Like its larger sister ISPO – normally taking place at the end of January or the beginning of February, half way between the two Fashion Week cycles – Performance Days feature a high-end portfolio of performance and sports wear manufacturers, many of which actively develop and push the innovation agenda of their industry.
Circular economy is the antonym of linear economy. Linear economy has been the dominant industrial model in our history and postulates production is followed by consumption that then ends up with the disposal of used products. As opposed to this, circular economy seeks to rebuild capital, whether this is financial, manufactured, human, social or natural and sees products having a longer or a never-ending life that are either re-used as new inputs to create new products or shared and co-owned by different consumers.
Nigeria’s textile industry used to be – possibly still is – the African continent’s third largest after that of Egypt and South Africa. For one reason or another, the first two are fairly well established among brands of all colours and types as potential – and actual – sourcing destinations. Egyptian cotton is well renowned, as is their industry for jersey goods. Also ‘Made in South Africa’ is not uncommonly found in clothing labels.
The term ‘circular economy’ has recently been – again – converted into a buzz word. To some extent there are a couple of good reasons for that as both common sense as well as the Ellen McArthur foundation's most recent report prove.
The current fashion and textile landscape is fairly limited in terms of what types of materials are being used. Innovation is key, and products such as Tencel, Sorona and Ingeo proof that industry is investing heavily in R&D. Spider Silk may be one of the few natural fibres of the future yet to see it hayday.
The “Better Consumer” report aims to be a source of reliable information to those executive saying “Show me there is demand, and we'll be happy to cater to it” when asked why their fashion brand is not producing better, more sustainable products.
5 years ago one Araisara's customers brought in a long Miyazome-dyed handkerchief. The designer fell in love with this beautiful dye technique. As soon as she could, she visited the Miyazome-dye atelier in Utsunomiya City in the northern Kanto region, some 2 hours from Tokyo on the Shinkanzen bullet train. The atelier was run by just one man, who was well into his 80s.
After 10 years in the make, CETI, the European Centre for Innovative Textiles, was finally inaugurated in October 2012. The aim of the research centre is to give the textile industry a platform to research and prototype innovative textiles that can be used in sectors like: Medical, Sport & Leisure, Hygiene, and Protection sectors representing 25% of technical textile manufacturing industry; building and civil engineering that account for 10% of the production; transport making 26% of the market volume (and 15% of the market value) of technical textiles.
How can environmental sustainability benefit from small and micro units? And, how can it be ensured that the associated skills sets are unique, yet valuable to the global fashion industry as a whole? Through 3 case studies from South-East Asia we show how different potential solutions could look like.
The second Future Fabrics Expo was hosted at the London College of Fashion on November 7th – 9th 2013, and was attended by a rather large number designers, buyers and students. Roughly 650 fabrics with a reduced environmental impact stemming from around 50 textile mills world-wide, were showcased, along with inspirational and/or interactive videos and information panels.
Anna Grindi was coveted dress maker from Tempio Pausania, a town in northern Sardinia. And enchanted by the possibility of cork for fashion. Her obsession lead to the development of cork fabrics that today are the foundations to her very successful company Suberis, turning over millions of Euros. A portrait.
Cork is one of the most sustainable natural materials extant. Portugal supplies about two thirds of the world's cork, but the industry has been under pressure in the past few decades. This post shows how innovative companies have found application for the material in the realm of fashion.
Cork is one of the most sustainable natural materials extant. Portugal supplies about two thirds of the world's cork, but the increased use of plastic bottle stoppers for wine, instead of cork, poses a threat to the country's industry. This post presents some data around cork and describes the bigger picture. The follow up post will look at how innovative uses of cork find application in fashion.
The RITE Conference's 2012 edition showed that the challenges for the industry are clear, and so are the general directions that need to be taken. But there are some marvellous and challenging mountains to climb, and they cause a notably sensation of paralysis.
Puma’s executive have recognised some while ago that their company’s profitability and resilience to competition depends not the least on how well they are able to foresee risks in an area normally just referred to as ‘sustainability’. An overview of their tangible results
Puma’s executive have recognised some while ago that their company’s profitability and resilience to competition depends not the least on how well they are able to foresee risks in an area normally just referred to as ‘sustainability’.
Resting the case for innovation.
“Globalization presumes sustained economic growth. Otherwise, the process loses its economic benefits and political support.” (P. Samuelson). There is an evident illogic, impossibility, of the traditional 'economic growth' lemma.
The Guardian Sustainable Business & Observer Ethical Awards 2012 edition in fashion terms. Cradle to Cradle is becoming popular in the nitty gritty of the carpet industry, Puma's Profit and Loss Accounts get credit, and Kids imitate Katherin Hamnett's 1980's slogan T-shirts to raise awareness.
“Innovatively combining new British and sustainable fabrics with reclaimed textiles” – this is Goodone’s raison d’etre in their own words. Their most recent initiative: A proper upcycling factory that can cope with both, pre- and post-consumer waste, and is the first ‘streamlined’ upcycling facility equipped and ready to work with designers on something more than one-offs.
Cradle to Cradle is a design methodology that puts a 'waste-less' world at its heart. What is the concept all about? What does it mean for the apparel industry? And who practises it among designers and companies?
