Textination Newsline

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

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

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

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

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

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

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

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

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

Most people want to live as independently as possible in old age. Exhibitors at the industry's leading trade fair ALTENPFLEGE from April 26 to 28 in Essen, Germany will be showing how senior facilities with modern interior design and smart equipment meet this need.

Demand for forms of housing such as service living is on the rise. Studies predict a need for around 540,000 new service living units in the coming years. One of the major trends at this year's 32nd edition of the Altenpflege trade fair is how senior facilities are meeting the rapidly growing demand with flexible room design and digital support. They can be seen in the Aveneo special show, including intelligent systems for stove shut-off, lighting control and room temperature, as well as for fall sensors and emergency calls.

Future tenants or buyers of serviced apartments are prepared to invest specifically in their own living environment (source: Terragon study 2021). The focus is on a feel-good atmosphere, a high level of security and the option of using care services if required. "This can be facilitated by a cleverly thought-out arrangement of the rooms within a serviced apartment, for example by arranging the bathroom and bedroom right next to each other and making the wall with the washbasin rotatable," explains Carolin Pauly, managing director of Universal Rooms, which considers itself to be the interface between the wishes of the operators and the products in the serviced apartment market. "The furniture and furnishings industry is called upon to design modern collections with hidden product features that make life easier in old age," Pauly demands. This could be, for example, a grab handle built into the washbasin or a dining table that can be accessed by a wheelchair.

Lighting management also plays an important role. It should convey a sense of well-being and security as well as provide orientation and safety. Age-related clinical pictures in particular place high demands on lighting. Here, lighting systems that simulate the natural day and night rhythm can provide help.

Living, care and digitalization combined
The Chief Executive Officer of the Evangelische Heimstiftung (EHS - Evangelical Home Foundation), Bernhard Schneider, sees "an individually and comfortably furnished apartment that uses intelligent technology to provide a great deal of security and self-determination" as the senior living of the future. "I am certain: In the future, in a sector-free setting, we will have to understand housing, nursing and care, and digitalization even more strongly as building blocks that can be combined as needed."

According to Schneider, this starts with housing: In a nursing apartment or an assisted living apartment, in a shared apartment or other form of communal living, in a residence or an intergenerational project. All forms of housing should be well integrated into the neighborhood - this requires reliable, financed advisory structures, for example through neighborhood managers. In addition, there is care, support and assistance, in the form of day or night care, a mobile service or volunteers. "And technology, for example through our Aladien system, i.e. with intelligent home emergency call, fall sensors, stove shut-off, roller shutters and light control, video door telephony, etc. In the future, Aladien will evolve into a service robot," predicts Schneider.

This makes it possible for people to live a self-determined life and participate in society, even in old age. That's what people want, he says: a pleasant living environment, social contacts, cultural offerings and the certainty that someone will take care of them if necessary. "What we need for this is political commitment in the form of an ambitious funding program for modern forms of housing in old age," demands the EHS CEO. This would not only help the older generation, but young families could also benefit because this would free up the far too spacious apartments and terraced houses of the older generation for them.

ALTENPFLEGE – Trade fair and congress for the care industry since 1990
The traditional leading trade show for the care industry has so far been held alternately in Hanover and Nuremberg. From this year it alternates between Essen and Nuremberg. It covers all segments of professional geriatric care: services and products for care and therapy, occupation and education, IT and management, nutrition and home economics, textiles and hygiene as well as space and technology. In more than 30 lecture blocks, the accompanying trade congress covers the current topics of the industry, such as digitalization, the future of professional nursing care, hospice and palliative care, training or the new collectively agreed payment under the Healthcare Development Act (Gesundheitsversorgungsweiterentwicklungsgesetz - GVWG).

• 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.

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

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

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

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

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

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

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

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

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

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

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

Partners

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

We must:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

FESPA has kick-started business recovery in the speciality print and signage communities with the successful return of FESPA Global Print Expo and European Sign Expo 2021 (12 – 15 October 2021) after a two-year gap.

The first live FESPA events in Europe since Spring 2019 attracted a strong audience dominated by business leaders, who came with an appetite to update their industry knowledge with a view to short- and medium-term investment.

International audience of senior decision-makers
Visitors came from more than 100 countries, with a strong emphasis on the Benelux region and Germany which accounted for 49% of the audience, in line with expectations given the location in Amsterdam. Other strongly represented countries were Italy, France, the United Kingdom, Spain and Poland. As anticipated, the challenges for long-haul travellers due to COVID-related restrictions resulted in fewer visitors from outside Europe than usual for a Global Print Expo event. In total, the events attracted 7,850 unique visitors, 42% of whom attended for more than one day, bringing total visits to 11,130.

