WLS work?

Prof. Maike Rabe: The prizes are mainly awarded to graduates and applicants from Germany and German-speaking countries, but there are also always talents from Europe, who have close ties to the German market.

Markus Gotta: The focus is clearly on the core market of Germany or Germany-Austria-Switzerland respectively, which we cover with the TW - accordingly, we do not advertise internationally, but there is no exclusion for foreign applicants, the only requirement is that the submitted works and reports must be written in German or English.

 

Over the past 31 years in which the foundation has been awarding prizes to people, projects and works, you have met many young talents who have moved our industry or will certainly do so. Are there any unusual stories or special award winners that have remained in your memory? And how do you assess the development of the applicants' educational level over the years?

Elke Giese: The applicants come from very different schools and universities, differing significantly in their profiles and focus. The demands on teaching have grown enormously, especially as a result of increasing digitization. Since the job profiles in the fashion business are also constantly changing and will continue to be subject to major changes in the future, the challenges for schools and students remain very high.
From each year, particularly talented and creative personalities remain in one's memory. To name one, Elisa Paulina Herrmann from Pforzheim, who was twice among the prize winners in 2017 and 2019 with her bachelor's and then master's thesis. Her ability and originality were overwhelming for the board of trustees. She now creates exclusive knitwear collections for Gucci. Among the young men is Niels Holger Wien, who received WLS funding in 1995. He has been the specialist for color trends and zeitgeist of the German Fashion Institute for many years and is currently president of the world's most important color committee INTERCOLOR.

Klaus Kottmeier: There are many award winners who have subsequently made a great career, to name just one example, Dr. Oliver Pabst, current CEO of Mammut Sports Group AG and WLS award winner in 1994.

 

Due to its proximity to TextilWirtschaft, the foundation is primarily associated with fashion design and topics related to clothing production or marketing. In 2020 you have put Smart Textiles in the virtual spotlight with two project sponsorships. How do you see future topics in the field of technical textiles? Can you imagine creating a new focus on that field?

Prof. Maike Rabe: First of all, the WLS supports talented young people who, thanks to their training, can take up a career in the entire textile and clothing industry. Of course, this also includes the field of technical textiles, which is of great importance in terms of production in Germany being a technological leader. Here the boundaries to clothing are fluid, just think of outdoor or sports equipment.    „    

Klaus Kottmeier: Our excellently staffed board of trustees is open to all innovative topics in the industry. Innovations in the field of technical textiles in particular are important topics for the future. In 2017, for example, the sponsorship award went to the Anna-Siemsen-School, a vocational school for textile technology and clothing in Hanover, through which we supported the procurement of a pattern design software.

 

The Wilhelm Lorch Foundation has set itself the goal of supporting qualified young people in the textile and fashion industry. However, you preclude the support for business start-ups. In times, in which start-ups receive increasing attention not only through corresponding TV formats but also through industry associations, there must be reasons for this. What are they and how do you assess future prospects?

Klaus Kottmeier: Support for business start-ups is precluded by §2 of our statutes, which defines the purpose of the foundation. The WLS is exclusively dedicated to the charitable purpose. Support for start-ups and business start-ups would contradict this. We therefore concentrate fully on the further education of young professionals in the sector and the promotion of educational institutions, from which the entire sector benefits.

Prof. Maike Rabe: WLS funding is aimed at further developing the skills of graduates and young talents from the sector. They should receive specific further training, possibly reach a further academic degree, and also learn in an interdisciplinary manner. All of this benefits the sector as a whole and this is our strict objective.

          
The foundation also promotes the training and further education of young and up-and-coming talents who are already working in the textile retail trade. Grants are available to cover course or study fees for further qualification. The closure of shops caused by the lockdown  during the pandemic hit the stationary retail trade hard, and even today we are still miles away from regular business operations. Against this background, how do you see focused funding opportunities for further training in the e-commerce sector?

