From the Sector

• New technology removes barriers to recycling polyester-based garments at scale
• System combines Meltem Kimya’s patented molecular recycling and Kipas’ thermomechanical recycling to remove colours and accessories
• Platform cuts emissions by 73 percent

KIPAS Textiles, Europe's largest fully integrated textile manufacturer, is launching fibR-e, a new recycling platform designed to finally tackle the hurdles that have stopped polyester from becoming truly circular.

Every year, the fashion industry produces millions of tonnes of polyester-based clothing. Less than 1 percent is recycled back into new garments. Most ends up in landfills or incinerators. It is a waste crisis hiding in plain sight.

Fashion is now facing a reckoning. Regulations across Europe and other regions will require brands to take responsibility for the full lifecycle of their products, and consumers are asking harder questions about sustainability.

fibR-e gives brands a credible way forward. Meltem Kimya converts post-consumer garments containing 70 per cent or more polyester, including polyester-elastane blends, as well as any other polyester-based mixed-fibre blends. Items with trims still attached and mixed-colour feedstocks are converted into high-quality GRS-certified rTEX Chips. KIPAS Textiles then turns these into certified, high-quality filament yarns and staple fibres ready for new collections.

The platform removes accessories during processing rather than through manual sorting, cutting labour and bottlenecks. It decolourises blended fabrics to produce cleaner outputs. At its core is a patented molecular recycling technology developed by Meltem Kimya that breaks polyester down to its building blocks and rebuilds it without creating microplastics, allowing repeated recycling without loss of quality.

Early analysis shows that producing polyester entirely from textile waste through fibR-e cuts emissions by nearly 74 per cent compared with virgin production. "Recycling has barely scratched the surface of the polyester problem," said Halit Gümüser, CEO of KIPAS Textiles. "With fibR-e, we can take real post-consumer waste in all its complexity and return it to the market as certified, high-quality filament yarns and staple fibres. This is how the industry moves from linear to circular, not through pilots but through commercial scale."

fibR-e is built on a multi-year partnership between KIPAS and specialist companies, with Meltem Kimya providing the molecular recycling expertise that underpins the fibR-e platform.

As a global yarn and fabric producer, KIPAS will channel fibR-e materials directly into its own supply chain, enabling bulk production at competitive pricing. The outputs are traceable, performance-tested and designed to meet commercial quality standards while helping brands reduce virgin material use and prepare for stricter regulations.

fibR-e marks a turning point. It shows that closing the loop on polyester waste can now move from ambition to industrial reality.

Global Fashion Agenda (GFA) has revealed the theme for Global Fashion Summit: Copenhagen Edition 2026: ‘Building Resilient Futures’. Under the esteemed patronage of Her Majesty the Queen of Denmark, the leading forum for sustainability in fashion will take place on 6 - 7 May at the iconic Copenhagen Concert Hall, with pre-Summit events commencing on 5 May. Throughout the event, fashion's most influential figures will focus on forging the infrastructure of a future that is durable, restorative, and fair. Registration is now open. 

The sustainability movement in fashion has faced extraordinary challenges. Supply chains have been disrupted, especially in key sourcing countries like Bangladesh, Turkey and Vietnam, green ambitions questioned, and cultural narratives reshaped. Last year marked the first time global average temperatures exceeded the 1.5°C threshold set by the Paris Agreement. The industry’s collective capacity to withstand and adapt has been profoundly tested. The Summit theme, ‘Building Resilient Futures’, recognises this moment as both a reckoning and a renewal. It challenges the global fashion community to carefully consider where they will fall on the resilience spectrum: rigid and resistant to change or agile and actively adapting to it.

Across the industry, emerging circularity networks, material innovation, evolving policy frameworks, new financing mechanisms, and data driven accountability are becoming essential building blocks of resilience. The 2026 Summit will examine how these enablers can reinforce long term social, environmental, and economic stability.

Global Fashion Summit will highlight how resilience can be strengthened through collaboration. The programme will focus not only on navigating upheaval, but on using it as a catalyst for greater strength, creativity, and impact - featuring curated content across five stages offering expanded perspectives and session formats. 

