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The Quarterly Magazine of The Textile Institute

The Design Issue Design innovation Footwear designers Sustainable design

2013 No. 3


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The worlds leading authoritative collection of textile terms and definitions… online now: www.ttandd.org

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The Textile Institute

International Headquarters 1st Floor St James’ Buildings 79 Oxford Street Manchester M1 6FQ UK T: +44 (0)161 237 1188 F: +44 (0)161 236 1991 E: tiihq@textileinst.org.uk www.textileinstitute.org


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contents

The growing importance of designers in international footwear In the past 40 years the shoe industry has changed from being local to increasingly global. Factories in China can no longer get away with copying designer products and selling them abroad. Design trends and ideas need to be interpreted, and sometimes tweaked for local markets. The designer’s role has moved with the industry.

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Newly independent Each year a new wave of textile design graduates enters the marketplace. Some will have job offers because they are the best or they fit with a company’s needs but others will set up their own businesses becoming independent designers, choosing to keep their design integrity, often working in new and innovative ways.

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A life in colour Colour is integral to all design, and colour libraries are now an accepted and expected part of the design process. A personal look at the changing face of colour in the textile industry allows a brief insight into the main bodies involved both in the UK and Internationally.

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INDUSTRY NEWS

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EVENT CALENDAR

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published by The Textile Institute International Headquarters 1st Floor St James’ Buildings 79 Oxford Street Manchester M1 6FQ UK

Annual Subscription (4 issues): GBP£57.50 yearly

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TI News Co-ordinator Rebecca Unsworth runsworth@textileinst.org.uk

The views expressed in this magazine are not necessarily those of the Publisher or the Editor. Whilst every effort is taken to ensure accuracy, textiles does not accept any liability for claims made by advertisers or contributors. The Publishers reserve the right to edit and publish any editorial material supplied. The Publisher does not accept responsibility for loss or damage to any unsolicited material or contributions. This publication is protected by copyright, no part may be reproduced in whole or in part without the prior written consent of the Publishers.

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© The Textile Institute, 2013 ISSN 1367-1308

2013 Volume 40, No. 3

Printer: Creative Consortium, Chester Road, Cornbrook, Manchester, M16 9EZ, UK

T: +44 (0)161 237 1188 F: +44 (0)161 236 1991 E: tiihq@textileinst.org.uk www.textileinstitute.org Managing Editor Vanessa Knowles vanessa@pebbleinternational.com

Emma Scott

textiles is produced by Pebble International and Creative Consortium on behalf of The Textile Institute.

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contents Understanding sustainable design Sustainable design has gained increasing attention in the past five years through rapidly emerging environmental issues. An ever growing population and globalisation have forced thinking towards sustainable production. Here we look at some of the key issues and solutions to sustainable design.

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Innovation for the future

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Speedo remains at the forefront for innovation, a place it has held since 1928. The Aqualab team includes sports engineers, garment engineers, materials experts, and product developers offering a wealth of experience within research and development in various fields. Combined experience helps to shape each and every product Speedo creates. But where does the innovation process begin?

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* TI News - Page 25 A round up of the last few months at the Institute, reporting on the Design Means Business event which took place in July; the Advances in Functional Textiles conference also in July and announcements regarding upcoming events in the Institute calendar.

Cover Image: Courtesy of Speedo. Fastskin 3 Super Elite goggle and cap streamlines

Textile Institute Contacts: Director of Operations & Membership Council and Board Liaison Stephanie Dick sdick@textileinst.org.uk Director of Professional Affairs Rebecca Unsworth runsworth@textileinst.org.uk

Professional Affairs Manager Emma Scott escott@textileinst.org.uk Membership Administrator Shama Begum sbegum@textileinst.org.uk Administrator/Receptionist Leanne Bigwood lbigwood@textileinst.org.uk

Accounts Clerk Anna Tomlinson atomlinson@textileinst.org.uk London Office: Bill Bohm billbohm@textileinstitute.org Webmaster: Joe Cunning

Incorporated in England by a Royal Charter granted in 1925, inaugurated in 1910, The Textile Institute is governed democratically by and on behalf of members throughout the world, registered as a charity and recognised as a non-profit association under the laws of many countries. Charity Number: 222478

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Industry News Premier Li Keqiang predicts smooth sailing for Chinese economy According to Chinese Premier Li Keqiang in his opening plenary speech at the World Economic Forum Annual Meeting of the New Champions 2013, in Dalian, China, the Chinese economy is at “a crucial stage”. However, despite worries that China may encounter a hard landing, its “fundamentals are stable,” he said. China recently considered implementing a short-term stimulus policy to drive up growth, Li said; but after concluding “such an option would not help address the underlying problems,” China opted for maintaining a stable macroeconomic policy. Provided the economy “runs within the reasonable range of economic performance, [Beijing] will keep the macroeconomic policies generally stable,” and will focus instead on shifting the growth model and structural readjustment. To transform China’s economy, Beijing is focusing on expanding domestic demand, developing the service sector and pursuing balanced development throughout the country, and between urban and rural regions. Specifically, Li mentioned redeveloping shantytowns and improving infrastructure in urban areas and railways in Western and Central China. “We live in a global village” said Li. “No country can live in isolation of others like Robinson Crusoe.” Engaging with the world, China has become a major driver of global economic growth. Over the next five years, China “is expected to import USD$10 trillion of goods, invest USD$500 billion overseas and send over 400 million tourists abroad. By successfully transforming its economy”, China “will contribute more to the prosperity and development of the world economy.” The country “is ready to share this huge business opportunity with the rest of the world, and hopes to have a better cooperation environment for its development.” This offer extends both ways. As a major developing country, and as its economy expands, China is ready to “take up its responsibility in international affairs [and take] a more active part in international governance, 4 textiles

and to do our best to provide international public goods.” However, China still has 100 million people living under the poverty line, and its modernisation process “will be long and cautious.” The premier underlined that “the international responsibilities and obligations China undertakes must be commensurate with both the level and approach of its development.” The world we live in is characterised by change. “Changes call for innovation and innovation leads to progress,” said Li, comparing the views and values of his government and the Forum. “Innovation is the running theme and spirit of the policies adopted by the Chinese government, and it is the banner that we will always hold high.” Over 1,600 participants from 90 countries took part in the seventh Annual Meeting of the New Champions in mid-September. The Meeting was held in close collaboration with the Government of the People’s Republic of China with the support of the National Development and Reform Commission (NDRC). Under the theme ‘Meeting the Innovation Imperative’, the meeting featured an intensive three-day programme to explore the innovation imperative under four thematic subthemes: Transforming Industry Ecosystems; Unleashing Innovation; Building Societal Resilience; and Connecting Markets.

Supplier sustainability ranked as top barrier At the beginning of September the United Nations Global Compact released its flagship Global Corporate Sustainability Report 2013. The report looks at the state of corporate sustainability today – providing an indepth review of the actions taken by companies around the world to embed responsible practices into their strategies, operations and culture. Based on responses to the Global Compact Annual Implementation Survey, the report provides a robust view on how businesses everywhere – and of all sizes – are adjusting their policies and practices to address today’s sustainability agenda. Based on survey responses from

nearly 2,000 companies across 113 countries, the report provides a snapshot of the actions taken by business to embed responsible practices into their strategies, operations and culture. Findings in the report show that companies are committed to the UN Global Compact and are moving from good intentions to significant actions. However there is a clear gap between what companies ‘say’ and what they ‘do’. Companies are making commitments, defining goals and setting policies at high rates, but, although 65 percent of respondents develop sustainability policies at the CEO level, it appears that only 35 percent train managers to integrate sustainability into strategies and operations. However, while progress is being made, there is a long journey ahead for companies to fully embed responsible practices across their organisations and supply chain. Size seems to be the most significant factor in sustainability performance. While small and large companies are committing to the UN Global Compact in equal numbers, large companies are significantly more likely to move beyond commitment to action across all issue areas. However, the survey has uncovered an encouraging development: smaller companies are increasingly taking steps to catch up to their larger peers. Supply chains are also seen as a roadblock to improved performance. Supplier sustainability has been ranked as the top barrier for large companies in their advancement to the next level of sustainability performance. While a majority of companies have established sustainability expectations for their suppliers, they are challenged to track compliance and help suppliers reach goals, for example. Seventy percent of Global Compact companies are advancing broad UN goals and issues, by aligning their core business strategy, tying social investment to core competencies, advocating the need for action, and implementing partnership projects. “While corporate leaders recognise the importance of global sustainability issues, there are still many challenges to be met,” said Georg Kell, executive director of the UN Global Compact.


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“Companies must put words into action - by implementing policies, measuring their effectiveness and reporting their progress publicly. The Global Corporate Sustainability Report 2013 provides a resource on sustainability for boards of directors, business leaders and sustainability officers as they lead their organisations to a sustainable future.” The full report can be downloaded at: http://www.unglobalcompact.org/About TheGC/global_corporate_sustainability_ report.html

Yak fibre for outdoor gear Kora, a new small outdoor clothing brand is using the science of nature to support athletic performance in extreme environments, to produce a premium range of yak superwool fabric garments. Having identified properties in yak wool that makes them suitable for base layers worn in the outdoors, kora’s range of clothing uses its unique, natural, high performance fabric – Hima-Layer – to harness and maximise these performance benefits for the outdoor adventurer. In addition the company aims to support economic sustainability and environmental protection in mountain regions by generating revenues for remote Himalayan mountain communities. Michael Kleinwort, founder of kora, said: “This was an opportunity to do things differently. Kora seeks to empower local people to improve their livelihoods, to harness nature to their benefit in a way that is sustainable. Kora is not a development project - it is a business. But it seeks to strike a balance between the two objectives.” Michael Kleinwort is a keen traveller, photographer and endurance athlete, who has trekked through some of the

most remote, high altitude mountains in the Himalayas with explorer Jeff Fuchs. The company is working with the Kegawa Herders' Cooperative a nomadic herders' cooperative who supply the yak wool. KeGaWa is named after a local mountain and was founded on 1 April 2010, and currently contains 48 herder families. It is situated at an elevation of 4,600 metres in Zhiduo County, in the Yushu Tibetan Autonomous Prefecture of the Qinghai-Tibet Plateau. This area contains the headwaters of the Yangtze River, and many others. The history of animal husbandry in Zhiduo dates back some 4,000 years; local people are descended from the ancient nomadic tribes of Tibet. Rather than being purely economically driven, the Cooperative encourages the herdsmen to cooperate with each other to work out solutions to today’s challenges. With modern technology and education, the company advocate’s a balance between economic needs of herdsmen and ‘ecomigration’, as well as restoring and retaining the culture of the nomadic tribe. Animal husbandry is deployed as a means to achieve these goals.

