From the Sector

Contact restrictions, home office and altered daily lives – our lives in 2020 were radically changed. This was also the case for various sectors of the economy, including the textile and clothing industry. However, with crisis come opportunities and stimuli for change. Under the motto “Still Physical”, manufacturers recount their personal success stories in 2020 – the industry can look forward to a selection of sustainable materials curated exclusively by the PERFORMANCE FORUM Jury. Areas of focus: natural fibers that highlight wellbeing aspects, plant-based materials that make us strong and excite on an emotional level, bio-nylons and bio-based finishings that rethink function. “Still Physical – Your Success Story of 2020” will be on display online as the first of its kind within a trade fair week from 17 to 21 May 2020.

Transformation: Technology first?
The pandemic has forced us into new, primarily digital forms of living and working. Our daily lives are characterised by home offices, home schooling and online meetings. The desire for real, physically perceptible experiences has grown incessantly within the last year. In the same context, people nowadays are strongly driven by technological progress – yet how far can we allow technological change to go and how do we wish to live in the future? Long before the pandemic, the trend towards self-monitoring and control of important bodily functions developed. The sports industry developed tools to measure levels of performance and monitor bodily functions with the goal of enhancing performance. Self-optimisation, body shaping and health promotion have become standard nowadays. Staying healthy and keeping fit are now social imperatives in our performance-oriented society. The pandemic has made us rethink, made us pause – with sustainable function still in focus, yet function needs to be rethought for the future, distancing ourselves from mere performance enhancement, and embracing clothing that facilitates people in feeling good.

Touch & Feel
In a visual, digital world, one sense has been forgotten: the sense of touch. Materials trigger completely different reactions, consciously or unconsciously. Moreover, the surface texture is also decisive in the functionality of a fabric, lending it its unique characteristics. In times of contact restrictions and lockdown, there is a need for a space for emotions, for regeneration and physical wellbeing. This is also reflected in the desire for appropriate apparel that leaves a pleasant sensation on the skin. Lightweight, warm and of a softer nature, plant-based fibers fulfil the desire for comfort and promote wellbeing.

We are physical – we are nature
How will we shape and adapt the post-pandemic textile and apparel industry? The Corona crisis once again reminds us of our existential bond with the natural world. While humanity fights against the spread of a deadly virus with social isolation, one thing is doing well: our planet. It is recovering from all the exhaust gases that are released into the air daily by cars and factories. There is a shift in focus towards taking time out in nature, whether in the form of a morning run, a mountain hike or a yoga session on the grass.

Your success story of 2020
What has touched them? Which experiences have shaped their latest innovations? Does the crisis also present opportunities? The chance for something new, for a rethink, on an even more sustainable, more ecological path? Which highlights, which stories are worth communicating and where did the focus lie in 2020? Various material manufacturers already started to focus on sustainability and the cautious use of resources some time ago. Innovations in the areas of materials and in processing methods are the driving forces of the development towards more sustainability. However, we need to realign all processes and structures in our supply and production chains and adapt them to the needs of a resource-conserving, responsible industry. A pioneering example of such alignment was the decision of PERFORMANCE DAYS to only present sustainable materials at the PERFORMANCE FORUM from the November 2019 trade fair event onwards. Additionally, the setting-up of the new digital sourcing platform “THE LOOP” shows how technology can be implemented aside from material and processing innovations in such a way that our procedures and structures can be adapted to difficult conditions.

Informative & up-to-date: the digital trade fair week from 17 to 21 May 2021
As usual, the highlighted fabrics from the Focus Topic “Still Physical”, which the exhibitors have defined as their personal success stories, will be available shortly on the PERFORMANCE DAYS website highlighting all details and facets.

• Major Monforts denim customers continue to pioneer new initiatives that are pushing the boundaries of sustainable production.

Recycling their cotton waste has become one way these companies can do more with less, and at the recent Kingpins24 Flash online event, Sedef Uncu Aki, director of Orta, headquartered in Istanbul, Turkey, announced a new partnership with leading recycling operation Gama Recycle.

Traceable
“Through this local partnership we will supply the waste from our spinning mills and return around 3,000 tons of premium quality cotton back to them,” she said. “We have established a truly controlled and traceable system and partnering with a domestic recycling centre is important because a lot the carbon emissions associated with recycling usually come from transportation.”