Markus Gotta: The topics of stationary retail and e-commerce can't really be separated, both have long since become part of the basic requirements in fashion sales and thus also of the topics of training and further education in general.
 
Prof. Maike Rabe: E-commerce has become an integral part of our industry and is naturally reflected in many grants and subsidies. The junior staff members are allowed to make their own suggestions as to where and how they would like to train. We support this. But we would also like to strengthen the connection between stationary and digital trade in particular. Our prize winners have come up with wonderful concepts for both sales channels, and of course they can be combined.

 

Breaking new ground means willingness to make decisions, overcoming fears - and thus courage to fail. Not every project can succeed. In retrospect, which decisions in your foundation work are you particularly happy to have made?

Markus Gotta: That we implemented the Summer School project last year. We broke new ground with the foundation, and this - in cooperation with the Niederrhein University of Applied Sciences - was very successful.

Elke Giese: Especially in the field of design and creation, it is important to recognize an applicant's future creative potential from the work at hand and the information provided by the applicant. I am therefore always particularly pleased when the board of trustees makes courageous and progressive decisions.    

 

The Wilhelm Lorch Foundation offers project funding of € 10,000 to universities and educational institutions. They do not make any thematic restrictions here, but simply demand that there must be a clear reference to the sustainable further training of young up-and-coming talents in the textile and fashion industry. According to which criteria do you finally decide which project will be funded?

Elke Giese: One criterion is the relevance for future developments in the textile and fashion industry. Projects in recent years have enabled schools and educational institutions to train on laser cutters and 3D printers, for example, but also to purchase modern knitting machines or software programs.

Prof. Maike Rabe: All the projects submitted are evaluated very strictly by the jury's experts using a points-based system. This results in a shortlist which is presented to the board of trustees and intensively discussed by them. In this way, we ensure that all submitted applications are honored and that we then award the Wilhelm Lorch Prize to the outstanding project submissions in a joint consensus. The most important criteria are sustainable teaching of innovative learning content, practical training and the feasibility of the submitted project.

 

There are many different definitions of sustainability. Customers expect everything under this term - from climate protection to ecology, from on-site production in the region to the exclusion of child labor etc. Public procurement is increasingly switching to sustainable textiles. What does this mean for WLS, and what are you doing to promote sustainable thinking and acting, not only among young professionals?

Prof. Maike Rabe: At the foundation, we base our definition of "sustainability" on the 1987 report of the United Nations World Commission on Environment and Development, the so-called Brundtland Commission: "Sustainable development is development that meets the needs of the present without compromising the ability of future generations to meet their own needs". The textile and clothing sector plays a pioneering role as a globally enormously connected industry with complex supply chains, which should definitely also play a model role. We therefore make it a priority for all award winners to observe these criteria and at the same time try to provide a platform for people who, through their work and actions, offer suggestions for improvement or even already implement improvements.

 

Virtual instead of red carpet: Usually the awards are presented in the festive setting of the TextilWirtschaft Forum. In 2020, due to the Covid-19, there was only a digital version in the form of a short film. How important do you consider networking opportunities that arise from meeting influential personalities face-to-face? Or has such a format become obsolete in the age of video conferencing?

Prof. Maike Rabe: It is certainly remarkable what digital event formats can achieve. But one thing doesn't work: spontaneity, personal contact and closeness. Therefor it is a real pity that the Forum had to be cancelled this year due to corona. Especially for career starters, the chance for direct networking is of great value.

Markus Gotta: The need for personal exchange and meetings will continue to be of great importance and demand in the future. And I can say at this point: We are already working on the plans for the TW Forum 2021 as a live and meeting event with the top decision-makers in the sector.

 

In which socially relevant areas do you see a particularly great need for innovation and action during the next five years? What is your assessment that funding - for example from the Wilhelm Lorch Foundation - can provide targeted support for solutions? And what role do the experiences from the corona pandemic play in this assessment?