Bangladesh’s clothing industry needs to improve its image if longterm prosperity is to be guaranteed The clothing industry in Bangladesh needs to improve its image in order for the country’s long-term prosperity to be guaranteed, according to Issue No 163 of Textile Outlook International recently published by Textiles Intelligence. The collapse of Rana Plaza in Dhaka, Bangladesh, in April 2013 sent a shockwave through the textile and

clothing industry. More than 1,100 lives were lost in the incident, and Bangladesh’s reputation as a reliable low cost location in which to manufacture clothing suffered a severe blow in the eyes of consumers and the major brands. In addition, the industry has received a high level of bad publicity with regard to employment practices. Retailers and brands are, for good reason, increasingly sensitive about their reputations in the eyes of the media, consumers and lobby groups. It is not surprising therefore that some Western buyers have cancelled orders in the aftermath of the Rana Plaza collapse and placed them elsewhere. Moreover, a number of Bangladeshi factories have been ‘blacklisted’. Furthermore, according to the publishers, sales in the US import market could be negatively affected following a decision by the US government to suspend Bangladesh’s preferential duty treatment under the US’s Generalised System of Preferences (GSP) scheme, and Bangladesh’s preferential access to the EU could also be revoked if the Bangladeshi government does not take the necessary steps to significantly improve building safety standards and overall labour conditions in the country. These issues are made especially acute by the fact that the Bangladeshi economy is heavily dependent on the US and the EU - which together take 84% of the country’s total textile and clothing exports. Bangladesh can ill afford to lose the momentum its clothing industry has built up over the years. However, there is a danger that retailers and consumers will view cheap clothing from Bangladesh as coming at too high a cost in human terms, and that they will prefer other countries where costs are low but where similar tragedies have not occurred - including Cambodia and Vietnam. The threat of shunning Bangladesh’s clothing industry is real but is being eased by a series of initiatives set out by Western retailers, non governmental organisations (NGOs) and a number of apparel unions. The Ethical Trading Initiative (ETI) has announced a health and safety plan for Bangladesh’s garment sector while IndustriALL and UNI Global Union have

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set out an agreement for addressing the issue of fire and building safety in the industry. The spotlight is being focused in particular on the responsibility of the leading brands and retailers as it is they who source the goods in question and, at the same time, drive down prices so that they can maximise margins and satisfy consumer demand for cheap clothing. The brands are in an especially strong position to improve working conditions as they can insist that safety inspections take place and that essential work is carried out to make factories fit to work in. Governments and major brands need to work together with suppliers to change the apparel industry into one in which there are safe factories, decent wages and respect for workers’ rights. However, it is important to note that gains will only be sustainable if the added labour costs are absorbed by buyers as well as manufacturers. Issue No 163 of Textile Outlook International includes the following reports: ‘Counting the Human Cost of Cheap Clothing’; ‘World Textile and Apparel Trade and Production Trends: South Asia’; ‘Recent Developments in Corporate Social Responsibility (CSR) in the Global Textile and Clothing Industry’; ‘Profile of Patagonia: A Pioneer in Corporate Social Responsibility (CSR)’; ‘Prospects for the Textile and Clothing Industry in Bangladesh’; and ‘Trends in EU Textile and Clothing Imports’.

New biocides regulation The EU has announced a new Regulation on biocidal products which will apply from September 1, the new Regulation will significantly increase the safety and simplify the authorisation procedure of biocides used and placed on the market in the EU. Biocides are chemicals used to suppress harmful organisms such as pests and germs (for example moulds and bacteria), including insect repellents, disinfectants and industrial chemicals like anti-fouling paints for ships and material preservatives. EU Environment Commissioner, Janez Potocnik ˇ commented: "This Regulation is another step towards 6 textiles

ensuring that only safe, authorised products are made available throughout the EU. The simplification of authorisation procedures will bring significant economic benefits to companies while ensuring a high level of environmental protection for citizens." The total cost savings for the industry, to be achieved through this simplified and more efficient product authorisation, data sharing and data requirements has been estimated to be EUR€2.7 billion over a period of 10 years. The new provisions also reduce animal testing by making data sharing compulsory and encouraging a more flexible and intelligent approach to testing. A dedicated IT platform (the Register for Biocidal Products) currently used for submitting applications and recording decisions, will now also be used for disseminating information to the public. The new Regulation on Biocidal products (EU) No 528/2012 was adopted on 22 May 2012, and applies from 1st September 2013. It repeals and replaces the former Directive 98/8/EC. The Regulation was also the first piece of legislation to integrate the new Commission definition on nanomaterials. The European Chemicals Agency (ECHA) will provide scientific and technical back-up to the Commission and the Member States under this new Regulation. The agency's tasks include, among others, delivering opinions on the approval of active substances and the Union authorisation of biocidal products. The total number of opinions to be delivered by ECHA is expected to grow from 80 in 2014 to 300 in 2020. For more information: The Commission webpage on biocides: http://ec.europa.eu/environment/ biocides/ 2012/overview.htm The ECHA webpage on biocides: http://echa.europa.eu/regulations/biocid al-products-regulation

Proposed Re-use Standard 2013 - launch of consultation process The UK’s WRAP has launched a consultation process for a proposed Reuse Standard 2013. The aim of the

generic, sector-wide standard is to enable organisations in the UK to offer products for re-use that have been subjected to a quality assured process, thereby building customer confidence in purchasing from the re-use sector and aiding its development. The Re-use Standard 2013, currently in draft form, will be supported by a number of product-specific requirement standards that will detail additional criteria. These will need to be met by the processing organisations for specific product groups, such as electricals, furniture and textiles. The standard has been drafted in association with a Technical Advisory Group (TAG) comprising of UK stakeholders from across the re-use sector; including Governments, public bodies, commercial and charitable reuse operators, and waste and resource management companies. Launching the consultation, Dr David Moon, head of resource efficiency in products and services at WRAP, said: “An important constraint on the growth of this sector is weak consumer confidence in the quality of products offered for re-sale. This is partly due to the shortage of publicly available standards for preparing such items. The Re-use Standard will address this gap, and we now welcome comments that will help shape the standard.” In addition to seeking technical and editorial comments on the standard itself, the consultation will also seek views on the extent of the need for product-specific requirements and on branding, compliance and associated issues. This consultation is primarily aimed at organisations and businesses undertaking the collection, processing and dispatch of products or components for re-use. However, feedback is encouraged from all customers and operators in the supply chain, as well as procurers for re-use products and components, including business/private sector, trade associations, charity/voluntary bodies, central government, local/regional government, and agency/public bodies. The consultation for the standard will close on the November 1. WRAP commissioned the environmental consultancy, Oakdene Hollins, to prepare the standard and


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manage the consultation process. To get involved in the consultation, please visit www.wrap.org.uk/reuse standard

Spanish textile manufacturer reducing waste SCS Global Services (SCS), headquartered in California, US, recently announced that it has certified the recycled content in denim cotton fabric manufactured by Spanish textile producer, Tejidos Royo SL. This certification confirms that Tejidos Royo's 7708 CRUDO denim cotton contains at least 18% pre-consumer recycled denim cotton. The company recycled more than 9 metric tons of denim in 2012 alone, equivalent to about 20,000 pairs of denim blue jeans. "With the explosive growth in the popularity of denim cotton around the globe, the use of recycled cotton is increasingly important as a means of preserving natural resources and reducing landfill wastes," said Stowe Beam, SCS managing director of environmental certification services. Tejidos Royo, a leader in the denim cotton fabric sector, is recognised as a responsible textile manufacturer deeply committed to environmental and social stewardship, as certified under the Oeko-Tex Standard 1000. The company is wholly owned by Royo Textile based in Valencia, Spain, which carries the Oeko-Tex Association's ‘Eco Sustainable Company’ designation.

Coloursmith launches new service Coloursmith Ltd, a UK based provider of textile training and consultancy services, has recently launched a new service aimed at the retail and fashion sector. The Coloursmith Colour Manager service is designed to provide technical expertise for the sector in colour management, dyeing and finishing and general colour related problem solving. Working within the clients organisation, the Coloursmith specialists are able to work with internal teams on all aspects of colour management, including problem solving on incoming materials;

development of fabric colour specifications; and better communication with the supply chain. The Colour Manager service is tailored to a clients needs and includes the option to have workshops for buying and quality control teams on all aspects of dyeing and finishing. The service can also include supplier visits to audit the factories capabilities and performance. As well as dyeing and finishing Coloursmith experts can also advise on colour measurement and management.

Transparency in the outdoor sector At the beginning of September Jack Wolfskin, one of the leading German outdoor brands, headquartered in Idstein, announced that it would be publishing the first list of its direct suppliers and manufacturers. The aim of this transparency offensive is to gradually create an outline of all the stages of production and make it available to the general public. For Jack Wolfskin this means they will be one step closer to achieving a production and supply chain that is both transparent and free from harmful chemicals by 2020. The published list contains a complete breakdown of all manufacturers across all three divisions; apparel, shoes and equipment. These companies are categorised as ‘level 1’ in order to distinguish them from earlier steps in the production process, such as the manufacturing of materials and extraction of raw materials. They are predominately found in Asia, though some are also located in Europe. By publishing a detailed plan of action in the spring under the motto, ‘We go further’, Jack Wolfskin has cemented its status as an industry pioneer in the environmentally friendly management of chemicals. In extending its current responsibility for the product to include comprehensive responsibility for its production, Jack Wolfskin has made a commitment to transparency with regard to its manufacturers throughout the supply chain. Using the motto ‘We go further’, the company aims to avoid all harmful substances, including fluorinated compounds, in its

production process by 2020. HelmholtzZentrum Geesthacht and Fresenius University of Applied Sciences are collaborating with Jack Wolfskin in order to achieve these goals through fundamental research as well as research into applications.

World Footwear Yearbook The Portuguese shoe industry APICCAPS and GDS – international trade fair for shoes and accessories – have once again joined forces to promote the World Footwear Yearbook. The 2013 edition was launched in September at GDS. The World Footwear Yearbook documents the development and trends in the shoe industry worldwide. GDS as the leading trade fair for shoes and accessories provides an overview of the latest trends. The cooperation between APICCAPS and GDS means that they can pool their expertise and contacts to boost the success of the Yearbook still further. The latest edition includes a total of 68 countries; each country portrait contains current figures on imports, exports, production and consumption. The aim is to analyse and compare the sector worldwide to evaluate the strategic positioning of market stakeholders. At the same time, the Yearbook provides information on the key trading partners and events in each country. “To keep the shoe sector up to date about what is happening in trade and industry we have been collecting and analysing sound information on the global shoe sector for many years now. Together with GDS we wish to further build upon this success and make the material available to an even wider trade audience,” said João Maia from the APICCAPS study office. Kirstin Deutelmoser, Director at GDS, adds: “For us the World Footwear Yearbook is the most important sectoral medium, which is why we are delighted to be able to support it with our contacts and the GDS platform itself. The Yearbook is a vital aid for following the complexity of the sector. It is a valuable and highly topical source of information for any decision-maker.”