The Innovation Forum will showcase a curated selection of solutions spanning the value chain - from pioneering materials to advanced end-of-use processes. Summit attendees can connect with solution providers and participate in the Matchmaking Programme, which enables tailored, one-on-one meetings to help accelerate sustainability strategies through targeted partnerships.

Asahi Kasei’s premium stretch fiber brand, ROICA™, continues to take a responsible approach to innovation, advanced functionality, and trusted quality for the evolving sports apparel industry. 

At ISPO Munich 2025, ROICA™ will once again be featured as an important element of the Asahi Kasei booth, presenting the latest developments in responsible stretch fiber technology. This year, ROICA™ introduces a carefully selected range of samples from seven European textile partners — Brugnoli, Cifra, Iluna Group, Inplet Pletiva, Penn Solutions, Sitip, and Tessitura Colombo Antonio — each demonstrating the possibilities of ROICA™ in sports and activewear. 

In addition, ROICA™ will highlight two special initiatives: 

• The adoption of ROICA™ V550 in the official EXPO 2025 Osaka, Kansai uniforms by CRAFTEVO® -V&A Japan, showing a new approach to compostable, circular event apparel. 
• The collaboration of NILIT and ROICA™ aims to develop an innovative fabric concept with reduced en-vironmental impact, combining SENSIL® By-Nature Nylon 6.6 and ROICA™ made using a mass balance approach with renewable feedstock. 

An Army combat uniform, Burberry trench coat and Hawaiian shirt are among pieces featured in “Fit for Duty: Form and Function in Military Dress,” a multisite Cornell Fashion + Textile Collection (CF+TC) exhibition opening on Veterans Day.
Worn in Iraq by a Cornell alumnus, the combat uniform set a template for contemporary camouflage and tactical design, according to exhibition notes. The khaki trench coat, originally designed for British officers, evolved from battlefield necessity into a fashion staple. The Hawaiian shirt reflects the early influence of Japanese textiles – designs and motifs forced to shift after the attack on Pearl Harbor.

“These garments reveal how the theaters of war and fashion intersect,” said curator Catherine Kueffer Blumenkamp, MPS ’15, associate director of the CF+TC and a lecturer in the College of Human Ecology’s Department of Human Centered Design. “Both realms stage systems of fit – physical, functional and symbolic – that continue to influence how we design, wear and interpret dress.”

Drawing primarily on items donated to Cornell and its Reserve Officers’ Training Corps by alumni or their families, as well as some created by Cornell designers, “Fit for Duty” traces the interplay of form and function across conflict and couture – while highlighting Cornell’s land-grant legacy of military service. Displayed in the CF+TC’s public gallery on the Human Ecology Building’s terrace level and in the Wortham Military Museum in Barton Hall, the project also revives a collaboration that seeks to better preserve and make more accessible historical military garments with Cornell ties.

Roughly a decade ago, Blumenkamp, then a master’s student, was part of a team that helped archive materials in the Wortham museum located on the third floor of Army ROTC’s corner of Barton Hall. But items continued to be donated, and even archival boxes stored in a museum closet remained vulnerable to damage in the more than century-old facility.

Seeking help, Lt. Col. Derek Fitzpatrick, professor of military science and executive director of Army ROTC, reached out to Corey Earle ’07, visiting lecturer in American studies in the College of Arts and Sciences, who connected him with Blumenkamp. Blumenkamp conceived of the exhibition and sees opportunities for a CF+TC student research assistant to help maintain Wortham’s archival records and collaborate on future exhibits. The faculty members also are exploring opportunities and funding to relocate the museum, which requires climbing several flights of stairs – a challenge for guests with limited mobility, sometimes including visiting veteran alumni.

“It’s awesome to see it all come together,” Fitzpatrick said of the exhibition and plans for a sustained partnership. “Cadets choose Cornell because of our history, because of our legacy, because they want to be part of something bigger than themselves. When they see the respect we have for that legacy, it reinforces that this is something they want to be a part of.”