Orta’s ZeroMax range meanwhile uses no cotton at all, being based on Lenzing’s Tencel cellulosic fibre, while the company’s involvement in denim production for a recent launch by Levi Strauss, of jeans made with organic cotton and Circulose – a breakthrough material developed by re:newcell of Sweden and partners – was hailed as a further step forward.

To make Circulose, re:newcell repurposes discarded cotton textiles, such as worn-out denim jeans, through a process akin to recycling paper. The incoming waste fabrics are broken down using water. The colour is then stripped from these materials using an eco-friendly bleach and after any synthetic fibres are removed from the mix, the slurry-like mixture is dried and the excess water is extracted, leaving behind a sheet of Circulose. This sheet is then made into viscose fibre which is combined with cotton and woven into new fabrics.

Circular Park
Omer Ahmed, CEO of Artistic Milliners also announced plans for his company’s new 70,000 square-foot Circular Park in Karachi, Pakistan, at Kingpins24 Flash.

Once complete, this will add three million square metres of additional denim capacity a month to the company’s production and take its total recycled output to a monthly five million metres.
Ahmed observed that there is currently a lack of sustainable fibres that are readily available to use for denim production at scale.

“Organic cotton is too expensive, and in my opinion always will be,” he said. “Cottonised hemp is also not cheap and it’s hard to mix with cotton, while the new regenerated cellulose fibres that are now emerging are promising, but currently in short supply. Recycled polyester is meanwhile still based on petroleum resources which we want to move away from. As a consequence, there are only a few other options for us as a manufacturer and this new project will help us minimise our own waste while significantly lowering our carbon footprint.”

Other Monforts denim customers to introduce cotton fibre recycling operations at their plants recently include AGI Denim, Bossa and Soorty.

Vertical savings
Refresh is the name of the latest collection from AGI Denim – reflecting the company’s significant reduction in water consumption.

The company has just opened new fibre spinning and denim mills at its complex in Karachi, Pakistan.

“Over the years we’ve gone through a series of backward integration steps to become fully vertical,” said AGI Denim executive director Ahmed Javed, at Kingpins24 Flash. “In our latest expansion, we revisited every step of the production processes in order to make resource savings.”

Innovations have included the installation of proprietary robotics for garment finishing, but the most attention has been paid to water savings.

“Pakistan is one of the largest cotton-producing companies in the world and we’re fortunate that the type of cotton that is grown here is well suited to denim production and also helps us lower our carbon footprint, with everything done in close proximity,” Javed said. “In the lifecycle of a pair of denim jeans, however, cotton fibre production contributes 68% of water consumption. While we cannot control how much water cotton needs for it to grow, we can rethink the way we use it in our factory.”

Refresh-branded denims are washed from 100% recycled water as a result of the company’s new wastewater treatment plant, which puts production wastewater through a series of steps beginning with equalisation, followed by aeration and concluding with sedimentation. The water travels through filtration and ultrafiltration systems before being subjected to an activated carbon system and finally a reverse osmosis system to reduce any dissolved salts.

AGI now recycles 4.4 million gallons of water each month – enough to wash a million pairs of jeans.

Sustainable
Monforts has a leading position in the field of denim finishing with its well proven Thermex continuous dyeing systems, Montex stenter dryers and other lines for resource-efficient and economical processing.

“Our denim partners are constantly setting themselves new goals in respect of sustainable production – and more importantly, achieving them,” says Hans Wroblowski, Monforts Head of Denim. “We work closely with them with the aim of constantly optimising processing parameters and achieving further savings in energy, water and raw materials throughout the dyeing and finishing stages of production.”

The latest Monforts innovation for denim is the CYD yarn dyeing system. This technology is based on the effective and established dyeing process for denim fabrics that is now being applied for yarn dyeing. The CYD system integrates new functions and processes into the weaving preparation processes to increase quality, flexibility, economic viability and productivity. A full CYD line is now available for trials at the company’s Advanced Technology Centre in Mönchengladbach, Germany.”