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textiles · issue 3 · 2013

The growing importance of designers in international footwear t’s a different picture today, and one which continues to change. We will see many more changes in the near future where Far East designers, not just at the couture level, will be taking over more design tasks which up to now have been carried out in the west. The US fashion shoe brand IMPO has a head designer based in the US, with two designers in China, and they work as a team. This is typical of today’s processes. Emily Clark, outstanding shoe designer of her year at Nordisk Designskola, Borås, Sweden, recently joined Nelly.com (a successful Swedish fashion and shoe website wholesaling and making own styles) as their first full time dedicated Swedish designer. Before that, the company had worked with the Nordisk Designskola on fashion and shoe projects, giving relatively inexperienced first year students the chance to expand their horizons and see their products in the (virtual) stores. Prior to that, they had no internal shoe designers but relied on their suppliers, often in China, to tweak ideas given to them by the buying department. But things are changing fast. When I started working with a Chinese company 15 years ago, I was updating and colouring standard constructions like rope espadrilles and rubber soled injection slippers for large supermarket chains in France and Germany. Now this same company, New Allied Commercial Limited, has expanded its factory near Xiamen (next door to Ecco), making children’s branded footwear for the likes

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of Kickers and Esprit. New Allied has worked with European designers for several years now and the owner, Mrs Jacinthe Wong, has set up her own design department with three full time Chinese designers who make all the sketches on Illustrator for

Heart inspired shoes – freehand ideas sketches by Emily Clarke, Swedish shoe designer and graduate of the Nordic Design school, now working for Nelly.com


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Designers today are self-confident international travellers with much more influence in the business, and this trend seems set to continue. European design protection laws have led to many even relatively small companies not only employing designers but actually using their talents as well. Factories in China can no longer get away with copying designer products and selling them abroad. Design trends and ideas need to be interpreted, and sometimes tweaked for local markets.

evaluation by her daughter Marketing Manager, Jolanda Chan, before any samples are produced. When Jolanda was at school in East Anglia, UK, the family made contact with Start-Rite of Norwich and now have a chain of Start-Rite shops in China and Hong Kong, the family’s home town. The shops have a very British look with red phone boxes, the Union Jack and a red, white and blue colour scheme. The top of the line made in the UK classic bar shoes are an essential part of the collection, and the

practical black leather school shoes are especially popular in Hong Kong where British type uniforms are still compulsory. The Chinese designers make additional styles to widen the collection under license. The styles developed by the design department are at the same level as at any European company. The outsoles are ordered in Italy, often in shorter runs to allow more variety. Lasts are European, ordered to fit the soles. Only the highest grade materials are used, with full grain or nubuck uppers and leather linings, on rubber soles. There is no cutting of corners. Not all of the Chinese designed shoes are made in China – they are made in the countries that are best at making that type of shoe, using Mrs Wong’s many years of sourcing experience. So vulcanised shoes come from the top factories in the Southern region of Vietnam and the all leather pre-walker shoes come from leather baby shoe specialists in Indonesia. This is a trend that we will be seeing more of. If European and American designers want to keep their lead, they are going to have to work harder and run faster. Popular cheap design magazine weeklies like Milk from Hong Kong go into great detail covering all types of products like cameras, mobile phones, scaled down models of Rambo as well as taking in-depth looks at Nike Flyknit technology or limited edition adidas colours for Chinese New Year. With a Chinese version now available, the average consumer there can be as up to date on the latest limited edition sneaker trends as the Western enthusiast sneaker freak.

The immense popularity of celebrities in the fashion world has made names a huge business. In the past, famous couture names like Christian Dior and Lanvin used a staff of designers to make the collection, often without any recognition by the

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textiles · issue 3 · 2013

Above. Left to right Lona Jones shoe designer, Zandra Rhodes and Katie Ogg the handbag designer.

Shoes and bags from the summer 2014 Zandra Rhodes collection, shown at the launch at the London Museum of Fashion.

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public. Scores of designers from top colleges like St Martins in London, UK would travel to Paris, France, for fame and fortune and end up working for top Parisian couture houses for abysmal pay. Pay for design in France is still much lower than in Scandinavia, say, as so many people will work there just for the prestige. Things here have not changed much, and the increasing use of internships all over the Western world mean that many recently graduated designers work for little or no money under appalling conditions, just to get a foot in the door. Magazines like Hola and People are incredibly influential in fashion today - personality sells! Celebrities make their own collections often with their own ‘ghost writers’. But sometimes the real person behind the collection gets recognised too. Zandra Rhodes has been a household name, at least in the UK, for her imaginative screen prints, and her shocking pink hair, since the 70’s. Lona Jones, designer and owner of the trendy London fashion shoe brand, Rakish Heels, designed the summer 2014 collection of shoes for Zandra. When asked about the design process she explains. “Through my affiliation with the BFA(British Footwear Association) I was approached by Karen Youdell who controls and arranges all licences on behalf of Zandra Rhodes. She was aware of my brand Rakish Heels and on seeing the designs for my own collection, thought the handwriting would be perfect for Zandra's shoes.” “Karen then put my name forward to the handbag and shoe licensee for Zandra Rhodes, Kathy S Ltd. They contacted


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The growing importance of designers in international footwear

me and having gone through my portfolio and viewed samples from my Rakish Heels Collections also thought my design identity would perfectly suit Zandra's footwear range.” “Initially I put research and ideas boards together and went through these with Zandra. I found her a great inspiration to work with as she's a very creative person and has strong ideas about what direction the collections should take.” “I then designed the collection referencing Zandra's vast catalogue of prints and taking inspiration from clothing details in her sketchbooks.” “She approved the collection on paper and then reviewed the first set of samples so the final range included her changes and amendments.” In addition to research, design and specification, Lona liaised closely with the factories, in some cases bringing them on board to the project. She oversaw development and ensured that the collection was delivered on time for the press launch.

Designers increasingly take control of the entire process, and Sven Segal is typical. The London based vegetarian designer worked as a successful freelancer for fashion brands like Firetrap before setting up his own label. He has always been passionate about the environment and our limited world resources, and was invited by Timberland a few years back to improve its environmental credentials with a broad based project for its Earthkeepers line. This wasn’t just to look at the optics of the product but to go in depth into the sourcing and materials. His own brand Po-Zu uses lots of natural materials

Private and semi-private design schools like SLEM, Holland and Nordisk Designskola, are filling a gap. They offer intensive and extremely focused shorter courses with a strong practical bias. These are different from the established shoe design courses like the Ars Sutoria course in Italy that appeals to the children of people already in the business, such as factory owners. They compete with the broader intellectualisation and academic focus of the more established national schools that can end up excluding talented students who may be less bookish. It is almost impossible, for example, to get into the Danish Design School without graduating from the high school (gymnasium) first. The new schools that are attracting many students from different backgrounds and countries, often mature, work extremely closely with industry. They use visiting hands on teachers like myself who work most of the time in the industry, and encourage students to find long term practical placements of a couple of months or more, often abroad. These colleges, in many cases, have also started up subsidiaries and have organised lectures, and seminars in China, where they are able to offer an insight into Western markets. Many modern academic design courses have concentrated so much on upgrading the academic qualifications that they have left the nuts and bolts behind. Practical knowhow about materials, pattern cutting and production methods is what gives experienced designers their edge. The old vocational courses which once provided much of this foundation have been replaced by colleges that concentrate more on the design process than the technical side. Leather tanning can create major pollution problems

Po-Zu footwear uses lots of natural materials like cork, natural rubber, and coir (coconut fibre). He has long worked hard to investigate, and try to source ‘ecological’ leather, where the leather is not just traceable back to source, but to find out if the cows were fed ecological feed. To date he has not succeeded but that doesn’t mean he has stopped trying. Despite being extremely busy with his own Po-Zu label, Sven still campaigns for a better environment. In his own words “Just to mention one major pointaccording to a report published by the Blacksmith Institute, chromium leather tanning is the 4th worst hazardous pollution problem in the world today, and according to the USA Environmental Protection Agency, at least 95 per cent of leather in the world is tanned using chromium. The footwear industry is literally shooting itself in the foot by continuing to use 20th century unsustainable practices and it’s about time to clean up its act especially since there are an abundance of less harmful practices shoe producers can switch to.”

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textiles · issue 3 · 2013

Newly independent

Each year as June comes around a new wave of textile graduates is released into the World. Trade shows like New Designers, where approximately 40 of the UK's university’s and The Textile Institute’s own Design Means Business event, have stands showcasing the best textile students, highlighting the wealth of talent the sector has to offer. It is at events like this or at individual degree shows where many students have their work spotted and companies offer placements or jobs snapping up what they deem to be the best or right fit for them. But then what happens to the rest? 12

Meg Held is a recent graduate of the Glasgow School of Art (2012). Having undertaken a number of placements with independent businesses she is now about to start her own working with screen and block printed textiles. Her work has a strong environmental theme which she plans to continue to explore and develop in her new business venture. Here she gives us a brief look at the area of new graduate design businesses.


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Laura Spring's collection of brightly coloured duffel bags in a range of sizes. Image copyright: www.lauraspring.co.uk

The designer/craft sector makes up around 13% of the creative sector and those employed within it (Creative and Cultural Skills, 2009. Craft: Impact and Footprint. Creative Culture and Creative Skills). With fewer job opportunities being available in the commercial sector some textile graduates are turning to selfemployment and setting up their own small business as a means of supporting their creative practice. They work within a range of disciplines with some focusing on the production of traditional products whilst others pursue innovation and a mission to expand the public’s understanding of the sector through research and participation. Talking directly to these new businesses can give us a glimpse into the motivation and ideas behind their endeavours. Interviews with the following designer/makers give a small insight to the exciting diversity that is beginning to blossom within the textile industry.

Fay McCaul

fter several years of study and development new graduates are keen to apply for a limited pool of design jobs. Competition is fierce and many apply for whatever opportunity they think will help them arrive at their dream job. Today this is initially more likely to be an unpaid placement or residency with only a small percentage securing paid employment with an existing company. As the demand for higher qualifications increases some will continue their studies and undertake Masters degrees where they will continue to hone and develop existing skills to ensure they are best qualified for the limited number of jobs available. Then there are the graduates who wish to retain their independence and creative integrity, often working in new and innovative ways or approaching their work in a way not suited to large scale production. These new businesses often fall into the category ‘Craft’ and ‘Designer Makers’ and are a growing sector with many hidden gems.

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Fay McCaul's Gracelight, made by hand knitting fibre optics. Image copyright: www.faymccaul.com Fay McCaul uses the traditional method of hand knitting combined with modern materials (fibre optics and iridescent acrylics) to produce textile surfaces for interiors where her works are used as wall coverings, partitions and installations. A passion for design and a desire for creative control led Fay to further develop her work for the consumer market. The designs are aimed at interior designers and architects and are mostly produced to commission where the colours and design can be customised. Fay also has a website where three designs are made available to be purchased online. The Craft Council's Hothouse supplied Fay with business advice and support since graduating from the Royal College of Art in 2010.

