From the Sector

Piattaforma Sistema Formativo Moda Ente del Terzo Settore renews its commitment in the field of responsible, eco-friendly fashion with a new ad hoc initiative for Fashion Graduate Italia: FASHION SCHOOLS FOR DESIGN - DRIVEN SUSTAINABLE INNOVATION. The project has been set up in a partnership and with the support of C.L.A.S.S. (Creativity, Lifestyle And Sustainable Synergy).

The project “Fashion Schools for Design - Driven Sustainable Innovation” is presented at the eighth edition of the event organised by Piattaforma Sistema Formativo Moda, staged from 3 to 5 November at BASE Milano.

Embracing the theme of this edition of Fashion Graduate Italia, “Sustainable Innovation”, Piattaforma Moda has invited students from fashion schools, academies and associated institutes to participate in a training course regarding the planning and creation of an outfit in compliance with a responsible fashion approach: starting with the design, including the choice of sustainable materials supplied by some of the hub’s partner companies, and also involving a look at the communication strategy for the project.
To create their looks, the selected students followed two training courses organised by C.L.A.S.S.: “Introduction to next-generation Fashion” and “Introduction to smart ingredients”. These courses covered the values of next-generation fashion (integrating sustainability with design and innovation) and the characteristics of innovative and sustainable materials to produce the outfits.
 
The development process of the 11 final looks was followed in person by creative director Olivia Spinelli - Coordination and Creative Direction at IED Moda Milano and member of the Artistic Committee of FGI 2022 - and by tutor Camilla Carrara - founder and zero-waste designer of ZEROBARRACENTO -, the project coordinator of C.L.A.S.S.

The partners of C.L.A.S.S. that contributed by supplying their materials are: Berto, Brunello, Iluna Group, Re.VerSo™ by A. Stelloni Collection by Mapel and Tessitura Grisotto;  IED - European Institute of Design and ZEROBARRACENTO also gave support in the implementation of the initiative.

• Patented SILASTIC™ LCF 9600 M Textile Printing Ink Base addresses growing demand for improved performance in textile applications

With the continued global growth of the apparel market, the use of polyester, nylon and blends of these materials with elastane is also on the rise, especially in sportswear and loungewear. To support this higher demand for synthetic textiles, Dow is launching a patented silicone ink – SILASTIC™ LCF 9600 M Textile Printing Ink Base – that can be used for printing on synthetic and cotton fabrics, particularly highly elastic garments.

The increased use of synthetic yarns in recent years has resulted in greater performance requirements on ink chemistries such as durability, elongation and ease of use in highly elastic sportwear. To address these needs, Dow leveraged the exceptional benefits of silicone ink bases with products such as SILASTIC™ LCF 9600 Textile Printing Ink Base and SILASTIC™ 9601 Textile Printing Ink Base.

Designed for an increased matte effect and improved hand feel, the patented SILASTIC™ LCF 9600 M offers excellent wash durability, high elongation, very soft low tack touch and avoids the “orange peel effect” on cotton substrates. Additionally, SILASTIC™ LCF 9600 M enables safer textile development with its ability to be formulated without the use of PVC, phthalates, solvents, organotins and formaldehyde.

The first Cradle to Cradle Certified^® clothing collection is on the market one year after the collaboration platform for Swiss textile labels was launched. The Circular Clothing cooperative has succeeded, in close cooperation with European suppliers, in gaining access to circular materials and equipment and using this for the Black Denim Collection by the ethical fashion label “the Blue suit”. An important step for the cooperative, which receives funding from the Migros Pioneer Fund, is the development of an online assessment tool which can be used to help check the readiness of textile labels to operate in a circular manner.

The black denim was developed by a renowned manufacturer in Italy. Since no toxic chemicals are used in the production process, this denim is safe for biological cycles and Cradle to Cradle Certified^® Gold. Cradle to Cradle Certified^® Gold certified material by the Swiss company OceanSafe was used for the lining of the jacket. Special innovative design elements and production processes, such as the printed lining, also meet the stringent Cradle to Cradle Certified^® Gold requirements. Currently, 1% of the material of the Black Denim Collection is Cradle to Cradle Certified® Bronze. In the next few months, this percent and thus also the whole garments should reach the gold level.

