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.