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textiles · issue 3 · 2013

Colour-Ecology's dye garden plan which is currently being planted at Bellahouston Park, Glasgow. Image copyright: www.colour-ecology.co.uk

Colour-Ecology Founder of Colour-Ecology, Kathy Beckett's work is a combination of art, design and research with current projects focusing on colour and the environmental impact that it can have. Colour-Ecology started after Kathy began to question the motives behind her previous work and the environmental damage it may have caused. Her main drive currently focuses on delivering workshops and engaging participants and supporting them to develop new skills, such as natural dyeing, which in turn leads to an increase in knowledge about the impact we can have on the environment. Kathy see's ColourEcology as having the potential to become a not-for-profit organisation and educational platform. Since Colour-Ecology started help has been provided by a number art venues and the Arts Trust Scotland in the form of advice/mentoring and equipment funding. Kathy graduated from The Glasgow School of Art in 2012. These two talented individuals whilst initially appearing very different in the development of their chosen path share the passion and desire to enhance their chosen field. These ‘Craft Careerists’ (Crafts Council, 2012. Craft in the Age of Change: Summary Report ) are at the beginning of their journey and really value the support they have and are still receiving from a number of institutions.

Making it work The support for new creative businesses, as with any new business, is crucial in the early days, particularly as many textile degree courses focus on the artistic aspects rather than developing business skills for use after university. Funding grants and loans for equipment, and business training and advice are two areas that are crucial for a new business to access. Support can come from traditional design focused sources such as Guilds, the Crafts Council (and regional variations), banks and from government funding, although this is a shrinking pot. Whilst financial support is an increasing rarity, knowledge of what you do with your finances and how to manage your resources is crucial to the survival of emerging independent businesses. There are advice and training forums, both online

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and face-to-face, which offer specialist help and training in a variety of skills such as bookkeeping, tax and marketing. Newer funding methods and strategies are becoming more popular alongside the more traditional methods. A good example of this is Crowd Funding where capital is raised through supportive friends, family and members of the public who view proposals online and donate towards a target goal; if the figure is met the individual will receive the funding. Networking is encouraged and advice sessions are offered and are usually taught to groups rather than on a one to one basis where it encourages collaboration and the sharing of expertise. Support and funding in this manner gives vital help to start up businesses but it is often the case that second jobs are used to maintain a steady income and support the individual’s practise. This is confirmed by the report Craft in an Age of Change where it states, “only 27% of craft-makers derive all their income from the making and sale of contemporary objects”. The jobs undertaken to widen the stream of income are diverse and can be totally unrelated to the chosen profession, many new businesses spoken to said that they taught classes alongside their day to day business as a means of supporting their practice. As well as being a way to generate more income, teaching skills to a variety of people helps to widen the audience the business has and therefore create more exposure and retail opportunities. The sale of product or skills and knowledge is vital to the growth of any business. Methods of retail have radically changed over the past few years with a massive move to online sales either directly from creatives’ own websites or through online retail outlets which create a store front for a range of designer makers. Textiles is a diverse sector but more often than not the feel of the fibres and fabrics is an important factor drawing people in to engage with the product, on levels of craftsmanship, quality and authenticity. Traditional retail sales through shops, galleries and markets are important where the tactile nature of the product is central to the purchase. Small businesses often have an element of hand production to their work. This can range from 100% handmade to just the finishing touches. This personal link to the designer engages the customer and is a kind of continuation of the link that social media sites create showing the personality of the brand. As well as developing an engaged relationship with their customers many of the designer makers also said that they thought localisation was a big factor in relating to customers. Many of the new businesses seeing this as a way to minimise their carbon footprint, making their companies greener, as well as a way to take pride in their local surroundings and bring some of the manufacturing industry that has been lost back to the UK. The development of technology in regards to the audiences that can be reached is an important factor in the successes of creative businesses. New business founders are mostly of the generation that grew up alongside major technological advances and they can be seen putting it to their full


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Newly independent

The new companies emerging in the UK provide exciting and diverse future prospects for the textile sector. Growth comes from challenges and competition and these new businesses supply just that both to each other and to existing brands. The design-led organisation Make Works helps better connect designers and makers with their local industry (www.makeworks.co.uk ). Founder Fi Scott, who is also a recent graduate, realised “the value, power and importance of making as part of the design process, and was frustrated with not being able to find the practical means to get things made. She spent six weeks interviewing designers, makers, artists, craftspeople, architects, creative practices and manufacturers in Scotland and found the number of creative practitioners also expressing the need to be able to more closely connect with industry, machines, Bespoke Atelier design and screen print textiles for interiors, theatre and fashion, they also have their own in house prints from which they produce a range of products to sell in local shops and online. This materials and the making process, was September's Première Vision will be their first trade show. Image copyright: www.bespokeatelier.co.uk overwhelming”. This was the motivation needed for Scott to set up her business and although Make Works is currently limited to Scotland the advantage. Makers often use technology not only to showcase supportive network its directory provides is an undeniable their work but to design, develop and produce it too. Being benefit to both new businesses and those wanting to keep able to showcase your work through means of a website or production local. social media opens you up to a wide and changing market both in the UK and further afield. The businesses highlighted here represent a small cross This growing online market creates the opportunity for section of the exciting picture of todays’ emerging textile purchase regardless of where the designer is based. It is a market but they characterise the unique and personal reasons relatively inexpensive way for makers to exhibit and sell their for the new cohort of textile designers starting their journeys. wares and being part of online boutiques with existing One common theme these young creatives have is their multiclientele offers an even greater likely-hood of sales. Being able faceted approach to their businesses and brands with to market your products far and wide is a great development individual personalities and very high quality products for new businesses but it also opens the door to more shining through. It will be interesting to watch and see how competition. What might have been a relatively closed market these craft based, technology savvy young people effect and (the surrounding area of the maker) is now open across the change the future of the textile world. globe. Maintaining a physical presence within the local market is important and it was not surprising that many of the designers spoken to attended yearly trade shows. Trade shows provide a valuable space and time for creatives to showcase their product in a setting where the cross section of markets needed to make a business work and prosper on all levels are in the one place, i.e. retailers, consumers and funding agencies. Although these events are costly to attend it can be extremely useful for a young designer/ business, and there are some shows that have space dedicated to emerging talent at a reduced cost. One of the designers who took part in the research for this article started her career with such a show.

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Laura Spring Laura Spring studied Visual Communication at university but has explored a number of career opportunities (mostly in wardrobe departments for theatre and television) since graduating in 2002. Her company Spring Designs, prints and makes a range of bags inspired by the weather. Having undertaken a residency at Cove Park, Laura had the time to print and experiment with her ideas. When one of her Wet Weather Suitcases was noticed by Charlotte Abrahams of Spotted, she was invited to show her work as part of the Spotted stand at the Tent trade show. Since then she has been back to exhibit work at Spotted Plus, Pulse and through a number of popup shops. Laura set up her company in 2011 and has had support from organisations like Business Gateway and the Fashion Foundry.

Meg Held's hand block printed fabrics used to sustainably update furniture. www.cargocollective.com/meg_held

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textiles · issue 3 · 2013

COLO A personal history by Joanna Bowring, founder member of the British Textile Colour Group and current president of Intercolor.

Joanna Bowring presenting at Intercolor y close involvement with colour was not a conscious decision – it began with my first position after leaving the Royal College of Art with an MA in Textile Design – working in the Colour Room at Deryck Healey International (DHI). At the time, DHI was one of the first major design consultancies in the UK, at one point having nearly 80 designers working across fashion and interiors, and winning the Queens Award for Industry in 1974 for export achievements and services to the textile industry. I had never before considered colour as separate from design, but in the 1970s the world of colour cards and seasonal trends was just starting to become an industry in its own right. Other major trend companies at the time were IM International in the US, Nigel French in the UK, and Nelly Rodi, Carlin International and Dominique Peclers in Paris, all consulting to the major fibre companies across the world. One of the on-going projects in the Colour Room was to develop a huge colour library for ICI Fibres for their highly successful filament polyester fibre, Crimplene. As universal colour systems had not been fully developed, snips of any

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material were used as a starting reference; in the studio there were no technical colour matching systems that could be calibrated or means of ensuring both parties were looking at the sample in the same light environment. It must have driven the technicians in the dye labs mad. It is fascinating for a moment to consider that, in the 60s the explosion of all the futuristic-seeming polyesters and acrylics seemed to chime with the spirit of modernity - easy care, lightweight, almost indestructible, non-fading – with names like Acrilan, Courtelle, Terylene - brands that were affluent enough to hire venues such as the Royal Albert Hall to launch their new season’s range of colours and fibres. Some industry experts thought that the consumer would never want natural fibres again – how times have changed! The British Colour Council was an industry standards organisation, active from the 1930s to the 1950s, which produced indexes of named colours for use by government, industry, academia, and horticulture. Many industry-specific seasonal colour cards were produced, reflecting the diverse manufacturing production in the UK at the time. These included colours for cotton shirtings, silk, wool coatings, felt hats, grosgrain hat trims, leather, and hosiery – an extraordinary range of materials which I was fortunate to come across when, after the British Colour Council closed down in the 60s, they were acquired by DHI in the 1970s.

British Textile Colour Group In 1976 Deryck Healey asked me to invite representatives across the textile industry to set up a UK group to represent the UK at Intercolor, the international colour commission, where countries, rather than companies, are represented. Up to that point there had not been consistent representation of the UK. The idea was to meet two years ahead of the season and discuss our colour ideas, from which a consensus would be developed. It is interesting to see how the base of influence has shifted


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LOUR Spring-Summer 2014 over the years; when the first meeting of the group (which became the British Textile Colour Group – BTCG) took place, the fibre companies dominated, all with representative organisations in the UK, most of which have since disappeared apart from the International Wool Secretariat (now The Woolmark Company). The others were Courtelle, ICI Fibres (with whom DHI had a contract to develop trends for their Crimplene (filament) and Terylene (spun) polyesters, as well as fibre companies in the US and Japan), the International Institute for Cotton and Italian fibre company, Montefibre. The first season we worked on was for SpringSummer 1978. With the reduction of the number and range of fibre companies over the years, many of the designers who had worked on colour in those companies went on to set up their own consultancies and studios, and continued to attend the BTCG meetings in their own right – there are now 25 members. Today the BTCG is described very eloquently by Sandy MacLennan, one of our long-standing members, as “an opensource, idea-sharing network of people who love and work with colour on a daily basis. The members come from very diverse viewpoints; footwear, product, automotive, beauty, and of course apparel, and we value and harness that diversity of vision. We believe in the importance of a 360 degree viewpoint, for us and our clients, and that together we

broaden each others experience.” Twice a year the BTCG meets to discuss and share our instincts for trend and colour, working together to visualise and communicate our ideas and then focus them down to five or six key statements.