The Cradle to Cradle^® certification is based on the following five principles: Material Health, Product Circularity, Clean Air & Climate Protection, Water & Soil Stewardship, and Social Fairness. Depending on the extent to which all of these criteria are met by the manufacturing process, there are various levels of certification from bronze to silver, gold and platinum.

The fashion industry currently produces 20% of global wastewater and 10% of global carbon emissions. Improvements can be made for example localizing fashion, using more on-demand digital printing (it can save up to 4kg of CO₂ per item) and digital textile printers (they reduce water use by up to 90% and energy use by up to 30%). Increasing the use of sustainable materials is vital and extending the lifecycle of use would make a serious difference.

Together with designers, producers, retailers, and customers, Paolo Crespi, Sales & Marketing Director Printing Technologies at Epson, will discuss how each stage of the fashion production can be made more sustainable, and how circularity and longevity can be build into the lifecycle of fashion.

The panel will take place on Tuesday, 11 October 2022 at 09:30-11:00 am CET.

Click here for more information.

SHIMA SEIKI announces a sales promotion package for the apparel industry together with KDDI, Linking 3D fashion design with cross-reality― realizing digital catalogs, VR showrooms and new customer experience allowing 360-degree viewing without actual samples

Leading fashion technologist SHIMA SEIKI MFG., LTD. of Wakayama, Japan together with telecommunications company KDDI Corporation of Tokyo, Japan launched "XR Mannequin for APEXFiz," a sales promotion package that links SHIMA SEIKI's APEXFiz design software for the apparel industry with KDDI's XR (cross-reality) technology.

XR Mannequin for APEXFiz will be offered to the apparel industry. Using an XR Mannequin that enables viewers to check product images from any angle in 360 degrees on various devices, XR Mannequin for APEXFiz enables digital catalogues with 3D virtual sample image data of garments designed on APEXFiz design software, 360-degree VR showrooms, as well as digitally extended stores. It also realizes virtual proposals at exhibitions, showroom-style stores with no inventory, and user-friendly purchase experience on e-commerce sites, and more. It also allows users to reduce excess stock at stores and create new sales opportunities.

Eventually, by adding movement to models wearing Virtual Samples and rendering them on a cloud server, customers will be able to view high-resolution virtual fashion shows on their smartphones and other devices.

 Until now, the apparel industry has been making actual product samples in each of the planning and design stages of production. This process not only takes an enormous amount of time and cost, but generates waste of raw materials including fabric that require disposal. At the retail stage, stores also needed to have various sizes and colors in stock to address a wide range of customer preferences, resulting in excess inventory.

With SHIMA SEIKI's APEXFiz, designs can be evaluated without making actual samples, minimizing resources spent on sample production as well as lead time, enabling environmentally-friendly manufacturing.

In May 2022, KDDI developed a high-resolution XR mannequin for apparel sales, with support from Google Cloud. It enables various devices such as store signages and smartphones to check products from any angle in 360 degrees, enabling stores to sell products without maintaining inventory.

SHIMA SEIKI and KDDI combines APEXFiz and XR Mannequin to start providing XR Mannequin for APEXFiz. This brings DX solutions to all stages in the supply chain for the apparel industry, from planning and design to sample making, production, distribution, and retail sales. SHIMA SEIKI and KDDI will continue to create services together that link each other's products, to bring about a sustainable society by reducing excess stock, and providing a customer experience that gives peace of mind when purchasing products.

Electronically conductive fibres are already in use in smart textiles, but in a recently published research article, ionically conductive fibres have proven to be of increasing interest. The so-called ionofibres achieve higher flexibility and durability and match the type of conduction our body uses. In the future, they may be used for such items as textile batteries, textile displays, and textile muscles.

The research project is being carried out by doctoral student Claude Huniade at the University of Borås and is a track within a larger project, Weafing, the goal of which is to develop novel, unprecedented garments for haptic stimulation comprising flexible and wearable textile actuators and sensors.