Prof. Maike Rabe: We don't think in five-year periods, today's world requires much greater agility - this applies to the Foundation as well as to the entire industry. With each award we re-orientate ourselves towards current topics. Topics such as aesthetics, function and innovation will certainly continue to play a major role, as will quality instead of quantity, eco-social justice and customer loyalty. It is also important, however, that our economy, which is strongly supported by medium-sized companies, is clearly perceived by the public and in politics; we still have to work on that.

Klaus Kottmeier: I gladly agree with Prof. Rabe's closing statement. Agility is also of great importance in a media company like ours. We live in a constant transformation process with constant changes that have to be faced. The corona pandemic has shown us very impressively how quickly original plans can become waste. Today, and more than ever before in the future, a constant willingness to change is required, and this applies not only to us but also to our hopeful young employees.
 

The interview was conducted by Ines Chucholowius,
CEO Textination GmbH

With “Toward Utopia”, Heimtextil is setting the course for the new trend season 2019/2020. As part of the official Heimtextil Trend Preview on 4 September 2018 in Frankfurt am Main, London-based studio FranklinTill presented the design themes for the upcoming international trade fair for home and contract textiles (8-11 January 2019).

In addition to the British trend researchers, Anne Marie Commandeur from the Stijlinstituut Amsterdam and Anja Bisgaard Gaede from SPOTT Trends & Business also participated in the forecast for perspectiverelated interior design, which applies globally. Together with the Heimtextil management team, they provided initial insights into future style worlds. Stefan Weil from Atelier Markgraph, the studio that designs the spatial staging of Heimtextil trends, gave a preview of the new “Trend Space' and emphasised the importance of spatial communication for Heimtextil.
 
The Heimtextil trends 2019/2020 describe a world in which we live according to new standards. We try to escape complex lifestyles and have a desire for deeper relationships, spiritual confirmation and greater meaning. “We live in an era of uncertainty and mistrust in the established order. As a reaction, we try to live a meaningful, conscious life based on positive relationships. We take responsibility for our lives and look for ways of life that fulfil our value system in search of a new utopia – a society that aims at promoting the well-being of all its citizens”, explains Caroline Till, co-founder of FranklinTill Studio. The search for new lifestyles in which mindfulness and sustainability play an important role will be the challenge of the coming decades.

“Toward Utopia” shows which individual routes we can take on the way to finding a modern utopia: those who seek temporary time-out from the internet to reconnect with nature and defy the elements (“Go off-grid”), while others escape from the real world into a virtual world (“Escape Reality”). Some withdraw and find security in pure, minimalist rooms (“Seek Sanctuary”). “Embrace Indulgence” offers a nostalgic answer to today’s uncertain times and surrounds us with beauty and luxury. And the unconditional hedonistic desire for play (“Pursue Play”) is probably hidden in all of us.

„Trend Space“ in hall 3.0
In the newly designed “Trend Space” in hall 3.0, Heimtextil will be demonstrating how the various scenarios can be lived out. Here, the trade fair presents five trend themes that represent a combination of inspiration, interaction and knowledge transfer and showcases trailblazing projects and design initiatives. The “Trend Space” also presents current colour trends. The immersive staging on site and the Trend Book, which is available as of now, document the poetic properties of colour as well as its inspiring, artistic and aesthetic power in design.

‘The new “Trend Space” at Heimtextil convinces with interactive and tactile worlds of experience. Visitors are playfully inspired, involved and motivated to get to grips with futuristic, spatial design concepts’, says Olaf Schmidt, Vice President Textiles & Textile Technologies at Messe Frankfurt, looking ahead to the future. ‘This creates a comprehensive picture of the design of future spaces and we can get some answers to the questions of how we will interact, consume, live and work in the future’, continues Schmidt.
 