Intercolor I remember very nervously first presenting the BTCG colours in Paris to the international members of Intercolor. I was in my mid-20s and felt at least 30 years younger than any of those present - the majority of them men in suits – how very different it is now! Intercolor's head office has been based in different countries – it was in Austria for over ten years, before moving to Germany and the UK. In 2009, after the appointment of Olivier Guillemin (Comité Français de la Couleur, France) as general secretary, Intercolor settled back in Paris where it had started. Intercolor currently has fourteen member countries in Europe and Asia (China, Finland, France, Germany, UK, Hungary, Italy, Japan, Korea, Portugal, Spain, Switzerland, Thailand, Turkey). Over the years Intercolor has evolved into a unique platform for colour research and development, consisting of an interdisciplinary group of colour experts, who not only represent national associations but also work for major global players in the textile, fashion and consumer goods industries.

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Some countries have an organisation that represents hundreds of companies, and others are made up of a much smaller number of professionals working in the industry across many sectors – there is no specific format. It is a nonprofit organisation, financed by annual membership fees and is completely independent. The presidency of Intercolor is held for two years, and I was honoured to be voted president at the recent meeting in June in Paris, following the presidency of Ornella Bignami of Color Coloris, Italy.

professionals and the press are invited, focused on talks, exhibitions, visits, etc. C e

Intercolor members at Guimarães, Portugal in June 2012 for meeting on Spring Summer 2014 colours These Intercolor Encounters bring together international leaders in fashion and design: designers and manufacturers, artists and researchers, academics, associations and institutions. Intercolor is a wonderful way of connecting across national boundaries with key decision makers in the world of colour, and more countries are welcome to apply for membership. For more information see the website www.intercolor.nu

Texprint

Intercolor palette created for 2014 After each country has presented its colour statement on a series of image boards, with a copy given to each country, the boards are arranged into agreed groups that focus on the overarching key themes emerging from the national statements. The final Intercolor palette is created with text, and copies are then given to each country to take back with them. Intercolor does not publish colour cards as such, but the member countries are free to circulate the Intercolor palette along with copies of the other member countries’ colour cards to their own organisations, thus disseminating the information internationally. The post-Intercolor meeting for the BTCG members takes place the week after Intercolor. Over the last ten years the Intercolor meetings have provided the opportunity to organise cultural events to which

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Colour plays a vital role in the world in which we live – it almost goes without saying. Research maintains colour can contribute more than 60% of the reason for product purchase, followed by touch. Textiles and colour are inextricably connected, and the UK has a history of textile production that crosses a diversity of manufacturing processes. I find it fascinating that many of the livery companies that reach back many centuries and formed the backbone of the City of London have their roots in textiles – The Worshipful Company of Clothworkers, The Drapers’ Company, The Haberdashers’ Company, The Worshipful Company of Weavers, The Worshipful Company of Dyers – and are all still very active today, promoting the next generation of textile creatives through their charitable activities. Texprint is the charity that selects and mentors some of the most creative textile designers graduating from UK colleges each year, celebrating their talent. I have had close connections with Texprint for many years in different ways, as a sponsor and judge while at Courtaulds Textiles, as Creative Director of Texprint for three years after that, on many of the selection interview panels, and since 2009 as Sponsorship Director. All of the livery companies listed above are currently sponsors of Texprint, along with major industry names such as Pantone, sponsor of the Texprint Colour Prize; Liberty Art Fabrics, sponsor of the Pattern Prize; Marks & Spencer, Paul Smith, Lululemon Athletica, Woolmark Company, WGSN among others. The first Intercolor meeting I attended was in Paris in June 1976, and through my subsequent career after DHI at Prism Fashion Publications (Colour and Fabric Editor), Nigel French (Creative Manager), Courtaulds Textiles (Design Director) and Marks & Spencer (Head of Seasonal Trends, then Womenswear Colour Coordinator) and Texprint, I continue to do so to the present day – 37 years, 74 seasons! I am extremely lucky to have met so many creative individuals both in the UK and internationally in my work, and colour has been the catalyst for it all.


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UNDERSTANDING sustainable DESIGN Sustainable design has gained increasing attention in the past five years through rapidly emerging environmental problems from climate change to polluted rivers. An ever growing population and globalisation have forced thinking towards more sustainable product manufacturing and business practices. Sustainability means by its definition living and manufacturing goods in a manner that does not over consume our share of resources to the cost of future generations. Although this common concept is widely understood, real life practical solutions have a long way to go. Laura Seppällä, a sustainability design consultant currently studying for her Phd, looks at some of the key issues and solutions to sustainable design.

ecause everything from a product or built environment to a service is designed it is by its very nature possible to use design to challenge the current situation and manifest a different type of world (Fuad-Luke, 2009. Design activism - Beautiful strangeness for a sustainable world. Earthscan: London). Fuad-Luke uses the term ‘design activist’; suggesting a person who uses design to change things for the better from an environmental as well as a social point of view. ‘Sustainable design’ or ‘design for sustainability’ is a complex concept to discuss, Walker (Walker, 2006. Sustainable by design – Explorations in theory and practice. Earthscan: London.) sees defining sustainable product design in detail as a fruitless task, because the goal posts are continuously moving. We are always being faced with new problems in the way we currently produced things that were not even recognised a few years ago. A good example of this in textiles is fluorocarbons in water repellency

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treatments, which were not considered a problem two decades ago. The acknowledged way to view sustainability is to divide it into environmental, social, cultural and economic sustainability. Environmental sustainability includes a range of viewpoints from pollution and chemical use to consideration of renewable materials and animal rights. The social sustainability concept covers workers rights including a fair wage and safe working conditions. Social sustainability also includes cultural sustainability, which means that development should be in harmony with people’s culture and values based on each nation’s or individuals’ cultural heritage. This can be a very tricky issue to solve if the values of the manufacturing country don’t align with western ideas of human rights. Examples start from the length of the workday to the right to create unions. Economic sustainability means that workplaces continue and people can count on their living in the future. In

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times of economic crisis this sets extra challenges for sustainable design, because it often requires investments, even though many could make overall savings later by decreased manufacturing costs. An example of this kind of investment can be investment in better fabric cutting software which can save material by reducing waste in the cutting stage. These four sustainability concepts should be the base of any successful product design and they are very much linked to each other. As an example the textile industry is strongly based on the use of chemicals safe chemical use is a benefit for all, environment, workers and end users.

design has the secret component that makes us take pride in our clothes. According to Norman (Norman, 2004 - Emotional Design: Why we love (or hate) everyday things. Basic Books, London) any design is a combination of visceral, behavioural and reflective design, meaning aesthetics and usability of design as well as how design makes us feel and reflects our self-image, but beyond the design is the personal component of attachment that Norman claims no designer or manufacturer can provide. Although, there are many attempts to do so. User centred design is based on the principle that the intended use and end user are taken into account in the design of products. This leans on the idea that if products are fit for their purpose and function well they will be kept longer than products that don’t do their job. For instance in extreme sport all the details of outdoor clothing must be right so that they don’t disturb the action – if the hood peak is in the line of sight or the pockets are placed wrongly, the user will take the first opportunity to replace the garment if they don’t have an emotional relationship with the product. The flaws can be forgiven if the product was used in a special situation, for example an outdoor jacket was worn when making a first mountain ascent. In contradiction to this there are plenty of examples of visceral design, where the beauty of the product can forgive all the hiccups in usability. High heel shoes are an everyday example of design where aesthetics out-rule practicality. A further attempt to make an emotional connection with a product is to implement collaborative design practices into the product innovation process. The involvement in the product design process gives a feeling of ownership. Anja-Lisa Hirscher in 2013 researched this by holding workshops with half made products (http://moa.aalto.fi/2013/en/masters/ anja-lisa-hirscher/). She was interested to see if it changed emotional attachment to the clothing if the person was involved in making it. She found out that the majority of people value the clothing they have made themselves more compared to a purely bought one. A commercial example is PUMA Factory, where a customer can customise and order their own shoes. Another existing example is French trail running gear company Raidlight. Raidlight has designed a completely new model of trail running shoes in collaboration with users. They also have a very cutting-edge web portal where users can propose their own ideas and vote for good ones. Their showroom is also experiential, users can borrow complete trail running kit, go for a run and give constructive feedback. Raidlight’s marketing manager, Julien Thiery sees their way of collaborating with users as very fruitful and Raidlight has even acknowledged all the shoe design co-developers by printing their names on the shoe insoles.

‘another issue is fast fashion’

Enter Sustainable Design Even though product manufacturing has no doubt a big impact on sustainability, the end user holds a huge responsibility to the overall sustainability of a product. This is a point when sustainable design jumps in. A designer can make several decisions to expand the life cycle of a product by good design choices. It can be claimed that sustainable design and good product design go hand in hand. Material choices obviously play an important role in the longevity of a product. Materials should be suitable for the intended use and ease of taking care of them should be made possible. Still, we can find textile products where any type of cleaning is not accepted. This type of care label may have been made in the hope of avoiding responsibility if mixed materials are washed wrongly, but it leads to disposable products. This is an extreme example, but in even more subtle examples, materials of different resistance of use and care are combined with the result of short life products. And then we have a completely different issue – fast fashion, products that are not even aimed to last very long. Sometimes the quality can be so poor that they cannot be recycled or reused and don’t even have a second use, something which is creating problems for traditional recycling markets. So, arguably quality is one of the key sustainable product design principles. Switching away from fast fashion requires a mind change in the values of consumers. There has been a decrease in the value. At the beginning of the 20th Century, clothes were so valuable that they were often listed in people’s wills and inherited by the next generation. Even in the fifties, holes in socks were darned every night in Finland. Even though it is very rare that people would sew holes in socks today, there are lots of signals that there is a change of thinking. The slow movement has reached clothing and created the relatively new term ‘slow fashion’. The fundamental idea of slow fashion is to create timeless, long lasting, quality products, that their owner will cherish and is willing to take care of. Here is where emotional design steps in. Norman claims that emotional

‘everybody can become a designer’

‘the trip needs to begin despite the foggy finish line’

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Understanding sustaonable design

Raidlight insoles carry the names of all of the shoe design co-developers.

Halti’s jacket wind flap carries information that would normally appear on a label, therefore ensuring that information is not lost when a label is cut out. Packing and information material are, in general, close to sustainable product design. Reducing packing is a great example of saving in manufacturing costs as well. There is though a good possibility to further develop these improvements. Many clothes are still packed individually into plastic for transport and even though catalogues along with hang tags can be recycled, they are an unnecessary waste of material that could be avoided. A completely new direction for sustainable design will be 3D printing of clothes and textiles. Commercial clothing 3D printers could change all our concepts of traditional design and manufacture. If 3D printers succeed to efficiently produce clothing in the home environment, everybody can become a designer. One of the wildest future scenarios is presented by Joshua Harris (Industrial Interaction Design. Retrieved September 4, 2013, from http://jhharris.prosite.com/104313/ 973830/work/design-for-2050-clothing-printer), when he proposes that traditional brands could potentially only supply the material and design and the customer can then print the clothes at home.

After Life

And finally...