Close to half of all visitors (44%) were owners or managing directors, reinforcing the significance of the event as a springboard for business recovery and forward planning. Two in three visitors influence or make final purchasing decisions in their business.

54% of visitors stated that they were visiting FESPA for the first time, indicating a thirst for market knowledge, insight and inspiration following the commercial challenges of the pandemic.

Sources of inspiration
Printeriors was once again a popular attraction for visitors. Inspired by nature and curated by FESPA’s Textile Ambassador, Debbie McKeegan, the feature highlighted digitally printed applications targeted at printers operating in or looking to expand into interior décor. In collaboration with industry suppliers including Imageco, Kornit Digital, PONGS, swissQprint and TTS, the products displayed were produced using a series of high-end technologies, print processes and materials.

The World Wrap Masters Europe 2021 competition was also a key area of interest. In addition to a series of demonstrations and workshops from wrap experts, visitors saw competitors battle it out for the title of the “World Wrap Master of Europe 2021”. On day four, Norman Brübach from Germany was crowned the winner and will go on to compete against regional champions in the World Wrap Masters Final 2022 at FESPA Global Print Expo 2022 in Berlin.

For members of the community unable to attend the event in person, FESPA and its exhibitors provided an array of live-streamed and virtual content. The FESPA Live sessions involved conversations with key exhibitors, printers and print experts on the latest trends and innovations and these attracted 5,125 views throughout the four-day event. The recordings of the sessions are also still available to watch on demand.

Neil Felton, FESPA CEO comments: “Feedback from exhibitors was effusive, with many commenting on the upbeat mood among visitors, the unmatched value of face-to-face conversations with senior decision-makers, the enthusiasm for the new technologies and consumables on display, and the overriding sense of optimism for the future. The buzz in the halls was energising and the impression was that delegates felt very confident and happy to be in a live event environment again after such a long time.”

Neil Felton concludes: “The past two years have undoubtedly been challenging for everyone in our community. To move forward, printers and signmakers need to unearth new opportunities, explore the latest technologies and meet with peers to share ideas. This year’s events were an important milestone in our collective recovery and we hope that our next Global Print Expo and European Sign Expo, which will return to Messe Berlin, Germany, from 31 May – 3 June 2022, will finally put our whole global community back in motion.”

Meeting business partners, discovering new products and gaining inspiration – all will be possible again when Heimtextil 2022 opens its doors in Frankfurt am Main from 11 to 14 January. With registrations from around 1,600 exhibitors from 50 countries, the Trade Fair for Home and Contract Textiles anticipates a highly promising return to the international stage. The Heimtextil Team has begun the decisive preparatory phase for this international meeting place for the sector with great commitment and enthusiasm.

“With four months still to go, there has been a tremendous response to Heimtextil 2022, especially from the international side. The yearning for personal encounters and the chance to examine the latest products in reality is greater than ever before. We are looking forward very much to welcoming the sector back to our fair and exhibition centre and have complete confidence that Heimtextil 2022 will be a safe and successful event for all concerned”, says Olaf Schmidt, Vice President Textiles & Textile Technologies, Messe Frankfurt.

Trendsetting themes and a multifaceted product spectrum
In addition to the extensive spectrum of products to be seen, Heimtextil 2022 will offer inspiration and an attractive range of information services and events to help visitors discover the latest market developments in the sector. In particular, the presentation of the Heimtextil Trends provides in-depth insights into tomorrow’s furnishing themes. Also at Heimtextil, Interior.Architecture.Hospitality will spotlight offers for (interior) architects and hospitality experts. Moreover, particular emphasis will be given to the on-trend subject of healthy sleep, including numerous advisory services and products for the specialist bed trade. In this connection, the Heimtextil Sleep & More Conference will be a meeting place for representatives of the specialist bed trade with a high-grade programme of lectures, discussions and product presentations to choose from. Another important focal point at Heimtextil 2022 will be far‑reaching aspects for greater sustainability. Naturally, detailed information will also be available about this topic. Other highlights include presentations by Trevira and DecoTeam.