An overview of Heimtextil trends 2019/2010:

PURSUE PLAY
In an era of uncertainty, political instability and environmental problems, we satisfy our need for optimism and creativity with play. Playing helps us to find meaning in the midst of chaos and turbulent times. Designers thus playfully focus on uninhibited, tactile interactions and experiments. Daring, cheeky product, room and fashion designs are loosened up with a touch of humour. Shapes and colour palettes take on a surrealistic note and the concept of L’art pour l’art once again commands attention. The use of rich primary colours is playful and naive, while the combination of high-gloss and matt textures creates a palatable visual appeal. Abstract forms, bold play with patterns and exuberant textures challenge us to be imaginative and invent our own stories.
 
SEEK SANCTUARY
In the midst of our intense, hyper-connected everyday life, more and more people are looking for ways to “cut off” all connections – for utopian havens of peace amidst all the noise. They retreat to urban oases where they can switch off to find relaxation, a new perspective and clarity. However, this essentialism does not mean that we have to categorically reject products. Rather, is it about the targeted search for and appreciation of design pieces and concepts that are simple, beautiful, functional and high quality. The combination of a minimalist colour palette with carefully selected structural details, curvy shapes and upholstery gives rise to comfort and warmth.

GO OFF-GRID
The search for a new closeness to nature leads to a hankering for experiences beyond a networked everyday life. It is an attempt to live more naturally, to return to the origins of humanity and to live in harmony with nature – and not against it. It is about cross-border experiences in remote locations, supported by high-tech survival equipment. The combination of hard-wearing technical aspects of outdoor textiles and workwear requires a sophisticated, utilitarian aesthetic and promises durability and functionality. Colours and patterns inspired by nature celebrate the supposed “imperfection” of the natural.
 
ESCAPE REALITY
A new utopia can be rooted in both the digital and the real. The potential of virtual and extended reality blurs the boundaries between fantasy and reality. We are working on a technology that enables deeper and more lasting experiences in daily life. Shimmering, iridescent surfaces have a transformative and optimistic quality, are transformed by movement and create a fleeting, intangible form of motion. Mother-of-pearl effects and high gloss create a unique dynamic in designs that seem to achieve the impossible by appearing fluid and in suspension as a solid form that could literally dissolve at any time. Ethereal combinations of light pastel shades create a surrealistic, hyper-real mood.

EMBRACE INDULGENCE
High-quality materials and rich colours, a modernist style and solid craftsmanship combine to form a utopian vision of the future of luxury. In a modern age marked by uncertainty, we look back through rose-tinted glasses to earlier epochs, remember the comfort of the good old days, long for security and surround ourselves with a calm, inviting aesthetic. Cleverly combined, honest materials, creatively implemented ideas and simple opulence form a new kind of comfort as well as give rise to intimacy and a sense of tangibleness.

 

• Good chances for synthetic fibers and functional textiles

Bangkok (GTAI) - Thailand's textile industry is in transition and is increasingly positioning itself in new markets with higher added value. Synthetic fibers became an important foothold on the basis of innovative raw materials, while functional textiles are grateful to customers in a dozen sectors. In addition, there is the traditional silk craft, which can be marketed by international design and attractive fashion shows - and this at top prices.

The Thai textile industry is changing. As a part of the long-term national development strategy “Thailand 4.0” , new technologies are designed to help innovative products breakthrough in key emerging markets, backed by concerted efforts in design, fashion and marketing. The industrial foundation ensures the availability of a complete value chain from fiber production, yarn spinning, fabric weaving and processing to the production of clothing.
The long-term strategy has been outlined by the Thailand Textile Institute (THTI) in its "Thailand Textile and Fashion Industries Development Strategy 2015-2030". Three phases are planned from the regional center for textile and fashion retail, to the development of creative products for international brands, and finally the breakthrough as the global market leader in fashion design, including Thai components. The concrete catalog of measures includes an industrial fashion zone, a pilot fiber plant, a development center for yarn, fabrics and fashion products as well as a regional fashion academy.