Research assistants Maya Abrol ’26, Tabitha Mueller-Schrader ’26, Erin Yoon ’26, doctoral student Sephra Lamothe and master’s student Sarah Orsinger helped comb through items stored at Wortham to build the exhibition. Displays there will include uniforms worn by members of the Cornell Cadet Corps, a precursor to ROTC, at a time when all male students were required to complete two years of military training.

“It’s been super-interesting to find all these different historical connections to contemporary fashion,” Abrol said. “As I started diving into the research and being with the clothes, you can see it pretty much everywhere.”

From trench coats to Doc Martens boots to the Vietnam-era M65 field jacket – worn by Robert de Niro’s Travis Bickle in “Taxi Driver” – Orsinger said military influence on fashion is ubiquitous.

“It may not be in the forefront of your mind going through your wardrobe, but many people walk around in full military-inspired outfits every day,” Orsinger said. “It’s interesting that those trends have continued.”

Beyond fashion, the influence extended to fit: Anthropometric data gathered through military conscription became the basis for the modern U.S. system of standardized sizing, the exhibition explains.

The CF+TC portion of the “Fit for Duty” is thematically divided into three sections: Land, Sea and Air. Pieces include the “pinks and greens” worn by Army officers in the 1940s, which Blumenkamp said balanced authority and refinement through precise tailoring and contrasting tones, and a Cadet Nurse Corps ensemble that signaled professionalism and service through tailoring. M65 and bomber jackets, meanwhile, became postwar emblems of rebellion and resilience.

“The word ‘fit’ carries layered meanings: to measure and clothe the body; to be equipped or prepared; to conform or belong; to be suited to purpose,” Blumenkamp said. “Each interpretation resonates in military dress, where garments must fit the individual, the regiment and the ideals they represent.”

Blumenkamp will host a curator’s talk Nov. 11 at 4:30 p.m. in the Rachel Hope Doran ’19 and CF+TC display vitrines, the first in a series of events associated with the exhibition. On Nov. 14 at 3 p.m. in Martha Van Renssalaer Hall, U.S. Army Brig. Gen. Adam Cobb, deputy commanding general-operations for the 10th Mountain Division at Fort Drum, will join student veterans and members of Cornell’s ROTC Tri-Service Brigade for a discussion on “Service, Scholarship and Design.” And on Nov. 14 at 6 p.m., a screening of the 1953 film “The Wild One” starring Marlon Brando – part of a motorcycle gang clad in surplus World War II combat boots, bomber jackets, aviator goggles and mechanic caps – kicks off a film series in partnership with Cornell Cinema.

“Fit for Duty” runs until March 2026. The exhibition received support from the College of Human Ecology, Cornell Council for the Arts, John Foote ’74 and Kristen Rupert ’74; and object contributions from Eric Bluman ’91, Raquel Coren ’25 and Michael Parkinson ’75.

Source Fashion, a leading European fashion sourcing show, returns from 13th–15th January 2026 to Olympia London with a forward-thinking content programme designed to equip the industry for a smarter, more sustainable future. Bringing together global brands, visionaries, and change-makers, the three-day agenda will explore the intersection of innovation, ethics, and commercial viability, challenging the sector to rethink how fashion is designed, made, and brought to market in the year ahead. From AI-powered production and circular business models to human rights accountability and the rise of resale, Source Fashion continues to lead the conversation on building a fashion industry that is not only fit for the future but poised to thrive in it.

Key voices and headline sessions shaping the future of fashion
Kicking off the content programme on Tuesday 13th January is a powerful panel exploring ‘Addressing the S in ESG - Human Rights, Living Wages and Supply Chain Accountability.’ Moderated by Jasmine Chua, Sourcing & Labour Editor at Sourcing Journal, the session brings together senior leaders from fashion brands and industry NGOs to unpack meaningful social responsibility in fashion beyond the buzzwords.

Next, the spotlight turns to ‘Ambition Without Action – Can Doing Good Really Drive Profitability?’ This provocative debate invites the audience to actively discuss the persistent gap between purpose and profit, exploring why, despite growing consumer pressure and boardroom rhetoric, impact-driven business models haven’t become business-as-usual. Chaired by Mark Sumner, Textile Programme Lead at WRAP, it will challenge attendees to consider, and debate, what’s really holding the industry back and invites the audience to discuss the persistent gap between purpose and profit.