Digital services to supplement the trade fair
The range of products and information at Heimtextil 2022 will be rounded off by a blend of digital services. For example, the complete spectrum of Heimtextil Trends will be available for the first time in digital form – richly illustrated and visualised with the latest colours, designer features and short films. The Future Materials Library is also online with a first-class selection of sustainable material innovations. Also in planning are videos on demand about many of the items on the programme and tours of the fair via audio guides.

Another digital service provided by Messe Frankfurt is the order and data-management portal Nextrade, which offers a digital 24/7 business relationship between dealers and suppliers. The first digital B2B marketplace for the home and living, Nextrade brings together the demand and supply sides of the whole sector online and thus generates substantial value added for both sides.

With “Next Horizons”, Heimtextil is presenting its design forecast for the new season 2022/23 – analysed by international trend researchers and packed with valuable inspiration and inspiring content. The new trend themes take sustainability and resource conservation in the heart of their approach. The international trade fair for home and contract textiles takes place from 11 to 14 January 2022 in Frankfurt am Main.

Three international design agencies form the Heimtextil Trend Council. Together, they develop a well-founded global vision of the coming interior trends. Alongside the Heimtextil Trend Council, Heimtextil management has established a trend forecast for the coming season and presented it live via an online conference on 1 September 2021 from Frankfurt am Main. Trend Council members Anja Bisgaard Gaede from SPOTT trends & business, Anne Marie Commandeur from Stiljinstituut Amsterdam and Kate Franklin and Caroline Till from London studio FranklinTill shared their insights into the future of the industry. Designers, interior architects and decorators get inspired by the design forecast for the new season.

Next Horizons: long-term and circular mindset
The Next Horizons are not a fixed goal or a finish line – they are mindsets. These are made up of long-term thinking, accepting that the best way to impact the world is simply not to. Paradoxically, we have begun our transition to sustainability by addressing the problems within our manufactured system instead of transforming our approach to not create waste or imbalance. Transforming our nexus begins with accepting our economies are embedded within nature. The composition of design should be accessed, made and recirculated in tune with a long-term and circular mindset and simply not create waste. The Heimtextil Trends 22/23 “Deep Nature”, “Hyper Nature”, “Beyond Identity” and “Empowered Identity” explore these new mindsets for “Next Horizons”.

Heimtextil Trends in a new digital format
With “Next Horizons”, Heimtextil is breaking new ground and, for the first time, making trend information fully available in a digital format. The brand-new online platform of Heimtextil introduces the trends richly illustrated via colours, short films, bespoke imagery, key designer features and a soundtrack. The new online platform and all trend activities are directed by SPOTT trends & business from Denmark.

The Future Materials Library is now digital
Curated by Futures Agency FranklinTill, The Future Materials Library was launched in 2020 and is now available online at www.heimtextil-trends.com/future. This collection of exciting interior material innovations from around the world celebrates radical designers, innovative manufacturers and environmentally conscious producers who are helping to turn the current, linear system of production and consumption into a circular model.

Heimtextil Trends 22/23 – overview
Deep Nature – Rebalance by relearning
“Deep Nature” explores our ecosystem’s strategies: it’s our legacy and future all at once. We need to relearn and give into untamed texture, slow process, natural structures and living colours. “Deep Nature” is a long-term transformation and relearning process which gives us the ability to rebalance the natural world for a regenerative future. The colour scale for “Deep Nature” has a harmonious and soft expression used for untamed patternmaking. Mouldy, herbal tones and delicate tones of blue and rouge create a calm, tonal, and earthy approach.

Hyper Nature – Reconnect with nature via technology
“Hyper Nature” is about reconnecting to nature through technology. The theme is a digital facilitator of nature’s blueprint, fusing technology and nature for a protopia state and creating a better tomorrow step by step. Responsive materials, technical fibres, fluid patterns and microscopic structure describes materials and textiles for “Hyper Nature”. Bioscience brings inspiration to colours of both bright and lucid and blurred nuances of green and grey. Reflections and artificial light create new perceptions of nature-based colours. Coral, salmon and light raspberry are highlights.

Beyond Identity – Values more than physical attributes
“Beyond Identity” addresses the future with hopeful messages and soft and powerful defiance toward existing norms, leaving identity in flux. For the world of home interiors and textiles “Beyond Identity” works with recycled synthetic fabric, vintage silk and satin, natural-coloured textiles and new cellulose-based textiles. They are formed via the uncontrolled colouration process of a pastel-coloured look resembling the constant flux of identity. The colours scale for “Beyond Identity” features a range of pastels, complemented with a familiar grey and pale khaki as muted transferral colours.