Broad spectrum for innovations
A diversified petrochemical industry with high-quality downstream products provides a rich foundation for a wide variety of synthetic fibers. The main products are polyester, nylon, rayon and acrylic polymers. The range of applications is quite broad, including apparel, medical technique, hygiene and automotive manufacturing. For polyester, Thailand ranks ninth in the world with an annual production of 621,000 tons, the larger producers include Indorama Polyester, Teijin Polyester or Thai Toray.

Increased research and development efforts with both artificial and natural textile fibers are paving the way for functional textiles. There are a dozen applications in this broad future market: Agrotex, Mobiltex, Medtex, Hometex, Oekotex, Packtex, Buildtex, Clothtex, Indutex, Geotex, Protex and Sportex. The leaders in this branch are companies such as Asahi Kasei, Perma, Saha Seiren, PJ Garment or TP Corporation. Thailand also wants to play an active role in shaping the future market of "smart fabrics" - such as fabrics with UV protection or antibacterial and fire-resistant properties.

Renaissance of the silk
On elegant paths also the traditional over generations grown art of silk crafts is moving. Thanks to the rich raw material base, the kingdom is considered to be the world's fourth largest silk producer. In the preference of visitors from abroad, silk products are at the eighth place in the souvenir statistics 2015 with USD 149 mio.
The origins of silk were characterized by the craftsmanship weaving with regional origin characteristics such as at the Lumphun Broocade Thai Silk, the Phu Thai Praewa Silk or the Surin Hole Silk. The change to innovative products took place with the growing demands of customers. New technologies produced goods of higher value, which were also became promoted with new stronger marketing ideas.

Jim Thompson and Passaya are considered two major pioneers of world-class luxury silk brands. Jim Thompson generates USD 72 mio thanks to modern design and premium products. Passaya won international awards for outstanding innovations in design as well as in the production process. Public support has been provided by promotional events such as "Proud Pastra", which recently completed USD 1.5 mio  in trade surplus. The Ministry of Commerce also intends to establish a silk center in the northeastern Korat under the state-sponsored so-called OTOP scheme (One Tambon One Product).

The entire industry has currently  4,700 textile and garment manufacturers with over 500,000 workers, including 730 textile companies for technical textiles. The export value amounted to USD 6.45 billion in 2016, which represented about 3 percent of total exports. The national retail sector recorded steady growth rates averaging 3.5 percent per year over the period 2011-2016.

In addition to production, Thailand also tries to profile itself as a fashion hub for regional and international fashion shows. The most important events are the "Bangkok International Couture Fashion Week", "Elle Bangkok Fashion Week" and the "Bangkok International Fashion Fair". The first national designer brands have already made their debuts on the catwalk, such as Sretsis, Naraya, Dry Clean Only or Disaya. Sretsis, founded by three sisters, became successfully supported by some big names such as Beyoncé, Paris Hilton, January Jones and Zooey Deschanel.

• Competition is tough
• Demand is growing

Warsaw (GTAI) - The dynamic demand for clothing and shoes in Poland is unbroken in 2017. The clothing sector, which is in a tough price competition, consolidates itself through mergers. A merger between the two large men’s outfitter Bytom and Vistula is due. In the case of women's fashion, the trend is towards timeless quality goods, which also opens up opportunities for German suppliers. Retail sales of textiles, clothing and footwear are the fastest growing of all product groups in Poland. According to the Central Statistical Office (CIS) in the first five months of 2017 the real growth was 16.1% above the value of the previous year's period. The total retail sales increased by 6.9%. For the full year 2016 these growth rates were 16.4 and 5.7%, respectively.

The in spring of 2016 introduced children's allowance and the fact that many Poles spend their summer holidays in Poland are stimulating the demand even more. This also results in additional supply chances for German suppliers. However, they are in an intense competition with domestic manufacturers and dealers. Sector experts have calculated that the stock exchange listed companies for clothing and footwear could have increased their revenues by an average of 16% in the first half of 2017. The CCC shoe chain was the most successful company with an increase of one third.