• Monforts customer Kipaş has been selected as the sole denim manufacturing partner in the €6.7 million European Union-funded New Cotton Project, involving the brands adidas and H&M, working in a consortium with suppliers, innovators and research institutes.

Kipaş, based in Kahramanmaraş, Turkey, is currently installing its third Monforts Montex stenter along with a third Monfortex compressive shrinkage system in a combined configuration dedicated to denim production.

This follows the successful installation and commissioning of the second Montex and Monfortex lines at the Kahramanmaraş plant in 2018, which Kipaş Vice Chairman of the Board Ahmet Öksüz said had immediately exceeded expectations.

“We performed a very thorough technical investigation based on the latest Industry 4.0 analysis before the purchase, to determine what we needed, and the Monforts technology met all our requirements,” he said, in an interview with Textilegence magazine. “The Monfortex is equipped with a variety of features not found on classical shrinkage machines and the production can be monitored from beginning to end. It also exceeded our expectations in energy cost savings.”

Kipaş subsequently received a special certificate from Monforts in recognition of its exceptional utilisation of the technology to its full potential.

The latest Montex stenter now being installed at Kipaş is a 12-chamber unit with a working width of 2 metres featuring all of the latest automation features. The Monfortex unit, also with a working width of 2 metres, is in a ‘double rubber’ configuration, comprising two compressive shrinkage units and two felt calenders in line. This allows the heat setting of elastane fibres and the residual shrinkage of the denim to be carried out simultaneously, for a significant increase in production speeds.

“Around 90-95% of denim fabric production now contains elastane fibres and the Monforts system has allowed us to simultaneously increase our production and quality in this respect,” Mr Öksüz said.

Regenerated cotton
For the next three years within the New Cotton Project, Kipaş will manufacture denim fabrics based on the cellulose-based fibres of Infinited Fiber Company of Finland, made from post-consumer textile waste that has been collected, sorted and regenerated.

The patented technology of Infinited, which is leading the consortium of 12 companies, turns cellulose-rich textile waste into fibres that look and feel like cotton.

“We are very excited and proud to lead this project which is breaking new ground when it comes to making circularity in the textile industry a reality,” said Infinited co-founder and CEO Petri Alava. “The enthusiasm and commitment with which the entire consortium has come together to work towards a cleaner, more sustainable future for fashion is truly inspiring.”

Take-back programmes
Adidas and H&M will establish take-back programmes to collect the clothing that is produced, to determine the next phase in their lifecycle. Clothing that can no longer be worn will be returned to Infinited, for regeneration into new fibres, further contributing to a circular economy in which textiles never go to waste, but instead are reused, recycled or turned into new garments.

The aim is to prove that circular, sustainable fashion can be achieved today, and to act as an inspiration and stepping stone to further, even bigger circular initiatives by the industry going forward.

The EU has identified the high potential for circularity within the textile industry, while simultaneously highlighting the urgent need for the development of technologies to produce and design sustainable and circular bio-based materials. Making sustainable products commonplace, reducing waste and leading global efforts on circularity are outlined in the European Commission’s Circular Economy Action Plan.

Fashion brands produce nearly twice as many clothes today as they did 20 years ago and demand is expected to continue growing. At the same time, the equivalent of one garbage truck of textiles is landfilled or burned every second. Most of the textile industry’s environmental problems relate to the raw materials used by the industry – cotton, fossil-based fibres such as polyester, and viscose as the most common man-made cellulosic fibre, are all associated with serious environmental concerns.

• Lakmé Fashion Week 2020
• Bemberg™ fibers empower “Tattva”
• Hemang Agrawal's new craft-tech collection

Smart tech fibers, contemporary style and heritage. Past, present and future are intertwined in the new ‘Tattva’ collection by famous Indian designer Hemang Agrawal who has teamed up with Bemberg™ by Asahi Kasei, the Japanese yarn manufacturer leading in both high-performative innovation and sustainability. The collection comprises textiles entirely conceived and created by the designer. A new chapter for Bemberg™ glamorous uniqueness for high-end fashion, first Japanese reality that participated at Lakmé Fashion Week 2020, the biggest fashion event in India.