Another way of looking at sustainable design solutions is to consider the after life, or second life of the product. Are there ways of adjusting the product and does it have repairable components, the more changes it has to extend its life cycle the better. One attempt to offer adjustable, personal fitting products is unfinished leg hems on Swedish company Fjällräven’s trekking trousers. If leg bottoms have elastication and zippers they are difficult to adjust if the correct leg length is not available. Another example which supports the reuse of the product is to print the technical details in a way that ensures they remain with the product; Finnish company Halti printed all necessary information in their jackets’ wind flaps. Hang tags are rarely saved, but print will last for the second or third user to inform about the product.

As a conclusion, sustainable design needs to consider a wide variety of aspects that have countless variables and the goal posts do keep moving. New innovations appear in materials and production all the time. Some times new ideas turn out to have more down sides than good properties, but in certainty the trip needs to begin despite the foggy finish line. One certainty for sustainable design is to avoid green washing. Giving irrelevant, misleading, unproven or simply false promises does not lead anywhere, apart from maybe to a confused and untrusting consumer. Although sustainable design and manufacture is currently mainly a matter for the conscience of the industry, consumers are rapidly becoming more aware and then sustainable design changes to be a business advantage.

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Speedo Jammer Water 2 Shorts

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Speedo is a brand which carries innovation as an integral part of its DNA, it is known for pioneering every major swimwear technology since 1928, when the Speedo Racerback became the world’s first non-wool swimsuit. Speedo Innovation Lab Manager, Rachel Webley, takes us through the innovation process and how it works for Speedo. rom athletes including Arne Borg back then, right up to current sporting heroes like the phenomenal Michael Phelps, Speedo has remained the first choice of swimwear for elite athletes. It continues to lead the way in swimwear technology with the Speedo Fastskin Racing System, a comprehensive collection of caps, goggles and suits for competitive swimmers. At the forefront of Speedo’s mission to produce world leading swimwear is Aqulalab, our research and development facility based at the international headquarters in Nottingham, UK. The Aqualab team includes sports engineers, garment engineers, materials experts, and product developers offering a wealth of experience within research and development in various fields. Our combined experience helps to shape each and every product Speedo creates and we draw inspiration from a huge number of fields to help inform our pioneering swimwear innovations.

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both internally and with our industry partners. Our in house Aqualab team is supplemented by a host of partners and collaborators, all experts in their field, whom we work with in the research, development and testing stages. These include, but are not limited to, world class athletes, coaches, sports scientists, global hydrodynamics experts, optical engineers and even sports psychologists.

Research and innovation Through our shared knowledgebase, we are able to access insight which helps us move into the creative element of the development process. Brainstorming with cross functional teams generates many ideas, which helps us to evaluate and test. This can be a mixture of gut instinct, informed by our own expertise within the swimwear business, as well as consumer insight and expert opinion. Once ideas are validated, prototypes are designed, developed and initially physically tested in the water. A vital part of this testing process is working with a variety of swimmers of different types and abilities from all over the

for the FUTURE But where does the innovation process begin?

Scoping To start the cycle, there has to be a compass, a clear vision of what the product needs to be, and the consumer we are targeting. Insights and trends are extremely important to us in defining a clear vision of consumer’s needs, both existing and emerging, through tracking trends in a number of key areas. We use trends to create meaningful scenarios of the future, whilst understanding their influence and impact on the consumer’s life. It’s also essential for us to consider the patent landscape, and to be acutely aware of what’s happening in the marketplace, both right now and in the immediate future. This helps us to identify partners within the industry, who we can consult and potentially collaborate with. Of course all activity and considerations must align with and deliver our brand strategy and positioning. To reach this point, there are a number of building blocks for each of our different product areas, each with a clear vision of what we want the product to achieve. Central to all this is true team work and a shared passion,

Fastskin3 Elite goggle and cap pressure

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Fastskin3 surface streamlines coloured by Velocity

Fastskin3 Super Elite goggle and cap streamlines

C e world in order to gauge feedback and opinion. As the world’s leading swimwear brand, Speedo has a large number of loyal consumers, who demand leading edge swimwear, as well as the familiarity of products that they know and trust. With that in mind, our goal is to produce swimwear which pushes the boundaries of technology, whilst remaining true to what consumers expect and have come to rely on from our brand. By involving them as a pivotal part of the testing process, we are better able to meet their needs.

Concept and development With the strongest ideas taken forward into the next stage of the process, we dive deep into more research to broaden out the concepts, replacing estimates with precise calculations of the returns that products will offer. At this stage, accuracy, facts, figures and standards are key, and form the parameters of what we can engineer against. It’s an opportunity to explore and experiment on variations, to build and rebuild and, crucially to balance science alongside opinion and perception. This, in many respects, can be one of the biggest challenges faced by departments within Speedo. Visualising the end result gives clear options to build a business case against, and to identify the commercial viability of a given product. Our job within Aqualab is to bring the strongest ideas to life in the form of visual concepts and prototypes, before evaluating and testing with our consumers. This stage of the process aims to refine products ahead of manufacturing, in readiness for the commercial journey ahead, helping to identify how we can maximise the return on our investment in the product.

Constant process It’s worth saying that in all of this, nothing runs consecutively. Innovation is a constant cycle with no real beginning or end, particularly at a research and development driven company such as Speedo, where we pride ourselves on being at the forefront of new technology. For every brand new idea in development, there is always another being worked, re-worked and engineered, helping us to remain as the leader in our field – multi-tasking is key! There are a number of other factors along the way which affect the research and development process. Take, for example, our racing products, as used by the world’s best swimmers, including the likes of Ryan Lochte (11-time Olympic medallist). Within the competitive swimwear and equipment category, we are subject to a number of rules and regulations imposed by FINA (Federation Internationale de Natation), the world governing body of competitive swimming, which results in an emphasis on continuing to push boundaries whilst remaining within the stringent rules which govern what can and cannot be worn in competition, preserving the integrity of the sport.

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It’s a complex and challenging task, but represents a fascinating opportunity to work with experts in myriad different fields, all working together to create a product which meets the exacting standards of the world’s greatest swimmers.

The future of innovation Innovation never ends. Long term research is thriving, as well as short term focus. At Speedo, we never cease in our commitment to pioneer the next big swimming technologies. I genuinely relish this forward thinking, and the sense of creativity that allows and actively encourages my mind to consider future scenarios. However, this sense of working on a ‘blank canvas’ is always juxtaposed against a strong sense of reality from my past industry experience of the ‘nuts and bolts’ of what is required to actually deliver against a strict commercial brief. It’s my view that the next 10 years will be our next industrial revolution. It’s the best time to be in textiles and manufacturing. It’s exhilarating, formative and challenging. Our business is always changing, our consumer is always evolving and technology is rapidly advancing, almost on a daily basis. It all adds up to a perfect combination to collectively make a meaningful difference in what we do. Rachel Webley will be speaking at Managing Innovation in Textiles - see page 30 for more information


Textiles 3-2013 TI NEWS_Layout 1 19/09/2013 11:29 Page 25

TI News Around the world with The Textile Institute Special Interest Groups – SIG’s particular issue or on a range of issues The Textile Institute has members that affect their industry and the in all sectors of textiles, clothing and international community but are footwear based industries worldwide. distinct from pressure groups which Special Interest Groups provide a focus are normally set up for a specific for members in different sectors, and political aim. many of them organise Special ps conferences, study tours u Today and other events in their Interest Gro At present the Institute has area of specialism. the following active SIG’s: Design; Fashion and International Technology; Teachers; SIG’s are international Technical Textiles; Textiles; in their essence Smart Wearables; and representing key industry Sustainability. sectors whereas Sections of All SIG’s can be found on the Institute represent the TI website and some members by region on local host their own website. industry issues and http://www.textileinstitute.org/SIGS.asp community matters. Both Sections and SIG’s can if they so wish work together and pool their resources Design for mutual benefit. The SIG is intended to bring together all members involved or Committees and Working Groups interested in design related activities Both Corporate and Individual across the globe. The group aims to Members from around the world make promote interest in design, develop up a SIG to form a committee or networking, provide a forum for debate working group depending on how the and form links between education and SIG wishes to be viewed and industry. represented. Members that sign up to Prof Clare Johnston, Chair be part of a SIG make themselves available for meetings and activities Fashion and Technology which take place around the world. We The SIG represents and supports do not wish for location to be a barrier members involved with the worldwide to participation. clothing and apparel (now includes leather) industries to raise the profile of Industry Collaboration and fashion and technology within The Partnerships Textile Institute (TI) itself; recruit new The Institute promotes and supports members from this sector, and collaboration worldwide within key encourage reinstatement of previous specialism’s to develop opportunities members; to disseminate information for innovation and growth in our and provide a forum for debate. The industry and believes that this can be group is committed to the provision of and is done via these groups. Post Professional Development (PPD) SIG’s through their aims bring unity programs of study for national and throughout the textile industry international institutions. worldwide. They can do this by helping Jennifer Bougourd CText FTI, Chair to advance a specific area of creativity or innovation through information, Smart Wearables knowledge or learning sharing. SIG’s The SIG aims to promote more are to be a place where members responsible and sustainable design cooperate to affect or to produce processes in bringing smart textiles solutions within their particular and wearable electronics to a wider specialism. SIG’s are a social group and more inclusive market. whose members carry out relevant and It promotes a collaborative design associated activity to achieve their approach to research and development common aims. and knowledge transfer through SIG’s may at times advocate on a publication, participation in both trade e related rs of textil in all secto ps provide members Institute has . Special Interest Groumany of them The Textile worldwide sectors, and other industries in different social events and members y tours, a focus for ct area. rences, stud organise confeactivities in their subje

gy Technolo Fashion & & Technology The Fashion & ded to the apparel SIG is inten SIG serves The Design bers tries and was her all mem footwear indus e bring toget sted in, ded to includ intere exten or tly in recen involved sts across with intere d activities bers relate n mem desig to ssing and This SIG aims in leather proce the world. nt activities st in design, products. Curre promote intere de postprovi for g, ort orkin include supp develop netw ent and form al developm debate and profession ar a forum for and n of a semin een education the organisatio links betw

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it SIG believes The Schools tain rtant to main to be impo in of textiles the teaching realise schools and secondary to for teachers it is difficult date with the keep up to ents cal developm technologi place in the currently taking and textiles. n fashio world of nued offer conti We aim to help teachers and support to gap between bridge the and industry. academia

and academic events, and through design-led guidance to inform the development of textile and clothing ‘products' that are appropriate for the wearer's lifestyle needs and culture. Jane McCann CText FTI, Chair

Sustainability The SIG aims to bring awareness of sustainability to a wider audience. This will be carried out by linking education and industry, the dissemination of information and providing a forum for debate. The SIG has recently launched a new website aimed at being an information source for those wishing to understand more about sustainability. The website, www.sustainable textiles.org went live at the end of July and will continue to develop over the next few months. The site will contain information about the work of the SIG, past and future events, as well as external sources of further information. The SIG is also pleased to receive your feedback and ideas regarding things you would like to see on the site. Vanessa Knowles, Chair

Tailoring Plan’s are at an advanced stage to establish a SIG in tailoring by bringing together the expertise of members from the Federation of Clothing Designers and Executives and inviting international experts from this sector to join the group. One of the aims of the SIG will be to make an annual student award to support the study of tailoring.