Revenue from domestic companies for clothing and footwear in the first half of
2017 (in ZI million Zl, change compared to the first half of 2016 in%) *)

	Revenue	Change
LPP	3,069	15.0
CCC	1,845	32.3
Vistula	308	112.4
TXM	165	-2.0
Gino Rossi	141	10.5
Bytom	85	22.6
Wittchen	76	21.0

*) preliminary data
Source: Company data

The positive development is mainly attributable to the increased number of chain stores, the expansion of sales areas and the increase in online trading. Now the sector wants to strengthen its position through mergers.

Vistula on expansion course
The two men’s outfitter Bytom and Vistula want to use synergy effects and operate more successful on the market by merging. Since the middle of April 2017 they are negotiating about this step which could be completed by the end of the year. According to market observers, Vistula should have to issue new shares in order to be able to take over Bytom. The merger would end the tough price competition of the two competitors in formal clothing. They would be able to arrange joint purchases and coordinate their logistics.

Number of shops of trade chains for elegant men's wear

March 2014	March 2015	March 2016	March 2017
618	676	757	810

Source: Market research company PMR, 2017

According to own data Vistula had 366 own shops with a total area of 30,500 sqm. in 2016, Bytom 111 sales salons with 12,690 sqm. The revenues of the Vistula Group were with ZI 599 mio in 2016 (around EUR 137 million, 1 EUR = 4.36 ZI, average rate 2016) almost four times higher than those of Bytom with ZI 153 mio. The net profit of Vistula was with ZI 35.2 mio almost three times as high as that of Bytom (ZI 12.4 mio).

Vistula owns more clothing brands like Wolczanka and the noble mark Lambert as well as the brand Deni Cler for ladies fashion of the high-end segment.The jewelry manufacturer W.Kruk is also part of the group. Industry experts see Vistula continuing to expand.

A further possible takeover candidate is the brand for chic women's wear "Simple" with the same name trade chain and an online business, which is currently owned by Gino Rossi. Simple had recently weakened and is currently being restructured to get better results again. The chairman of the Vistula Group, Grzegorz Pilch, sees opportunities for a takeover of a company for women's clothing in 2018 at the earliest.

Also the manufacturer of ladies wear Monari is looking for take-over candidates. The competition in this segment is the largest. According to the Gino Rossi chairman Tomasz Malicki customers are increasingly looking for high-quality clothing with simpler cuts, that can be worn for longer than a season. Another large garment company, Prochnik, is considering investing in an online business.

LPP stays with casual everyday fashion
Unable to withstand the competition was the brand Tallinder, which was introduced for elegant men’s wear by the market leader LPP in 2016. The shops had to close again. LPP, on the other hand, is successful in casual everydays fashion, often sewn in the Far East. The company sells its five brands Reserved, Mohito, Cropp, House and Sinsay in a total of 1,704 stores in 19 countries, including Germany. Demand is developing dynamically for example in Russia.

In Poland itself there are around 1,000 shops, the number of which could drop in the future with a simultaneous enlargement of the sales areas at the individual branches. This was said by the chairman of LPP, Marek Piechocki, to the daily Rzeczpospolita. The total LPP sales area should increase by about 10% until 2021 and the company's sales should increase by 15 to 20%. At the end of 2017 LPP is planning to operate 19 Reserved stores in Germany.

One of the leading exporters is the company Redan, which is well represented in Central Eastern Europe. It sells brands such as "Top Secret", "Troll" and "Drywash". Redan owns the TXM discount chain which includes around 380 stores locally and abroad as well as an online shop. The company OTCF with its brand for sportswear "4F", has a wholesale network in more than 30 countries.

In addition to the large chains, numerous Polish fashion designers create their own designs. In the premium segment, the brands "La Mania" by Joanna Przetakiewicz and "Emanuel Berg" by Jaroslawa Berg-Szychulda can be found in foreign fashion centers. In several Polish cities the chain Hexeline is represented with its own sales saloons, which produces high-quality women's fashion in its own studio in Łódź.