Made from the smart-tech transformation of cotton linters pre-consumer materials and converted through a traceable and transparent closed loop process, Bemberg™ fibers add responsible values to the collection, matching perfectly the vision and the ethic of Hemang Agrawal, a designer with more than one eye on sustainability, innovation and deep knowledge and respect for traditional Indian crafts and culture.

Tattva debuted at the Lakmé Fashion Week 2020 and comprises 40 exquisite pieces for men and women, all inspired by the 12 Tattva – the natural elements bringing harmony in the universe, according to the Indian scriptures and tradition. Motifs representing these elements, including quirky versions of moon-phases, tigers, human mind & DaVinci’s Vitruvian man were woven into the glittering fabrics. The collection was crafted harnessing the skills of Indian handlooms artisans in the designer’s hometown Benares (Varanasi).

Tattva featured Bemberg™ brocades as the predominant textile, along with plain Bemberg™ fabrics and a few blends. The result is a magnificent touch, fabrics are distinctively smooth like silk, second skin-like, shining, and bright. On top of that, Bemberg™ yarns add a new dimension in terms of sustainability and comfort by boosting antistatic and breathable performances, amazing precious touch while being also biodegradable and compostable.

“We are so happy that we participated in LFW and collaborated with Hemang Agrawal.” Says Mr. Hideto Tanimoto, General Manager, Bemberg™ Sales and Marketing Department. “The collection has come out really wonderful and has brought out the properties of Bemberg yarn such as noble sheen, smooth and soft touch, bright colour, supple drape amazingly. I strongly believe that the collection made significant impact on the sustainable fashion scene in India. We are expecting that the collection will be successful commercially and will help the local craftsman from Varanasi.”

The collection blends crafts and technology, Indian tradition and Japanese innovation, sustainability and high-end style. Designer Hemang Agrawal says, “The dexterity which the weavers in Benares have acquired, finds few parallels in the world. Although predominantly a silk-weaving centre, many master-weavers in the city are highly skilful in handling different yarn types. Japan, on the other hand, is well-known for its advanced technologies as well as its approach towards environment and sustainability as a country. Both these facts are well-reflected in the Bemberg™ Yarn”

“During our R&D, we found that the yarn, which is available in various counts and deniers is highly adaptable. The lustre, hand-feel, strength and colour depth are very well-suited for premium textiles, which come out of our looms. For the collection ‘Tattva,’ our endeavour has been to merge the skill-set of Benares weavers with qualities of the Bemberg™ yarn, to create textiles and apparel, which transcend the boundaries of what is termed as traditional Benarasi."

With the Tattva collection Hemang Agrawal and Bemberg™ by Asahi Kasei show a new way of making fashion: merging craft & tech, cutting-edge materials and deeply rooted traditions. A stunning collection marking the rise of craft-tech, a trend going beyond the dichotomy of ancient and new, injecting the human-based into the high-tech and a futuristic imprint into heritage. Like the 12 Tattva, a new harmony takes shape, intertwined into exquisitely stylish garments.

Two ISKO I-SKOOL™ 7 looks make their debut at the Graduate Fashion Foundation, part of London Fashion Week, a springboard for new talent striving to bridge the gap between education and industry.

Following an unprecedented academic year, GFF celebrates how the Class of 2020 have adapted and overcome adversity to complete their degrees across 26 fashion specialisms, from Design and Knitwear to Comms, Marketing and Business. London, 17-22 September – To bring together fashion educators and industry leaders and to support their graduates to reach their full potential once they have graduated: this has always been GFF’s main goal for the past 28 years. Now more than ever, GFF continues in its long-standing commitment to share good practice and knowledge and to inspire students to become innovators, environmental leaders, employees, and educators while promoting cultural diversity and inclusivity within an international platform – very much in keeping with ISKO I-SKOOL™ values and approach which resonate throughout the contest’s Denim Awards.

Designers Kotryna Adomaityte and Isabel Hambly from Nottingham Trent University were 2 of the 9 winners of the ISKO I-SKOOL™ 7 Awards, announced in a phygital ceremony held on July 22. The two students were invited to showcase their winning creations at GFF. Kotryna, winner of the ISKO I-SKOOL™ PERICOLO Award by Cadica Group, impressed the audience with her “Wild West Denim” look to London at the GFF Showroom.