Teachers The SIG has been formed for teachers of textiles working in secondary schools (age bracket of students 11 to 18 years) and aims to support and promote the teaching of textiles, in the widest sense of the term, in secondary schools, 6th form colleges and teacher training institutes worldwide. Rose Sinclair CText ATI, Chair textiles 25


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Technical Textiles

Textiles

The SIG has been revitalised to represent and support members involved with the technical textiles industries. Reverend Brian McCarthy CText FTI,

The SIG aims to bring awareness of developing textiles with the main task being to represent and support members involved in key industry areas, provide links between education and industry and to work with the other SIG’s, Sections and partners to represent the Institute. They intend to

Chair

SIG Guidelines SIG guidelines were set up in 2006 to assist members who wish to set up such groups. The guidelines do not and can not cover every eventuality but they have been set and approved by Council the governing body of the Institute to support the groups in their endeavours. Any or all of the aims or objects listed on the TI SIG page may be undertaken in conjunction with appropriate external bodies for mutual co-operation. 1. The aims and objectives of The Textile Institute SIG shall be in the sector concerned: 2. Only members of the Institute shall be members of the SIG. A member may belong to more than one SIG. 3. Powers will not be conferred on any SIG to grant Diplomas. Such powers shall remain exclusively vested in the Council of the Institute. 4. A SIG will not be empowered to act

Next Generation of Textile Talent SIG’s are an ideal hub to attract the next generation of textile, clothing and footwear experts whether through participation within the group or the work of the SIG itself to support new talent. It is necessary for SIG’s to engage industry leaders, key employers, brands and academic institutions to participate or support the group to nurture and invest in our future. We are particularly interested in participation from students and graduates, to industry leaders, all are welcome. Future Previous SIG’s have included Apparel, Fibre Science, Floorcoverings, Dyeing & Finishing, Interior Design, Knitting, Marketing, Narrow Fabrics, Quality, Weaving and Yarns. The Institute hopes to revitalise a number of SIG’s in 2014 but needs to carry out research to establish what the industry needs and wants and we hope that members will help with this exercise. All recent developments of TI benefits and services to membership 26 textiles

5.

6. 7.

8.

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in the name of the Institute or negotiate or act in any matter of public importance affecting the interests of members of the Institute, unless specifically authorised by Council. The Guidelines for SIG's and future amendments to the Guidelines will be approved by Council. All SIG’s must have a set of objectives approved by Council. SIG’s shall have no responsibility for collecting subscriptions to the Institute. Council will welcome applications for the formation of SIG’s in any Sector relating to textiles, clothing and footwear and in any region. Before a SIG can be formed, Council will need to be satisfied that the initial interest will be sufficient to justify the establishment of the SIG. Applications for authority to form new SIG’s shall be made to Council

packages have been initiated based on research drawn from both the Membership and Corporate Surveys carried out in recent years. If you are interested in submitting a proposal for a new SIG or simply wish to receive advice on how to get involved in a group, receive information, or take part in activities and events then please take part in our SIG Survey which will be emailed out to members at the beginning of October 2013 and will really help the Institute tailor the SIG’s to the needs of industry and benefit of members. What we want to know! If you would like to register your interest in SIG activity and participation immediately with the Institute please contact Shama Begum at sbegum@textileinst.org.uk and provide details so that this can be recorded for future development of SIG’s in 2014. If you answer yes to any of the questions below then the Membership Department would really like to hear from you.

encourage like minded textile professionals worldwide to work together for the benefit of the industry, create a knowledge bank to help the existing industry benchmark their own activity and to help future entrepreneurs who wish to join in this industry. Timir Roy CText ATI, Chair

in writing. 10. SIG’s must report to Council. 11. SIG’s must follow The Textile Institute SIG Guidelines and not act in conflict with the Royal Charter and Byelaws of the Institute. 12. SIG’s may utilise the logo of The Textile Institute. 13. SIG’s will have access to member contact details. 14. SIG’s must be sufficient in resources and self funded, requiring minimum staff and other Textile Institute resources unless otherwise approved. 15. SIG’s must not act in a manner that would bring The Textile Institute name into disrepute and suffer any financial loss or liability. 16. SIG’s must provide on an annual basis to The Textile Institute Headquarters a report of all SIG activities.

• Would you like to network with members from your industry? • Would you attend meetings either in person or Skype? • Would you attend local/international events and activities? • Would you be willing to write, edit or moderate articles/information for online media? • Would you like to be involved in a SIG? A useful link to network with your fellow members http://www.textileinstitute.org/members onlylogin.asp To access this area, you will need a User ID and a Password. The User ID is your TI membership number. The password is ‘welcome’. If you do not know your membership number, please email the Institute and it will be provided. Using your TI membership number and the password ‘welcome’, you can also access the member’s database. Try searching under ‘Special Interest’ group. Your name should come up as well as others in your industry.


Textiles 3-2013 TI NEWS_Layout 1 19/09/2013 11:29 Page 27

Recent SIG Activity Design Means Business July 2013 The beautiful and historic Durbar Court of the Foreign and Commonwealth Office, London, was the venue for the ‘Design Means Business’ exhibition which took place on 2 July 2013, organised by the Design Special Interest Group (SIG) under the chairmanship of Professor Clare Johnston. Durbar is a Persian term meaning the Shah's noble court or a formal meeting where the Shah held all discussions regarding the state and the grandeur of the venue certainly lived up to its stately significance. The aim of Design Means Business in common with many end of year college and graduate shows is to boost the career prospects of some very talented design graduates but in the case of this exhibition the Institute in addition sets out to raise the profile of design to prominent members of parliament who were invited to attend so that they are better informed of the work of the fashion and textile colleges and their interaction with industry. New designers from all areas of textiles, clothing and footwear were given the opportunity to raise their own and their universities reputation within industry. The objective of the exhibition is to enable executives, designers and technologists from industry and retail to understand what the colleges can do and are doing to promote design in the

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business environment, providing a way to bridge the gap between education and industry. It is certainly an opportunity to connect with some of the UK’s best new talent. Six graduates from each Corporate Member University or College exhibited at Design Means Business and included Bath Spa University, Central Saint Martins, De Montfort University, Falmouth University, Kingston University, London College of Fashion, Manchester Metropolitan University, Nottingham Trent, Royal College of Art, The University of Manchester, The University of Northampton, the University of The Creative Arts, and University of Huddersfield. The exhibition was opened by Lord Haskel CompTI, a former world president of The Textile Institute, who takes a personal interest in the organisation of this event. With over two hundred guests from industry in attendance it was a very sociable and enjoyable occasion. Pentland Group Plc a major sponsor of the event generously provided the prize for the winning graduate which is a 3 month internship within the Design Pool at the company. The Design Talent team was set up in 2003 at Pentland’s international headquarters to recruit and develop exceptional international talent from all design disciplines for Pentland Brands. They are trained and mentored in Pentland best practice and computer aided design so that they are able to fit straight in to

an international brand from their first day. The programme is designed to harness talent and use it to be an additional resource to work alongside existing brand design teams, providing training and fresh talent. The intern will get the opportunity to work across many of the Pentland brands and so has an exceptional experience. The first prize and internship was awarded to Stephanie Kitchen from Bath Spa University for her exceptional exhibition. Harrison Thom from the University of Creative Arts received a commendation for his work by the judges. In addition to this all students were awarded free student membership of The Textile Institute. Many thanks to the judges Tamara Sivan, Pentland Brands Plc design pool manager; Sue Chorley, Chorley Fish director; Helen Rowe CompTI CText FTI, chairman of The Textile Institute; and Dr Peter Dinsdale CText FTI, world president of The Textile Institute. The Textile Institute would like to thank the sponsors and supporters of this event which include Pentland Group Plc, The Worshipful Company of Clothworkers, Marks and Spencer Plc, M&Co and The Lord Alliance Foundation. Other donations were received from TI Individual Members. As the Institute makes no charge for entry to this important event we are very grateful to our sponsors as without such generosity this event could not take place.

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Photo 1: Durbar Court, Photo 2: Pre event set up, Photo 3: Registration, Photo 4: Guests arriving, Photo 5: Mr B Bohm CText FTI, Photo 6: Guests and students, Photo 7: Judges, Photo 8: Mr H Tillman, Photo 9: left to right, Mr S Rubin CompTI CText FTI, Prof C Johnson, The Lord Haskel CompTI CText ATI, Photo 10: The Lord Haskel CompTI CText ATI, Photo 11: Dr P Dinsdale CText FTI presents special commendation to Harrison Thom, Photo 12: Dr P Dinsdale CText FTI presents to winner Stephanie Kitchen, Photo 13: Mr S Rubin CompTI CText FTI, Photos 14-23: Student designs, Photos 24-28: The students.

Teachers SIG Rose Sinclair chair of the Teachers SIG attended the Westminster Forum in February 2013, her presentation on this day focused on a response to the then draft proposals for the design and technology programme of study in the UK for the New National Curriculum within schools for a September 2014 implementation. In April 2013 the Chair was invited to a roundtable presentation, with other leading practitioners and professional subject bodies to discuss proposals for the new design and technology programme of study, especially where textiles is concerned. The Minister Elizabeth Truss and other UK MP's were present and listened to the wider design community about their concerns regarding the new proposals. October 2012 saw the successful launch of the Teachers Workshops run by the SIG at the Knit and Stitch show at Alexander Palace. The workshops covered many areas from New Tools -No Rules, Fashion Illustration, Digital Design, E-Textiles and Learn to Sew for Haiti which donated the clothing to a charity for those in need following the devastating earthquake in Haiti.

and Conference Centre, Manchester, UK. With guests and presenters from over 13 different countries attending to listen to approximately 30 presenters it was truly an international event. The conference brought together textile scientists, engineers, fibre-yarn-fabric manufacturers, designers, machinery manufacturers and many others engaged in the production of innovative functional textiles. Much networking and social activity took place alongside a BBQ during the evening in the hotel’s terrace and gardens under Manchester summer sun which was enjoyed by all. From Hide to High Street

International Conference: Advances in Functional Textiles The Manchester and Cheshire Section and Technical Textiles SIG in partnership with the Materials KTN, Technical Textiles Group held the International Conference: Advances in Functional Textiles, 25-26 July 2013 at The Chancellors Hotel The Fashion and Technology SIG is organising its second Hide to High Street event in conjunction with TI Corporate Member The University of Northampton following the success of last years event. The seminar was designed to build relationships and exchange ideas between industry and educational practitioners. The programme and presenters for 2013 are illustrated in the Events listings in TI news. 28 textiles