With the "Product Warmia Mazury" award, which special products from Warmia-Masuria can receive, the fashion designer Barbara Caly-Jablonska can provide her hand-sewn wedding, evening and cocktail dresses as well as stage costumes. Their creations are inspired by the traditions of the area.

According to its deputy chairman Marcin Czyczerski the sales area of the shoe chain CCC will be enlarged by around 100,000 m² in 2017. In March 2017 the chain owned 870 stores with a total area of 471,300 sqm. In the first quarter alone, eight sales salons with 12,700 sqm were added. CCC needs to increase the profitability of its activities in Germany and Austria.

Even though it is not easy for Polish suppliers of clothing and footwear to gain a foothold in Western European markets, they are still exporting to there, especially to Germany. More than half of the in Poland produced textiles go abroad, almost half of their clothing. Fashion and accessories are shown in Poland at numerous trade shows. The next Poznan Fashion Show  (http://www.targimodypoznan.pl/pl/) will take place from September 5th -9th 2017.

 

Living in Space: special event at Techtextil showcases textile processing technologies for the space industry: Some four months before the start of Texprocess (9 to 12 May 2017), the leading international trade fair for processing textile and flexible materials reports the highest number of registrations in its history and thus continues its pattern of growth. Even now, more floor space has been booked than the previous edition had in total. “It is well worth our while continually developing Texprocess further, with regard to the technologies and processes on display, the hall layout and the complementary programme. With this fourth edition, Texprocess is now firmly established in the marketplace and is attracting other market leaders in the sector to Frankfurt,” says Olaf Schmidt, Vice President Textiles & Textile Technologies, Messe Frankfurt.

Texprocess reports growing numbers of companies signing up, particularly in the CAD/CAM and Cutting, Making, Trimming (CMT) product groups. Technologies and material for Sewing, Joining and Fastening are growing steadily, too.

Among the companies that have already signed up are: Amann, Astas, assyst/Human Solutions, Barudan, Brother, bullmer, Caron Technology, Dürkopp Adler, Epson, Filiz Makina, Gemini CAD Systems, Gerber Technology, Gütermann, Juki, Kuris Spezialmaschinen, MACPI, Malkan, Mitsubishi, Morgan Tecnica, Pfaff, Serkon Tekstil Makina, SMRE, Strima, Tajima, Teseo, Tetas, Veit, Zünd.
The range of products at Texprocess once again covers all stages in the value-creation chain for textile goods, from design, IT, cutting out, sewing, seaming, embroidery and knitting to finishing, textile printing and logistics.

Change in placement for CAD/CAM and Cutting, Making, Trimming
To make the profiles of Techtextil and Texprocess even sharper, the bonding and separating technology, CMT (Cutting, Making, Trimming), CAD/CAM and printing product segments will be concentrated together at Texprocess in hall 4.0. Thus, visitors will find Techtextil exhibitors from these segments at Texprocess. These product groups will be deleted from the Techtextil nomenclature.
Apart from this change, the overall concept behind the halls at the previous event will be retained: trade visitors will find Design, IT, CAD/CAM, CMT and Printing as well as the special IT@Texprocess section in hall 4.0. Exhibitors of machines and accessories for sewing and seaming will be presenting their products in hall 5.0 and 5.1; and hall 6.0 will showcase embroidery technology, together with finishing techniques and logistics for textiles.

The technologies of textile processing for space travel
Both exhibitors and visitors at Texprocess will, this year, have the benefit of a rather special experience at the show: under the heading 'Living in Space', Techtextil will be showcasing the wide variety of applications for technical textiles in space travel, together with the processing involved. This is a cooperative venture between Techtextil, The European Space Agency (ESA) and the German Aerospace Centre (DLR). Close to the location for, amongst others, exhibitors of functional apparel textiles in Hall 6.1, and based on the areas of application for technical textiles, a special, interactive area is to be built to display, with the help of four thematic sections, the high-tech textiles and textile processing technologies that have emerged from and for space travel. The highlight of this area is a virtual-reality experience in which visitors to Techtextil and Texprocess get to go on a virtual journey through the universe, where they will learn about the application of technical textiles in space travel and the processing required to make them.