In Claude Huniade’s project, the goal is to produce conductive yarns without conductive metals.
"My research is about producing electrically conductive textile fibres, and ultimately yarns, by coating non-metals sustainably on commercial yarns. The biggest challenge is in the balance between keeping the textile properties and adding the conductive feature," said Claude Huniade.

Currenty, the uniqueness of his research leans towards the strategies employed when coating. These strategies expand to the processes and the materials used.

Uses ionic liquid
One of the tracks he investigates is about a new kind of material as textile coating, ionic liquids in combination with commercial textile fibres. Just like salt water, they conduct electricity but without water. Ionic liquid is a more stable electrolyte than salt water as nothing evaporates.

"The processable aspect is an important requirement since textile manufacturing can be harsh on textile fibres, especially when upscaling their use. The fibres can also be manufactured into woven or knitted without damaging them mechanically while retaining their conductivity. Surprisingly, they were even smoother to process into fabrics than the commercial yarns they are made from," explained Claude Huniade.

Ionofibres could be used as sensors since ionic liquids are sensitive to their environment. For example, humidity change can be sensed by the ionofibers, but also any stretch or pressure they are subjected to.

"Ionofibres could truly shine when they are combined with other materials or devices that require electrolytes. Ionofibres enable certain phenomena currently limited to happen in liquids to be feasible in air in a lightweight fashion. The applications are multiple and unique, for example for textile batteries, textile displays or textile muscles," said Claude Huniade.

Needs further research
Yet more research is needed to combine the ionofibres with other functional fibres and to produce the unique textile devices.

How do they stand out compared to common electronically conductive fibres?
"In comparison to electronically conductive fibres, ionofibers are different in how they conduct electricity. They are less conductive, but they bring other properties that electronically conductive fibers often lack. Ionofibres achieve higher flexibility and durability and match the type of conduction that our body uses. They actually match better than electronically conductive fibres with how electricity is present in nature," he concluded.

Freudenberg Performance Materials Apparel (Freudenberg) is pleased to announce the establishment of the Apparel Technical Solution Center – Asia at its Nantong factory in China to expand the company’s innovation capabilities. With floor space of 900 m2, the new center offers technical expertise and innovations to apparel customers from nearly all apparel segments in Asia and around the world.

New capabilities with the Apparel Technical Solution Center – Asia
Committed to bringing enhanced technical support and services tailored to customers’ needs, the dedicated Apparel Technical Solution Center – Asia (ATSC) is equipped with cutting-edge technology. This includes a wide variety of fusing and bonding machines, laser and ultrasonic cutters, specialized sewing machines for sportswear applications, fiber filling machines for insulation applications, and washing and dry-cleaning machines that meet GB and AATCC standards.

The ATSC offers technical know-how to help customers design complex apparel solutions. In particular, it furthers Freudenberg’s dedication to joint innovations with sportswear customers and to finding technical solutions for performance applications.

Further innovation at the Nantong factory
The factory was moved to the Nantong Economic and Technological Development Area to meet increased production demand with state-of-the-art technological capabilities. Covering an area of nearly 50,000 m² with cotton interlining, bi-elastic fusible interlining, and preformed materials production lines, the new site went into operation in 2021.

Dedicated to continuously improving production quality, the new factory also includes an innovative online defect detection system. This system enables defect information to be captured in real time and sent to operators for immediate adjustments, increasing the rate of bi-elastic interlinings and shirt interlinings. Furthermore, the online weft density automatic adjustment system helps improve the stability of the drying process and the quality of semi-finished products.

The world’s largest fashion brands and retailers must increase transparency to tackle the climate crisis and social inequality, according to the latest Fashion Transparency Index.

The seventh edition of the Fashion Transparency Index ranks 250 of the world’s largest fashion brands and retailers based on their public disclosure of human rights and environmental policies, practices, and impacts, across their operations and supply chains.

