From the Sector

The process, which is both economically and environmentally sustainable, has enabled the production of an underwear set made from 100% recycled nylon and LYCRA® fibre in a closed-loop system.
      
Recycling of garments made from different types of fibres has always represented a major challenge for the textile industry. In the absence of a chemical or mechanical process capable of separating and recovering the individual materials, these garments have so far become waste destined for incineration or landfill. Today, however, Radici InNova, the RadiciGroup division dedicated to research and innovation, has developed an innovative recycling process based on selective dissolution technology, capable of treating mixed textile waste — such as swimwear, tights and leggings — and recovering both nylon and LYCRA® fibre, making them available again for the production of new garments. The collaboration with The LYCRA Company and Triumph, internationally-renowned lingerie brand, has made it possible to validate the process by using the recovered fibres to create a 100% recycled lingerie set. The process, internationally patented, uses non-toxic, non-flammable and environmentally compatible solvents. It can be applied to the main types of nylon (PA6 and PA66) and is economically sustainable because it allows for the recovery of both nylon and LYCRA® fibre, regardless of their respective proportions in the fabric, as well as the solvent itself.

“Thanks to this project, textile recycling enters a new dimension, demonstrating for the first time that it is possible to recover fibers from mixed fabrics and reuse them to produce new garments. This is an unprecedented innovation that opens up revolutionary development opportunities for the textile industry. As RadiciGroup, we are proud to have conceived and achieved this important milestone together with our partners, and we are ready to take the next steps,” said Stefano Alini, CEO of Radici InNova.

“This innovative project highlights the role that elastane can have in helping to advance circularity in the apparel industry. Working closely with Radici InNova and Triumph, The LYCRA Company has demonstrated that LYCRA® fibres can retain their renowned stretch and recovery performance — providing comfort, fit and ease of movement — even when reintegrated into the spinning cycle,” commented Nicholas Kurland, Product Development Director, Advanced Concepts The LYCRA Company.

The project began four years ago, when Radici InNova launched the study of an innovative process for the dissolution and separation of mixed textile fibres. After the initial development phase, subsequent tests made it possible to recover samples of LYCRA® fibre from multi-material fabrics, which were then sent to The LYCRA Company to verify their recyclability. The next step was to demonstrate the feasibility in practice: Triumph provided its own production surplus, a fabric containing 16% LYCRA® fibre. From this material, Radici InNova succeeded in recovering both LYCRA® fibre and nylon. The LYCRA® fibre was then re-spun by The LYCRA Company, while RadiciGroup processed the recycled nylon to produce new Renycle® yarn. Using these recycled yarns (LYCRA® fibre and Renycle®), a 60-meter black fabric was created, which Triumph used to produce a coordinated lingerie set — bra and briefs — concretely demonstrating the possibility of closing the loop: from textile waste to new garments. The result achieved so far by Radici InNova, The LYCRA Company and Triumph should be considered a prototype (concept garment) designed to prove the technical feasibility of recycling mixed textiles and lay the groundwork for its future industrialization.

“Although still in its early stages, Triumph is proud to contribute to this pioneering initiative and to explore the potential of this innovative recycling technology for future applications. Our next step will focus on developing a capsule collection, while also working on solutions to ensure product identification, traceability and circularity systems, so that garments can remain in use for as long as possible and, once they reach the end of their life, can be recycled in the most appropriate way. At Triumph, we are committed to promoting innovation and collaboration in the field of sustainability. Being part of this project strengthens our belief that circularity for garments made from mixed textile fibers is possible, and we are proud to help turn this vision into reality,” said Vera Galarza, Global Head of Sustainability – Triumph.

Following the success of its inaugural year, MAXXAM®, the iconic textile brand founded by visionary designer and inventor Rosemary Moore, once again joins forces with Graduate Fashion Foundation (GFF) to launch the second edition of their innovative national design competition. Building on the momentum, creativity, and exceptional talent showcased last year, the 2025/26 competition invites fashion students across the UK and internationally to reimagine the future of womenswear using MAXXAM’s celebrated seamless, four-way stretch textiles.