One of the week’s most anticipated fireside chats follows, featuring sustainability pioneer Kresse Wesling CBE, Founder of Elvis & Kresse. In ‘Finding the Beauty in Waste’, Wesling will share her journey transforming discarded materials into luxury products, and why radical transparency, circular systems, and creative reinvention are not only possible, but profitable.

On Wednesday, Marguerite LeRolland, Senior Global Insight Manager at Euromonitor International, delivers a data-rich keynote on ‘Outlook to 2030 – what commodity shifts mean for the future of fashion.’ As fluctuating materials prices continue to impact margins and sustainability strategies, this session provides buyers with essential insights to navigate risk and seize opportunity in 2026’s complex sourcing landscape.

With demand for locally made, traceable and lower-impact products gaining momentum, the revival of British manufacturing is back in the spotlight. In the timely debate, ‘How Do We Build Back British Manufacturing?’ Suzanne Ellingham, Event Director at Source Fashion, joins Jenny Holloway, Chair of the Association of Textiles, Manufacturing and Fashion (ATMF) and CEO of Fashion-Enter Ltd, will unpack what it will take to restore the UK’s production footprint. From skills and investment to political will and scalable infrastructure, the discussion will explore whether British fashion manufacturing can move from niche comeback to commercial reality.

The circular economy has long been heralded as the future of fashion, but for many retailers, it remains more vision than viable business model. The panel discussion, ‘From Concept to Commerciality - Making Circularity Work’, moderated by Jasmin Malik Chua, Climate and Labour Editor at Sourcing Journal, brings together leading voices from the Ellen MacArthur Foundation, VYN Shoes, N Brown, and VivoBarefoot to explore how circularity can finally move from pilot projects to scale. Together, they’ll unpack the partnerships, tools, and business models needed to turn sustainability into commercial success.

On Thursday 15th January, Source Fashion continues with a future-focused programme that explores where retail, design, and sustainability are heading next. Kicking off the day, Jack Stratten, Head of Trends at Insider Trends, delivers a compelling presentation on how second-hand has shifted firmly into the mainstream in ‘Resale Gets Relevant: How Second-Hand Moved into the Mainstream’. From consumer behaviour to new commercial models, this session uncovers why resale is now a serious strategic consideration for the world’s biggest retailers. Finally, the day concludes with an inspiring fireside chat, ‘From Catwalk to Collection - CEO of Redress on Waste-Free Design’, where Christina Dean shares how brands can collaborate with designers to turn waste into a resource and embed circular creativity from concept to collection.

From AI-enabled production and sustainable design to circularity and retail reinvention, the full Source Fashion agenda has been carefully curated to give future-focused professionals the insight, inspiration, and practical tools needed to lead with purpose.

Eton Systems – a member of TMAS, the Swedish Textile Machinery Association – is taking part in the current Microfactories System Innovation project which is working on the development of a fully automated workflow for second hand garments.

Eton is contributing its well-proven transport system for material handling to the project, which also involves specialists at the Swedish School of Textiles in Borås, the Automation Region innovation cluster at Mälardalen University and the national collaboration platform iHubs Sweden.

High volumes
According to ThredUp’s 2025 Resale Report, the value of the global second-hand apparel market is already worth an annual $256 billion this year and growing at 10% annually to reach a value of $367 billion by 2029.

Additionally, the online resale segment alone is forecast to double over the next five years to around $40, billion reflecting higher growth of 17%.

“The volumes are now so large that handling must be automated for it to work,” says Jan Molin, CEO of Eton Systems. “The new EU regulations requiring separate collection of textiles are having an impact, but we are also seeing an increasingly positive attitude towards reuse and greater awareness of the textile industry’s environmental impact.”

AI categorisation
As part of the project, a test facility is being established at Science Park Borås involving garments being placed on custom product carriers within an Eton Systems conveyor system and transported through a series of stations. 