• Brands achieved an average score of just 24%, with nearly a third of brands scoring less than 10%
• The majority of brands (85%) do not disclose their annual production volumes despite mounting evidence of clothing waste around the world
• Most major brands and retailers (96%) do not publish the number of workers in their supply chain paid a living wage

The Index reveals insights into the most pressing issues facing the fashion industry, like:

• As new and proposed legislation focuses on greenwashing claims, almost half of major brands (45%) publish targets on sustainable materials yet only 37% provide information on what constitutes a sustainable material.
• Only 24% of major brands disclose how they minimise the impacts of microfibres despite textiles being the largest source of microplastics in the ocean.
• The vast majority of major brands and retailers (94%) do not disclose the number of workers in their supply chains who are paying recruitment fees. This paints an unclear picture of the risks of forced labour as workers may be getting into crippling debt to accept jobs paying poverty wages.
• While many brands use their channels to talk about social justice, they need to go beyond lip service. Just 8% of brands publish their actions on racial and ethnic equality in their supply chains.

Despite these results, Fashion Revolution is encouraged by increasing supply chain transparency among many major brands, primarily with first-tier manufacturers where the final stage of production occurs, e.g. cutting, sewing, finishing and packing. Nine brands have disclosed their first-tier manufacturers for the first time this year. It is encouraging to see significant progress across market segments including luxury, sportswear, footwear and accessories and across different geographies.

Fashion Revolution’s co-founder and Global Operations Director Carry Somers says: “In 2016, only 5 out of 40 major brands (12.5%) disclosed their suppliers. Seven years later, 121 out of 250 major brands (48%) disclose their suppliers. This clearly demonstrates how the Index incentivises transparency but it also shows that brands really are listening to the millions of people around the world who keep asking them #WhoMadeMyClothes? Our power is in our persistence.”

More key findings from the Fashion Transparency Index 2022:

Progress on transparency in the global fashion industry is still too slow among 250 of the world’s largest fashion brands and retailers, with brands achieving an overall average score of just 24%, up 1% from last year
For another year, the initiative has seen major brands and retailers publicly disclose the most information about their policies, commitments and processes on human rights and environmental topics and significantly less about the results, outcomes and impacts of their efforts.

Most (85%) major brands still do not disclose their annual production volumes despite mounting evidence of overproduction and clothing waste
Thousands of tonnes of clothing waste are found globally. However, brands have disclosed more information about the circular solutions they are developing (28%) than on the actual volumes of pre- (10%) and post-production waste they produce (8%). Brands have sat by as waste importing countries foot the bill, resulting in serious human rights and environmental implications.

Just 11% of brands publish a responsible purchasing code of conduct indicating that most are still reluctant to disclose how their purchasing practices could be affecting suppliers and workers
Greater transparency on how brands interact with their suppliers ought to be a first step towards eliminating harmful practices and promoting fair purchasing practices. The poor performance on transparency in this vital area is a missed opportunity for brands to demonstrate they are serious about addressing the root causes of harmful working conditions, including the instances where they themselves are the key driver.

Despite the urgency of the climate crisis, less than a third of major brands disclose a decarbonisation target covering their entire supply chain which is verified by the Science-Based Targets Initiative
Many brands and retailers rely heavily on garment producing countries that are vulnerable to the impacts of the climate crisis, yet our research shows that only 29% of major brands and retailers publish a decarbonisation target covering their operations and supply chain which is verified by the Science Based Targets Initiative.

Only 11% of brands publish their supplier wastewater test results, despite the textile industry being a leading contributor to water pollution
The fashion industry is a major contributor to water pollution and one of the most water intensive industries on the planet. Only 11% of major brands publish their wastewater test result, and only 25% of brands disclose the process of conducting water-related risk assessments in their supply chain. Transparency on wastewater test results is key to ensuring that brands are held accountable for their potentially devastating impacts on local biodiversity, garment workers and their communities.