Empowered Identity – Empower artisanship to sustain culture
“Empower Identity” is about creating sustainable cultural connections, renewing artisan sources of inspiration in a collaborative way. Empowering Identity encourages forming new connections between heritage cultures and future generations. Recycled and heritage textiles combined with textile craft techniques as tufting, embroidered appliqué and Cross-stitch are in focus in “Empower Identity”. Primary colours resemble their colour pigment origins to support the heritage expression of the theme. Sparks of coral and a greyed lilac accompany these primary tones. Multi-coloured usage is key.

The CHT Group is a globally operating company group for specialty chemicals. It has been in business for more than 65 years in a wide variety of industrial sectors and markets. Innovative and high-quality specialty chemicals alongside convincing services are just as much part of the portfolio as chemical auxiliaries and additives.

Textination spoke with Kurt Speckle [Head of Technical Service Dyestuffs] and Ursula Häberli [Head of Human Resources] specifically for the Textile Solutions division about the challenges of a successful human resources policy in such special times as a pandemic and the shortage of skilled workers.

The Technical Service Dyestuff department, headed by Kurt Speckle, who has worked for CHT for 32 years, currently comprises 16 people. It consists of a technical staff, which supports customers worldwide in the form of technical advice, on-site trials, lectures and in the creation of presentations, as well as a laboratory team, which handles inquiries regarding color settings, problem solutions, fastness, etc. Depending on the customer inquiry, both departments work hand in hand together.

The know-how and the heart of the technical staff consists of six people, all 50+, whom Kurt Speckle - with a grin - also calls "textile dinosaurs". In addition, young technicians with operational experience are being trained in order to be introduced to larger tasks. The apprenticeship training for textile laboratory technicians at CHT SWITZERLAND AG has a supporting effect.

As a globally operating company group for specialty chemicals, the CHT Group has been active in numerous industrial sectors and markets of 20 countries for more than 65 years. CHT Switzerland AG turns 50 this year and is the world's competence center for dyes. How has it been possible to establish and maintain such a good market position in dyes?

Kurt Speckle: In addition to the quality level of our products and the wide range of more than 700 products covering the various quality requirements of today's customers, CHT Switzerland also offers an excellent technical service for the product application. This globally known additional service makes us interesting for customers and generates inquiries worldwide. Transferring customer-specific problem solutions from our laboratory to production is one of the keys to our success.

In the Textile Solutions division, you have a wide range of specialty chemicals and dyes for textile production in your portfolio. In your opinion, in which direction is the textile industry currently moving in terms of dye chemistry - what trends do you see? What does this mean for your product range?

Kurt Speckle: One of the challenges today is to find the right dye gamma for the desired application. In recent years, we have constantly adapted the range to the new needs and requirements. In addition to these technical specifications, the entire textile finishing industry is also constantly confronted with new ecological and toxicological legal requirements. Textiles and also technical textiles not only have to meet certain fastness requirements, but also have to comply with countless label requirements. REACH and many labels lead to constant adjustments in the dye finishing to ensure that the products are up-to-date with the latest technology.

How does optimal teamwork work in the dyestuff team, and how can you ensure that the knowledge and experience gained over many years is passed on?

Kurt Speckle: Exchange of experience works with people who have practical experience. Only this can be built upon and new information can be stored accordingly. We operate and communicate on a common drive. Lively verbal communication is also essential for this. Our own tests in the laboratory and also in the production at customers' sites form the actual wealth of experience of our employees.

We are observing various megatrends that have taken a new turn as a result of the pandemic and that also directly affect your customers in the textile industry: Neo-ecology, connectivity and digitalization, health - to name just a few. To what extent does this challenge you as a service provider for your customers and as an employer? Is there a changed requirements profile for your employees?

Kurt Speckle: Due to the omission of traveling and direct customer contact, the working picture has of course changed. Due to the experience potential, however, many problem inquiries can be processed and solved via a wide variety of communication options. However, this cannot be seen as a sustainable and permanently established system. Experience and further development can only take place through practical trials on the most varied machines under the most varied conditions and with our dyes.

In which areas of training - whether at university or in apprenticeships - do you see a need for improvement in the curricula? Do career starters have the necessary skills for your company, or do you need to provide additional training in fundamental required areas?