The garments are inspected using a vision system, after which AI is employed to categorise them based on parameters such as manufacturer, model and size. Any damage is analysed and the system also provides recommendations for possible repairs.

“The collected information is fed into a calculation model that, based on market data, makes suggestions for a sales price,” Molin explains. “Finally, the garment is photographed for marketing and then transported to a warehouse awaiting sale.”

Historic automation 
Eton’s material handling system was developed as early as the 1960s for the company’s own shirt production in Gånghester outside Borås. At the time, material handling was estimated to account for up to 80% of the manufacturing time. 

The company’s Unit Production System (UPS) was developed as an automated ceiling-mounted conveyor system that moved the shirts one by one through the various work steps, the company was able to move from mass production to one-off production.

“It provided many benefits, including shorter lead times, greatly reduced material handling time and better ergonomics for operators,” says Molin. “Quality defect costs were also reduced because defects could be detected on individual products instead of at the batch level.”

The UPS concept was very successful and in 1967 was spun off into the stand-alone automation company Eton Systems, which now runs its operations in a modern production facility in Nordskogen in Borås. Its customers are global with an emphasis on clothing production, home textiles and furniture manufacturing, but the system is also used in, for example, the transport and handling of plastic parts for the automotive industry.

Opportunities for Swedish industry
The textile industry has a major environmental impact, not least through extensive overproduction. Clothing companies often order large volumes from the manufacturers and what does not sell is sold out or destroyed. 

The Microfactories System Innovation project builds on previous projects that have mainly focused on developing small-scale, local and needs-based production. Now the focus is on the growing market for reuse.

“We see enormous potential in second hand,” says Molin. “It is an area that is growing rapidly and where there is room for innovation and new business models. There is also the opportunity to move technology from other industries.”

Work on the project started in 2024 and will continue for four years. For Eton Systems, participation means both a chance to test new applications for its technology and to strengthen the company’s ability to innovate.

“Collaboration with universities and innovation environments helps us to be at the forefront,” says Molin. “We can participate in freer and more visionary development, without having to take on all the work ourselves. But above all, it is about contributing to a more circular industry, where materials can be used for longer and in a smarter way.”

Accelerating circular systems
“It’s very encouraging to note this growing willingness by many consumers to embrace the second-hand market as an important component of the drive towards accelerating circular systems,” adds TMAS General Secretary Therese Premler-Andersson. “Automation and digitalization as developed by Swedish companies like Eton are increasingly innovating ways in which this market – and more generally textile manufacturing and retailing – can be sustained and made ever more efficient in the general fight against textile waste.”

The Microfactories System Innovation project is funded by the European Regional Development Fund, the Swedish Agency for Economic and Regional Growth, Region Västra Götaland and Region Västmanland.

Bangladesh’s Knittex Industries Ltd. is known for its commitment to top-quality knitwear and responsible production. To further enhance fabric quality, the company has invested in a Mahlo Orthopac RVMC-15 weft straightener. Installed by Tootal Quality Resources, the system ensures perfect fabric alignment and supports Knittex’s goal of continuous improvement.

Since its foundation in the late 2005s, Knitex Dresses Ltd. has grown into one of Bangladesh’s leading knit composite manufacturers. As a part of the Mondol Group, the company stands for high-quality production, vertical integration, and a strong focus on sustainability and social responsibility. The company has two campus which are located at Sardagong, Gazipur and Mirzapur, Tangail.  Knitex Dresses Ltd. covers the full textile value chain – from knitting and dyeing to printing, finishing, and garmenting.  

With a workforce of more than 2.500 people, Knitex produces a wide range of knitwear for global customers. Its daily capacities include around 25,000 kg each in knitting and dyeing, plus several tens of thousands of garments across different categories.

Focus on quality
To remain a trusted partner for global brands, Knitex Dresses Ltd. strengthens its ability to deliver flawless fabrics, reduce waste, and improve efficiency. It continuously invests in modern machinery. The latest example in this strategy: the installation of a Mahlo Orthopac RVMC-15 weft straightener.

Mahlo’s classic optical weft straightener corrects fabric distortions in nearly all applications, ensuring perfect fabric quality right from the start of the finishing line.