Most major brands and retailers (96%) do not publish the number of workers in their supply chain paid a living wage nor do they disclose if they isolate labour costs
Insufficient progress is being made by most brands towards ensuring that the workers in their supply chain are paid enough to cover their basic needs and put aside some discretionary income. Just 27% of brands disclose their approach to achieving living wages for supply chain workers and 96% do not publish the number of workers in their supply chain paid a living wage. In response, we have joined forces with allies across civil society to launch Good Clothes, Fair Pay. The campaign demands groundbreaking living wage legislation across the garment, textile and footwear sector.

adidas unveils the first of two drops with South African luxury designer, Thebe Magugu. The debut collection for women features the celebratory and joyful artwork of a woman dancing, designed in collaboration with artist Phathu Nembilwi, and influenced by Thebe’s mother, aunt and grandmother, and the theme of femininity, interwoven with leading adidas material technology . Each garment features an abstract selection of bright and punchy colors including, impact orange and yellow, accents of shock pink, backgrounded by pulse lilac. The collection spans across sports including running , swimming , training , tennis , football , and cycling alongside a set of casual lifestyle garments.  

United by a shared passion for inclusivity and kinship, the collection includes a three-piece modesty swimwear set made in part with recycled materials and chlorine resistant fabric that is lightweight and chlorine-resistant; swimwear in inclusive sizing (XS-4XL); and gender-neutral pieces with UNITEFIT – a fit system that is created with a spectrum of sizes, genders, and forms in mind.

The high-performance tennis pieces will be premiered during one of the most prominent hardcourt tournaments by adidas’ inspirational athletes Dana Mathewson, Stefanos Tsitsipas, Felix Auger Aliassime and Daria Kasatkina who are passionate about showing support for what matters and encouraging diversity and inclusivity on and off the court. The tennis collection features the Purple NY UNITEFIT Tennis Dress, delivering style and functionality, made in part with recycled materials.

Alongside the performance pieces, the statement Originals looks include the Originals Crop T-shirt, in white and semi pulse lilac, delivering classic streetwear style, and the Originals 7/8 Leggings, a go-to choice for every occasion. The collaboration also includes remixes of iconic adidas footwear silhouettes including the Stan Smith, Nizza Platform, Astir and Forum footwear, which feature design accents from Thebe Magugu's signature prints. Reflecting adidas's commitment to consciously crafting performance materials, hero styles and pieces have also been made in part with recycled materials, just one of the innovations that represent adidas' commitment to help end plastic waste. 

The 50th INNATEX fair opens its gates to a Green Fashion trade audience from 29 to 31 July 2022 in Hofheim-Wallau, near Frankfurt. At this anniversary fair, over 200 labels will be exhibiting, a wide range of experts and organisations will be gathering, and elaborate features and facilities are planned for the Rhein-Main exhibition centre.

According to INNATEX project manager Alexander Hitzel, one highlight is the Community Area, which brings together a range of experts. In short lounge talks, they reveal insights into what they are currently working on and a dialogue format encourages personal discussion. Mirjam Smend, whom we know well from Greenstyle Munich, introduces her recently launched sustainability magazine, Pureviu, and facilitates the morning talks.

Alongside standard bodies such as IVN and GOTS, which have taken part in INNATEX for many years, younger projects such as Fairmodel and the digital platform Retraced will be part of this special area. Fairtrade Germany, Femnet and the VDMD are to be found there too. Almost all of them are joining in with the Ask Me Anything dialouge format. Interested attendees can pre-book a slot of up to ten minutes for a personal discussion with the expert of their choice.

The supportive activities that had to be suspended during the pandemic are enjoying a comeback at this year’s summer fair: five newcomers to INNATEX designated DesignDiscoveries will be presenting their projects in another special area. Vegtus, from Barcelona, produces sneakers and other products from cactus leather. Natural textiles such as organic cotton are used by Lounge Cherie, a yoga fashion label.

Products for kids through to seniors, classics and streetwear, footwear and accessories
Nordlicht similarly relies on recyclable, renewable natural fibres for its outerwear, bags and accessories. The field of circular fashion is also served by the remaining two Design Discoveries. Both Nature is Future, with its handmade sneakers, and Freibeutler, with its functional rucksacks, make extensive use of recycled materials, while also paying due attention to broader sustainability aspects.

Regular INNATEX exhibitors include Lana, Chapati and Didymos, all of whom are also celebrating anniversaries. Labels such as Anokho with their colourful accessories in jacquard fabrics and Danish label Angel Circle with its plus-size fashion are exhibiting for the first time.