Ursula Häberli: We train our future pool of specialists internally. In addition, we have several apprentices every year as textile and chemical laboratory technicians, whom we offer a permanent position afterwards. The training at the vocational school and in the advanced courses is excellent. The apprentices are challenged in many different areas. Textile laboratory assistants complete exactly the same training as chemical laboratory assistants, but have additional 240 lessons of textile training and textile courses. Textile laboratory assistants now require very extensive, in-depth and broad specialist knowledge. The textile industry is developing rapidly and new, complex content is constantly being added to the already very broad basic knowledge. We also actively support further education, for example the BSc Design & Technology at the Swiss Textile College. This training is broadly based and provides employees with good specialist knowledge and various additional essential skills.

What do you think about the personnel situation at CHT in general? Can you fill all positions? Who are you currently looking for most urgently?

Ursula Häberli: Our long-standing market presence and the good reputation we have built up over 50 years with our "customer first" approach always help us to attract talent. We are currently looking for a person as a textile technician for the Dyestuffs BU. Here we are planning early for the succession of a textile dinosaur who may retire in 2022. And for the Garment Team we are also looking for a textile technician.

The garment sector is a textile specialty that has been increasingly relocated to eastern countries in the last 10 years. Therefore, the search will certainly be a challenge.

You have built a career portal for CHT at https://career-switzerland.cht.com. With this website, you directly address different target groups: Apprentices, students, young professionals and experienced professionals. What role do the "old stagers" play in the company group?

Ursula Häberli: The old stagers are sometimes called "dinosaurs" by us - textile workers like them, with an often lifelong career in the textile world, are rare, pessimistically speaking: dying out. But all joking aside, the old stagers are enormously important. It is up to them to actively pass on their knowledge to future generations. This is already working very well on a day-to-day basis. The dyestuff team - including the boss - deliberately sits together in one large room so that a lot can be overheard and discussed. The team recently launched the "Textile Lunches". These are short concise learning nuggets to share knowledge and experience.

Employer branding seems to have been the magic word for some time now. Create an attractive employer brand, focus on strengths such as open corporate culture, transparent communication, responsibility for one's own area and employee benefits - and all positions are filled very quickly. What does CHT think of employer branding, what experience have you had with it, and what special offers do you provide to prospective employees?

Ursula Häberli: With the career site https://career-switzerland.cht.com, we have deliberately chosen a modern, outward-looking tool to strengthen our employer brand. CHT ambassadors tell their stories and make job seekers want to join us and help shaping the future. Another big plus is that the workplace is located in a wonderful landscape with a high recreational value, close to Lake Constance and an impressive mountain landscape, where our employees like to spend their time.

For some time now, the CHT company group has been operating under a new claim: Chemistry with Character. This statement was created for marketing purposes, but it certainly also says something about the company. What does this claim mean in particular for your personnel policy? Who is already on your team? Who are you looking for? And how many rough edges are employees allowed to have?

Ursula Häberli: We are looking for doers with high team player qualities. That's what sets us apart and makes us prepared for the future. We offer an extremely exciting field of work that demands a high degree of personal responsibility, initiative and creativity. We are proud to be the competence center for dyes at the Montlingen site - one of the few companies in the geographic area of Eastern Switzerland / Vorarlberg / Southern Germany that still exists and will continue to exist for a long time.

 

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

• Spanish entrepreneur Carmen Hijosa is nominated for European Patent Office (EPO) prize European Inventor Award 2021 for her sustainable alternative to leather
• Development of a process for turning pineapple leaves into a soft, durable and versatile natural material
• Environmentally-friendly alternative supports local farming communities and is sought after by major international fashion brands

The European Patent Office (EPO) announces that Spanish entrepreneur Carmen Hijosa has been nominated in the "SMEs" category of the European Inventor Award 2021 for developing a leather alternative made from pineapple leaf fibres. Her innovative textile uses a waste resource and can be produced with less impact on the environment compared with making cow leather. Hijosa has been commercialising her invention through her London-based SME since 2013, and today her natural leather alternative supports farming communities and cooperatives in the Philippines and is sought after by major international fashion brands.
 
The winners of the 2021 edition of the EPO's annual innovation prize will be announced at a ceremony starting at 19:00 CEST on 17 June which has this year been reimagined as a digital event for a global audience.

Inventing a natural textile from waste pineapple leaf fibre  
Conventional leather production is controversial, given the vast resources needed to raise cattle for slaughter, the risk of pollution posed by the chemical-heavy tanning process, and the often dire working conditions in tanneries. Hijosa experienced the reality of global leather production first-hand while working as a World Bank textile design consultant in the Philippines in 1993.