Isabel Hambly, winner of the ISKO I-SKOOL™ Best Marketable Product, stole the show with her “Women at war” outfit which was displayed at the Catwalk Show, live-streamed from Samsung KX on September 22. That two of ISKO I-SKOOL™ 7 winners and finalists were part of this important event is proof of the significant role the contest – developed and supported by ISKO – plays in nurturing and championing talent and creativity. This edition’s main concept was world’s citizenship, with the Creative Theme “North, East, South, West – connected by one planet”. The twenty shortlisted finalists were asked to dig into their roots and to approach different cultures, defining and tracking down the geography of the world connecting them through responsibility. In addition to exploring the planet both locally and globally, they were also required to take into account the product life cycle of their outfits – featuring a 5-pocket jeans to interpret their view on the “local” concept and two Denim Show Pieces to reflect their worldwide influences and topics of interest. These were made with top ISKO™ denim fabrics, meeting the designers’ needs and providing a strong sustainable ingredient.

“We are really proud that two of our winners made it to GFF, with which we have many values in common – it marks another important step in their journey” said ISKO Senior Executive ISKO I-SKOOL™ Project Irem Orhun. “All of this goes to show how ISKO I-SKOOL™ plays a fundamental role in providing the foundation to enter the industry more aware of your skills and capabilities.”

• Specialised in dye-sublimation printing, the Italian company has conquered the heights of the high fashion sector with its top-quality printed fabrics.
• With its recent investment in a direct-to-fabric printing line, Digitak is preparing to expand its range of printed products, focusing on fabric differentiation.

Dye sublimation printing of high fashion designs is the beating heart of Digitak, an Italian company specialised in digital textile printing. Operating in the textile district of Lombardy, Italy, the company has established itself among the main suppliers in the world of high fashion and sportswear in just under 15 years.

Making production versatility one of the cornerstones of its philosophy, Digitak has continued to invest in technology, as well as research and development its product portfolio. This forward-thinking approach has enabled the company to guarantee innovative, personalised products with meticulous attention to detail, with the highest – almost obsessive – standards of quality and maximum design flexibility. Over the years, the extensive experience gained by the company’s management in the field of sublimation with traditional and digital techniques, combined with their investment decisions have allowed Digitak to enhance its production performance, gradually implementing higher quality standards and differentiating itself from the competition in the complex and competitive sector of high fashion. An important feat, which has not, however, dampened its enthusiasm and willingness to continue growing and exceeding its goals. The company’s latest investment in a direct-to-fabric digital printing line with pigment ink propels the company into a new and promising production dimension.

Sublimation printing specialists

Since Digitak’s establishment, Filippo Taccani, the founder and current owner of the company, had set himself a clear and ambitious objective: “I wanted to take up the challenge of operating digitally - printing fabrics using this innovative technology to create products on a par with those  I had achieved with traditional sublimation textile printing methods during my previous work experience.”

The purchase of a Mimaki JV4 plotter, one of the first to be installed in Italy, marked the beginning of Digitak’s adventure. “To start the business, I needed a printing system that could operate with dispersed inks to print on polyester and I found the JV4 to be the best option,” explains Taccani. “It was an excellent decision, because I used these plotters to build the company and its success.”

The first Mimaki plotter was in fact followed by a second and a third. When it bought the fifth, the company moved to an industrial unit in Tradate (Varese) – Digitak’s current site – which now houses around fifteen Mimaki JV33 plotters, in addition to three Mimaki TS500-1800 wide-format sublimation printers, and a Mimaki TS300P-1800 high-speed sublimation printer. This Mimaki powered production facility – which is one of the company’s core strengths – was recently expanded with the addition of a Mimaki TX300P-1800B belt-type hybrid printing system, together with a Mimaki TR300-1850C textile coater and a Mimaki Tiger-1800.

“Naturally, over the years, we have also tested printing systems from other suppliers, but we have always returned to Mimaki. With high fashion as our key market, we need to guarantee our customers the highest levels of quality and, to date, we have never found solutions that beat the quality of this Japanese brand’s technology.”