Complementary programme with focus on Digital Printing and international Innovative Apparel Show
Digital Printing will be one the thematic focusses of the Texprocess complimentary programme. The sector's information service, the World Textile Information Network (WtiN) will, for the first time, be organising the European Digital Textile Conference at Texprocess. The conference will centre round technologies for digital printing on textiles and will be held on Wednesday 10 May in the Saal Europa in hall 4.0.
And digital printing on textiles will also be taken up as a topic in a dedicated series of lectures forming part of the Texprocess Forum. The forum offers, in hall 6.0, expert lectures on current issues in the sector, on all days of the trade fair. For the first time, the programme will have been designed jointly by three partners: the Dialog Textil-Bekleidung (DTB), die International Apparel Federation (IAF) and the World Textile Information Network (WTiN).

Following on from the success of its first edition, the Innovative Apparel Show is to be continued and set on an international footing. For the first time, there will be, as well as a German university, three European universities / colleges from outside Germany, showcasing, on the catwalk, their fashion designs from functional textiles and the processing stages that go into making them. The show will take place on all days of the trade fair. The participating universities / colleges are: Accademia Italiana, Florence / Italy; ESAD College of Art and Design, Matosinhos / Portugal; Esmod Paris/France, and the University of Trier / Germany. The young designers will be displaying designs relating to the three key themes of 'Textile Effects', 'Creative Engineering' and 'Smart Fashion'. Visitors will be able to vote for the public's award throughout the duration of the trade fair and the award will be presented at the last fashion show.

With the Texprocess Innovation Award, Messe Frankfurt seeks, for the fourth time, to honour the best new technological developments in the field. Submissions for the award may be made up until 20 February. The competition is open both to exhibitors at Texprocess 2017 and to other companies, institutes, universities, colleges and private individuals, who are not otherwise exhibiting at the fair. The awards in the various categories will be presented during the joint opening ceremony for Texprocess und Techtextil, on 9 May 2017. At the same time, there will be a special display area in Hall 4.0, showcasing all the prize-winning products at Texprocess.

Visitors will, once again, find many new IT solutions for the apparel industry in the IT@Texprocess section in Hall 4.0, where exhibitors will be presenting product life-cycle management systems (PLM), 'Cloud' applications and 3D CAD systems, which make it possible to create tailor-made clothes in real time and without the need for a Fitting.

Sewing and apparel-making technology record significant rise in Sales According to information provided by the Textile Care, Fabric and Leather Technologies section of the VDMA (Association of German machinery and plant manufacturers), conceptual partner of Texprocess, the German sewing and apparel-technology industry achieved an increase in turnover of 15.9 percent compared to the previous year in the period from January to October. “With export sales of € 523 million, Germany is in third place amongst exporting nations worldwide, behind China and Japan,” observes Elgar Straub, General Manager of the VDMA Textile Care, Fabric and Leather Technologies Association. “Our member companies are outstandingly well placed amongst the international competition. Above all, that is because they are continually developing and innovating. The individualisation of apparel, the digitalisation of the value creation chain and new technologies, such as digital printing and sustainable processing technologies, are currently at the heart of our members' planning for innovation.”

Texprocess will again be taking place in parallel to Techtextil, leading international trade fair for technical textiles and nonwovens (also from 9 to 12 May 2017). In all, 1,662 exhibitors from 54 different countries attended Texprocess and Techtextil in 2015, together with a total of 42,000 trade visitors. Over 13,300 of them came to see Texprocess. Added to that, there were around 7,600 additional visitors, who came across from the concurrently held Techtextil.