Open to second- and final-year students from GFF member universities, the competition challenges entrants to create a trend-led womenswear S/S 2027 capsule collection. This year’s brief places a stronger spotlight on interchangeable, multipurpose athleisure-inspired pieces, with particular emphasis on swimwear, honouring MAXXAM’s heritage as the textile that redefined body-con dressing and one-size-fits-all silhouettes. Students are encouraged to explore new stripe variations, jacquards, surface effects and sustainable design strategies, reflecting the brand’s ongoing commitment to low-waste manufacturing and its transition toward bio-based fibres.
 
First created in the early 1980s, MAXXAM® became a global phenomenon for its distinctive crinkle texture, technical innovation and body-inclusive fit, earning its place in popular culture, on international runways, and even in the permanent collection of the Victoria & Albert Museum. Today, MAXXAM continues to evolve, with new textures, scuba-inspired surfaces and sustainable yarn developments offering designers fresh creative opportunities. 

Rosemary Moore, inventor of the original MAXXAM® fabric said, “We are excited once more to be part of GFW It was a real pleasure connecting to the new generation of students last year and supporting them through the creative and the manufacturing process, we are aiming this year to also take them behind the scenes of our textile manufacturing in the midlands, especially if they offer creative concepts we can put into practice for them.”

Three finalists will be selected to produce one full look from their submitted range, working hands-on with MAXXAM Textiles and its UK manufacturing partners. These final looks will be showcased at Graduate Fashion Week 2026, displayed within the exhibition and modelled on the catwalk during the prestigious Gala Show.

From these finalists, Rosemary Moore will name one overall winner, who will be awarded a trophy live on the Gala runway on 18 June 2026, alongside a £250 cash prize and further industry mentoring experiences. There is also the potential for winning designs to be considered for future commercial development. 

Students are encouraged to document their design journey online, sharing updates, videos and in-progress work using #MaxxamXGFW. 

• 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.

FutureScape, the UK’s leading and largest landscaping industry event, has announced that its 2026 edition will be held at the Farnborough International Exhibition & Conference Centre. 

First launched in 2012, FutureScape has grown from a modest gathering into a two-day event that brings together thousands of professionals, suppliers, designers, contractors and innovators with seminars, live demonstrations, awards, and networking. 

Formerly held at ExCeL, the move marks the next phase in the event’s growth and aims to deliver a more expansive, accessible, and immersive experience for exhibitors, visitors, and partners across the landscape, design, and outdoor living sectors. With more than 20,000sqm of unpillared indoor space and 100,000sqm of outdoor hard standing, Farnborough International Exhibition & Conference Centre provides the ultimate platform for the event’s future success and expansion.

Discussing the move for 2026, Tom Proudly, portfolio director for FutureScape event, said: “We’re incredibly excited to reveal the next chapter in FutureScape’s journey – moving our 2026 event to Farnborough International. This decision is driven by our commitment to both visitors and exhibitors; providing better access, indoor and outdoor space, and the perfect environment to showcase the very best in our industry.”

Sarah Marshall, Venue Director of Farnborough International, added: “FutureScape is a true game-changer for the landscape sector, and we’re delighted to welcome them to our venue portfolio. At Farnborough International, we’re passionate about partnering with ambitious organisers who utilise our indoor and outdoor facilities to turn their visions into reality, and we’re excited to collaborate with the dynamic FutureScape team to deliver an exceptional event next year.”

Farnborough International Exhibition & Conference Centre is a nucleus for pioneering corporate and consumer exhibitions, offering award-winning customer service, event consultancy and first-class facilities. The venue continues to attract an increasingly diverse range of events, cementing its reputation as a venue where ideas, industries, and innovation converge to create extraordinary experiences. 

With adaptable external event space across secure, well-drained hardstanding areas and expansive grassland, Farnborough International’s outdoor setting transitions seamlessly from indoor halls to open-air zones, supporting everything from vehicle displays, stunt driving and interactive demos to large-scale outdoor activations and interactive attractions.