According to Taccani, the difference lies in the “calligraphy” of Mimaki’s machines, that is the line of the ink on the fabric: “Unlike its competitors, Mimaki has focused on the ‘waveforms’, i.e. the electronics associated with the print heads. This attention paid to the way the ink jet is managed from the print head has allowed Mimaki to achieve unparalleled levels of accuracy, an aspect that has given my company a clear competitive edge.”

Moreover, at Digitak, quality comes before quantity: “We prefer to dedicate an extra day to production to guarantee the customer a final product that fully meets requirements and expectations. Mimaki’s technology not only suits this business model bult on top quality, but it crucially enables it.”

Operational and creative flexibility

Digitak currently prints around 2,000 linear metres of fabric per day. Its portfolio ranges from clothing and scarves, to beach and swimwear, with related personalised accessories, to sportswear, with technical properties such as breathability, comfort, resistance to external agents. The company have even added customised outdoor furniture to their offering of diverse and creative products.
The company’s machines operate continuously, 24/7. During the day, the machines are mainly used to develop and produce samples and colour proofs, while the actual production is carried out at night. “Thanks to our technology, we have developed an extraordinary operational flexibility. The fact that we have so many plotters allows us to work on multiple designs at the same time and to launch projects that are also very different from one another,” explains Taccani. “There are also some other crucial factors that have contributed, and continue to contribute, to increasing our production efficiency. The reliability of Mimaki’s solutions and the remote monitoring option offered is key. Once the standard start-up monitoring has been carried out and the machines are found to be printing correctly, we can let them work overnight without an operator. This is a great benefit for people who, like us, manage such a large and diverse fleet of machines.”

Digitak takes the same approach to customer service. Faced with an increasingly demanding market in terms of creativity, precision and completeness of service, the company wants to guarantee flexibility and customisation. “We decided to set up a department dedicated to the pre-press stage, in charge of preparing and checking the files supplied by customers. Seldom do our teams not need to do some editing of the files supplied, even if it’s only to make small changes that are essential for the print document to be as suitable as possible and to achieve the best final result.”

Technologies of the future

With a view to further enhancing production and customer service, Taccani has chosen to take on a new challenge, switching things up with some of the most recent investments.

While maintaining the focus on dye sublimation printing, Taccani has focused on technological diversification by installing a direct-to-fabric digital printing line. This consists of a Mimaki TX300P-1800B printing system with pigment inks and a TR300-1850C coater from Mimaki’s TR series. “The market continues to evolve and now requires even more flexibility regarding both processes and the fabrics supplied. This means that great opportunities exist for a print shop capable of simultaneously producing the same design – with minimal colour adjustment – on different fabrics, guaranteeing similar and accurate results. And this is precisely the path we are taking,” says Taccani. “Why have we opted for Mimaki again? Well, I had an opportunity to try out their new pigment inks and I immediately realised that they are a generation ahead of the other pigments available on the market. The cyan is very clean, the black is deep and there is a very interesting fullness of colour, suitable not only for furnishings, but also for other applications in the clothing sector.”

With its pigment inks, the new direct-to-fabric printing line allows Digitak to explore other related market segments. Thanks to the innovative automatic belt system, the TX300P-1800B guarantees good productivity and high-quality results. A standard of quality that is also boosted by the TR300-1850C fabric pre-treatment system: “This coater is essential for ensuring the best possible preparation of fabrics for printing. In fact, we are able to treat fabrics to make them suitable for the type of print they are intended for, sanitise them for specific applications and, in some cases, even dye them, with excellent quality.”

According to Taccani, another beneficial factor of direct-to-fabric pigment printing technology is the eco-sustainability of the process and its lower environmental impact. “We are proud to be able to offer our customers excellent printing results using little water and printing in ‘green mode’, with both the technologies we have available. I consider them winning technologies for the future, as both dye sublimation printing and direct-to-fabric printing with pigment inks use little water while mainly requiring the use of energy. Therefore, if you use renewable energy, then you’re done.”

Digitak’s other trump card is the Tiger-1800 installed in 2019. With this industrial printing system, the company aims to increase production volumes while maintaining its high-quality standards and further optimising costs. “We are excited to have these promising technologies available to us in-house. We are currently experimenting with these solutions, testing new opportunities and evaluating which paths to take to stay ahead of the game,” concludes Taccani.