Moved by the negative environmental and social impacts of the local leather production process, she decided to develop a sustainable textile that was suitable for export and made better use of Filipino skills and raw materials. “Pineapple leaf fibres are very strong, fine and flexible, and have been used in the Philippines for 300 years in traditionally hand-woven textiles,” explains Hijosa. “I began to think: ‘What if I make a mesh with these pineapple leaf fibres, which is not unlike leather – a mesh of fibres?’.”
She set out to replicate leather’s mesh of collagen fibres, diving into a 12-year research and development process that involved completing several textile degrees, setting up a company and refinancing her house to keep researching and complete her PhD, before successfully creating the textile called Piñatex and perfecting its production. This involves stripping the cellulose fibres from leaves and first manufacturing textile grade fibres. These are then processed into a non-woven mesh textile, which is further enhanced and softened into a leather alternative.

The raw material that forms the base of Hijosa’s textile is a by-product of pineapple harvesting in the Philippines, offering an additional income to farmers and using an otherwise discarded resource. This waste source is significant with the world’s top ten pineapple producing countries creating enough leaves to potentially replace more than 50% of the world’s leather output with Hijosa’s material. Piñatex also requires much less water than textiles such as cotton, which consumes over 20 000 litres of water per kilogram. What is more, it is produced using fewer chemicals and less CO2 compared with leather production, further enhancing the sustainability credentials of Hijosa’s textile.

Innovation offering consumers more sustainable choices
In 2011, Hijosa filed a patent application for the textile and its production, before founding Ananas Anam as a start-up in 2013 to launch Piñatex commercially. For her, this part of the process was essential: “The IP was a pivotal part for securing funds, securing the product’s future and its market potential.” Today, she remains Chief Creative & Innovation Officer and is at the forefront of new developments in plant-based, waste-based textiles. Her pioneering work has positioned the company as a market leader at a time where consumers are starting to push for more sustainable choices.

Since 2013 the turnover of Hijosa’s company has roughly doubled every year through to 2019 and grown by 40% in 2020. It employs around 10 staff in its London site and works with factories in the Philippines and Spain, as well as the biggest Filipino pineapple-growing collective, which comprises 700 families who benefit from an additional income by supplying waste leaves. Piñatex is currently used by almost 3.000 brands in 80 countries. It can be found in a growing range of products – from trainers to jackets, car interiors, handbags and even in the world’s first all-vegan hotel suite.

A range of other plant-based alternatives to leather exist or are in development – based on anything from apple cores to mushrooms – highlighting the trend towards plant and waste-based textiles. The combined global leather (animal and synthetic) market was valued at EUR 374 billion in 2017, and although real leather is becoming scarce and therefore expensive, the overall market is predicted to grow at a Compound Annual Growth Rate of 5.40% until 2025. Although recent volcanic eruptions near their factories in the Philippines and pandemic-related restrictions have temporarily slowed production, Hijosa says the company’s outlook remains strong as consumers are starting to push for more sustainable choices.

Dr. Carmen Hijosa
… was born in Salas, Asturias, Spain, on 17 March 1952. After moving to Ireland at the age of 19, Hijosa co-founded the luxury leather manufacturing company Chesneau Leather Goods in 1977. There, she also served as director of design and sold to high-end clients such as Harrods. After running the company for 15 years, she began working as a textile consultant for the World Bank, as well as at research institutes in Germany and Ireland on EU-funded projects in the 1990s, bringing her textile design expertise to developing markets. In 1993, the World Bank asked her to consult on the Philippine leather industry. Seeing the industry’s negative environmental and social impact, she was driven to develop a sustainable alternative (a leather replacement derived from pineapple leaves). From 2009 to 2014, Hijosa completed a PhD in textiles at the Royal College of Art in London, further developing her prototype textile. In 2013, she founded the company Ananas Anam Ltd. to commercialise the leather alternative. Carmen Hijosa holds one European patent, EP2576881, granted in 2018.

About the European Inventor Award
The European Inventor Award is one of Europe's most prestigious innovation prizes. Launched by the EPO in 2006, it honours individual inventors and teams of inventors whose pioneering inventions provide answers to some of the biggest challenges of our times. The finalists and winners are selected by an independent jury consisting of international authorities from the fields of business, politics, science, academia and research who examine the proposals for their contribution towards technical progress, social development, economic prosperity and job creation in Europe. The Award is conferred in five categories (Industry, Research, SMEs, Non-EPO countries and Lifetime achievement). In addition, the public selects the winner of the Popular Prize from among the 15 finalists through online voting.