• There is an urban legend that hemp canvas was used to make the very first pair of Levi’s jeans.
• While this is a myth that originated in the counterculture of the 1960s, hemp is without doubt the fibre of the moment for the denim industry.

At the second Kingpins24 virtual denim show that was broadcast from New York on June 23rd and 24th, the sustainable benefits of hemp fibre were referenced by many Monforts customers who are now including it in their collections, including AGI Denim, Artistic Milliners, Black Peony, Calik, Cone Denim, Naveena Denim Mills (NDM) and Orta.

“Hemp is an easy to grow fibre which requires no irrigation, no fertilizers, no herbicides and no chemicals,” says Allan Little, Director of Product Development for Cone Denim, which has recently launched its Sweet Leaf collection featuring the fibre. “Significantly, it also uses fifty per cent or even less water than cotton in cultivation.”

It can also bring some new aesthetics to denim too, he adds.

“Hemp has a unique colour and adds a different cast to our indigo, the drape and texture of the fabrics is different and it even adds  a bit of a unique hand, so combined with its sustainable credentials we are proud to be bringing the Sweet Leaf collection to the market.”

US supply chain

Cone is currently sourcing its hemp from France, but with much of its manufacturing now in Mexico – and with the introduction of the US Farm Bill in 2018 which has legalised the growing of legal hemp – is exploring the possibility of investing in the US supply chain.

“With US hemp we’re really at the R&D phase,” Little emphasises. “It’s a unique crop, so coming up with the right stalk to provide the right fibre is challenging. We’ve experimented with different types of seed and various methods of decortication.”

Decortication, he explains, is the mechanical removal of the outside layer of the hemp stalk to useable fibre on the inside. A second process, cottonization, is necessary to make the fibre suitable for spinning, because compared to cotton, hemp is longer, stiffer, and less flexible.

100% success

At the end of 2019, Naveena (NDM), headquartered in Karachi, introduced fabrics featuring up to 51% hemp content in blends with Tencel and recycled polyester and this year has developed the first 100% hemp denims.

“The response to the fabrics we showed last year was incredible and we were looking forward to the response to this latest development – which everyone was asking for – at the Kingpins show in Amsterdam, which unfortunately was unable to go ahead,” says NDM’s Director of Marketing Rashid Iqbal. “We produced initial samples in an undyed state because we were not sure how the wet spun yarn would react in the dyeing, but I’m happy to say we have had success in this respect and are now able to provide one hundred per cent indigo dyed hemp denim.”

Environmental benefits

“Differentiation is the key in the highly-competitive denim industry and we have assisted our customers with trials and optimised processing parameters for a range of different fibres, including hemp, both at our Advanced Technology Centre in Germany and at their own mills around the world,” says Hans Wroblowski, Monforts Head of Denim. “Given the environmental benefits of hemp, and the liberalisation of its cultivation in many parts of the world, the interest in it now comes as no surprise. We have the technologies and know-how to help our customers to fully maximise their hemp denims at all post-weaving stages of production.”

Monforts has a dominant position in the field of denim finishing with its well proven Montex stenters. It has been enjoying further recent success with its Eco Line concept based on two key technology advances – the Eco Applicator and the Thermo Stretch.

The latest Monforts innovation for denim is the CYD yarn dyeing system. This technology is based on the effective and established dyeing process for denim fabrics that is now being applied for yarn dyeing.

The CYD system also integrates new functions and processes into the weaving preparation processes – spinning, direct beaming, warping and assembly beaming, followed by sizing and dyeing – to increase quality, flexibility, economic viability and productivity. A full CYD line is now available for trials at the company’s Advanced Technology Centre.

• The PREMIUM GROUP in Berlin is cancelling its PREMIUM and SEEK trade shows for this summer season, as well as the FASHIONTECH conference – in collaboration with the leading global digital B2B marketplace, JOOR, there is still a guaranteed trading option.

Due to the coronavirus crisis, in April the dates of the PREMIUM GROUP’s events were provisionally moved from the original schedule of 31 June-2 July 2020 to 28 -30 July. Now, the Federal and State governments have decided to cancel large-scale events with over 1,000 visitors until 31 August 2020.
     
A statement from Anita Tillmann, Managing Partner of the PREMIUM GROUP: 

“We greatly regret the decision of course, especially after the success of our January events. The ban on large-scale events has been around for some time and has been publicly discussed. It hurts us to do it, but we are also conscious of our responsibility. If cancelling our trade shows, conferences and parties contributes to the safety of our customers and visitors, then we have to take this step.
 
We are in close contact with all our brands and partners and have spent the last four weeks discussing possible approaches, concepts and new focal topics for the summer. The bottom line is that digitalisation is clearly the focus. It’s all about using the time over the next few months sensibly. The timing for brands and retailers is now right – all market participants are aware of the necessity of this.

We have been working closely with JOOR, the leading B2B marketplace globally, for around a year, after successfully integrating our own digital platform, Veee.com. JOOR has digitalised the entire procurement process and ensures a seamless, functioning wholesale process on an international scale – both for brands and retailers.
 
We shall shortly be offering webinars on this and can offer our customers an optimal, digital ordering solution so as to use this time of the pandemic efficiently. We are very happy with this option and our year-long investment in the topic of digitalisation. This has come good for us now.
 
Our trade show formats have been about more than just ordering for a long time now. They are about encounters, emotion, inspiration, communication and, finally, the fashion community getting together. Although lots can take place digitally nowadays, it doesn't replace physically meeting up in person. We have seen this more than ever in the present situation.
 
We are going to work on new concepts for 2021, and we will liaise with the key stakeholders in Berlin and with all others too to ensure we hit the ground running again. We’re taking on the challenge and will come back to the industry when we have news.”

“The soul of sustainable fashion is an alchemy, a combined commitment and an act of responsibility”. This is the motto ‘embossed’ in the collections and the values of Italian Converter. At Futurmoda, the leading manufacturer celebrates its 25th anniversary and presents E.C.O. KOSMOS, a cross-collection, a brand-new ‘green line’ range’ and a winning formula shining a light on the company’s responsible path and unique ‘blend’ for the fashion of tomorrow. The acronym E.C.O. stands for Ecologic, Conversion, Optimisation; three unique concepts and values that truly embody Italian Converter DNA: sustainability, transformative process and quality improvement.

For over 25 years, Italian Converter creates high-quality materials for some of the leading fashion and accessories brands. “Made in Italy and sustainability are part of our DNA.” Says Costantino Karazissis, founder of Italian Converter. “We believe that responsible sourcing and processes as well as a deep research into new technology pathways and a market-savvy taste for material design must be the starting point.”

Anita Tillmann on the new season, new topics and a new generation.

“We’re feeling a special vibe in Berlin at the moment. The new generation is cool, fresh, engaged. Despite the fact that we, in our 40s, 50s and up, wear the same sneakers and almost the same look as our children, it's a long time since we topped the cool list. We need the young crowd, these stars of tomorrow, their style, their ideas and their unconventional and open ways of thinking. Everyone should come to Berlin to meet them, listen to them, or at least watch them. If you only look to the past you won't create a good future.”

CRAFTING STORIES.
“Berlin feels reckless, flexible, sometimes wonderfully aimless, unconstrained and unpredictable, which gives my creativity a huge boost. I am fascinated by always meeting people from all over the world who have chosen to make Berlin their base so that they can be free and creative, because Berlin offers the space to do that – whether in a studio, or at WeWork or Berghain.”

CHANGING STORIES.
“Only 9 per cent of the 9.1 billion tonnes of waste plastic that accumulates around the world was recycled and 12 per cent was incinerated. We give talks daily on the theme of avoiding plastic and we are working with the City of Berlin on concepts for a plastic-free Fashion Week. Only together can we shake things up.”

TELLING STORIES.
“Emotionalisation begins at the trade show stand rather than in-store. If the sparks don't fly at the trade show it will be tricky to tell the brand story or implement the presentation of the brands across the sales areas. Firstly, the aim is to use key looks and storytelling to capture buyers’ attention and make statements. We are working together with the brands on showcasing differentiating factors and genuinely presenting something new. Secondly, we recommend bringing young sales staff along to Berlin as well, to internalise this dynamic as well as the brand stories; and to then make these stories come alive for end consumers across the sales areas.”