Textiles 3-2013 TI NEWS_Layout 1 19/09/2013 11:29 Page 29

SECTION NEWS • SECTION NEWS • SECTION NEWS • Sri Lanka Section Sri Lanka Event

The Textile Institute Sri Lanka Section lecture on comparison of production techniques in the clothing industry of South Asia and challenges of clothing industry of Pakistan was held on 19 June 2013 at the Martin Trust Hall of the Brandix College of Clothing Technology, Ratmalana, Sri Lanka. There were 130 participants from industry and students from the University of Moratuwa and Brandix College. Mr Paul Collyer a Consultant from the UK visiting Sri Lanka on an invitation from the Sri Lanka Export Development Board delivered the lecture on comparison of production techniques in the clothing industry of South Asia. Mr Collyer explained the different production systems available in the industry and more particularly the lean manufacturing system. He said that lean manufacturing has become a vogue in the industry that most of the factories the world over are trying to implement. He was of the opinion that production systems must be selected according to the order size. He said some who have had huge success in using the progressive bundle unit system have implemented the lean manufacturing

system, flexible manufacturing system etc and now have reverted back to their original method because the new method was not so successful. Therefore, he emphasised that a production system must be carefully selected to suit individual factory needs. Mr Collyer was of the opinion that most South Asian countries are adopting the progressive bundle unit system rather than other production methods. Most of the factories do not have very high efficiencies. Their labour turnover is also significant when compared with the west. Professor Gamini Hathiringe explained the methods of clothing manufacturing in Pakistan. Whatever the method they adopt to make clothing, Pakistan has managed to stay ahead of Sri Lanka in value terms and they have both fabric and people in abundance and it is a highly skilled textile industry of Pakistan. Congratulations to the Sri Lanka Section Chairman Dr Rohana Kuruppu CText FTI FCFI Dr Rohana Kuruppu has been appointed as an adjunct professor in the School of Fashion and Textiles of the RMIT University of Melbourne Australia from 1 July 2013. He teaches fabric technology and textile quality management as part of the Bachelor of Applied Science (textile technology) degree of RMIT. Dr Kuruppu graduated in textile technology from Derby University, UK in 1977 and later obtained an Honours Bachelors degree in Clothing from Manchester Metropolitan University, UK. He pursued studies in postgraduate and was conferred with a Master of Science in Textiles from the

Faculty of Pure and Applied Chemistry of University of Strathclyde, UK in

1982. He was conferred Doctor of Technology (honoris cousa) from the Open University of Sri Lanka and also has obtained the Doctor of Philosophy (PhD) degree from the RMIT University, Melbourne, Australia in 2009. Dr Kuruppu has over 50 publications and presentations and will continue to add to this list. He has published a book titled ‘Facets of the clothing industry of Sri Lanka’. He is one of the members of the editorial board of The Textile Institute journal, Textile Progress. He also has supervised over 200 research based dissertations of Bachelors’ degrees. The Textile Institute recognised his services and has conferred him with two coveted awards The Textile Institute Service Medal in 2010 and The Institute Medal in 2011. Dr Kuruppu started his career in 1971 in a weaving factory and then became an assistant lecturer in textiles at the University of Moratuwa, Sri Lanka during the period of 1978 to 1984. He was a founding director of the Clothing Industry Training Institute in Sri Lanka in 1984. He was appointed CEO of Brandix College of Clothing Technology in 1996 and is the Chairman of The Textile Institute Sri Lanka section.

Global Advertising Sales Agents Wanted textiles is the international membership magazine of The Textile Institute, being mailed to members and subscribers worldwide on a quarterly basis. Each issue includes various aspects of the global textile industry, covering fibres, processes, production, and end uses from geotextiles and interiors to clothing and footwear. textiles covers every sector providing readable, authoritative articles to help extend the reader’s interest and understanding beyond their individual expertise. It offers topical material that updates the standard texts, opens-up new subjects and perspectives, and contributes to professional development.

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We have a number of opportunities for globally based advertising sales agents to generate sales of advertising within the magazine. • • • • •

If you have a proven track record of: Securing advertising sales within the textiles, clothing and footwear industry Following up generated leads • Ensuring copy reaches the editor on time Verbal and written communication skills to a high professional standard Bringing knowledge, interest and contacts from within textile and related industries Building a rapport and long term professional relationship with senior individuals Please email your CV to runsworth@textileinst.org.uk

The role is 100% commission based.

Columbia ’s City of Eternal The Italia Spring n Job China – breaking a luxur y mar ket

2013 No .1

textiles 29


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Events Introduction to Textiles Training Short Course 14, 15, 16 October 2013, Manchester, UK This intensive three day training short course is organised for the benefit of all those who are engaged in the manufacture, research and development, as well as the commercial aspects of textile business. The course will cover fibres, yarns, weaving, warp and weft knitting, nonwoven fabrics, dyeing and finishing and fabric testing and analysis. For programme and booking information please visit: www.textileinstitute.org/EventsPage.asp

Hide to High Street 2 - Value Through the Supply Chain 23 October 2013, Sunley Centre, Northampton, UK Building on the success of last years event the Fashion and Technology SIG and the Institute for Creative Leather Technologies (ICLT) will be hosting their second one day Leather Seminar in October 2013 at the University of Northampton. Speakers will be invited from industry and education and the event will focus on issues related to the Leather Supply Chain. Speakers are confirmed from Andy Bates Leather Studio, Dovecote Abattoir, ECCO Tannery, Modus Europe, Leather Authenticity and World Leather Magazine. For programme and booking information please visit: www.textileinstitute.org/EventsPage.asp#oct23

Seminar for School Teachers in Textiles 2 November 2013, London, UK The Textile Institute believes strongly that learning about textiles is an important part of the school curriculum. Design and marketing of textile products in the UK have always offered rewarding career paths to students with appropriate aptitudes, but now there is increasing evidence that manufacturing in a variety of niche areas is starting to return to the UK and is also offering opportunities to students with the right educational background. To take advantage of new career possibilities students need to be aware of the developments taking place in the applications of new technology and at the same time, be open to new approaches now being explored in the more traditional areas. This seminar, presented by high quality speakers, is one of a series organised by our Teachers Special Interest Group (SIG). The morning session will examine how electronics and textiles can come together in new and exciting ways with talks by Rose Sinclair (chair of the SIG) and David Lussey of Peratech. In the afternoon Julie Sissons of Brighton University will describe creative approaches to pattern cutting, followed by Veronika Kapsali describing the work of Northumbria University’s new research laboratory. All speakers will present the information in such a way that

30 textiles

it can be adapted and used in the classroom in a practical learning environment. The seminar will be held on a Saturday to make it easier for teachers to escape the pressures of the working week, and is located in central London (Oxford Circus), with the co-operation of the London College of Fashion, to make it convenient for travel (and perhaps late shopping)! This a unique occasion to update your appreciation of the future of textiles and apply this knowledge in the classroom. The seminars will be suitable for teachers of GCSE, AS and A Level Textiles Technology and relevant Vocational and Diploma programmes as well as students from BA Education and PGCE courses. For booking information please visit: www.textileinstitute.org/EventsPage.asp#Nov2

Parliamentary Lunch 8 November 2013, London, UK The Textile Institute will be holding the annual Parliamentary Lunch at the House of Lords on Friday, 8 November 2013. The luncheon will be held in the Cholmondeley Room and on the Terrace, hosted by The Lord Haskel CText ATI, a past world president, who kindly enables us to have the use of the venue. The annual lunch has become very popular with both our national and international members. A feature of the event is that after lunch we are usually able to arrange a tour of the Palace of Westminster with the help of guides very knowledgeable of the extraordinary history of the place. Members and their guests from destinations outside London also often find it convenient to enjoy the subsequent weekend as a city break. The lunch is not restricted to members of The Textile Institute. It therefore allows senior executives from both business and education, whether members or not, to network in a unique environment, and perhaps offer hospitality to clients or customers. It is advisable to book places early as numbers are restricted. For booking information please visit: www.textileinstitute.org/EventsPage.asp#Nov8

Managing Innovation in Textiles 2013 21 November 2013, Manchester, UK The TI would like to invite delegates to its forthcoming event Managing Innovation in Textiles 2013. Now in its third year, this one day seminar will aim to discuss the process of innovation in textiles, clothing and footwear from concept all the way through to the consumer/marketplace. Speakers will focus on recent developments in design, technology, manufacturing, market trends, brand strategy, employment and skills and their impact. The seminar will bring together industry professionals who are engaged in innovation across the textiles sector to learn, network and share ideas. Speakers are confirmed from Almax, Bureau Veritas, Camira Fabrics, Speedo International and The Lord Alliance Project. For programme and booking information please visit: www.textileinstitute.org/EventsPage.asp#nov21


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Professional Qualifications Congratulations to the following members who have been awarded qualifications.

Associateship and Chartered Membership (CText ATI)

Fellowship and Chartered Membership (CText FTI)

Mr R Ionele International Garmenting Expert Department Manager Gherzi Textile Organisation Zurich, Switzerland

Miss D M S Dissanayaka Manager, Group Training on Textiles & Apparel Textiles MAS Capital (Pvt) Ltd Colombo, Sri Lanka

Mr N V Haynes Technical Team Leader Manchester Metropolitan University Manchester, UK

Mr R Jamil Executive Director Akij Chamber Dhaka, Bangladesh

Mrs J K Williams Technical Services Manager Manchester Metropolitan University Manchester, UK

Professor Richard Murray Retired, Emeritus Professor Manchester Metropolitan University Manchester, UK

Mrs K L Wilson Senior Fabric Technologist Americana International Ltd Manchester, UK

Publications

Events

Accreditation TI accreditation of a degree or diploma course means that the course has been deemed to satisfy the academic requirements for LTI or ATI. Students who graduate from these courses may therefore apply for their professional qualifications after a shorter period of work experience. Accreditation assessment is undertaken by a panel of experts who examine the course to ensure that it covers the subject area in sufficient detail to provide the appropriate level of specialised and general knowledge required for a TI qualification. Many courses have already been accredited for ATI or LTI at educational institutions around the world.

Newly Accredited Courses Associateship (CText ATI) BA (Hons) Scheme in Fashion & Textiles Hong Kong Polytechnic University

The Fiber Year 2013 – World Survey on Textiles & Nonwovens This 173-page report covers the manmade and natural fibre markets, major upstream feedstock segments as well as nonwovens and unspun end-uses. Furthermore, trade data for major manufacturing and consuming nations are being summarised in country profiles. This textile yearbook is now the 13th edition thanks to the support of the Lenzing Group. All market data, however, is the result of the independent research by The Fiber Year GmbH. Thus, statements and conclusions in the report do not necessarily reflect the assessment of the Lenzing Group. The target of this report is to deliver an objective survey on the world fibre industry and latest trends. Available on The Textile Institute bookstore: http://www.textileinstitutebooks.com/Mer chant2/merchant.mv Members receive a 20% discount.

Texprint reveals the winners of this year’s four special prizes for textile design excellence Texprint selects and mentors the best new textile design talent to graduate from British art schools and universities each year. From over 200 applicants put forward by their tutors, industry professionals handpick 24 exciting new talents to take part in the programme. Gathering in July in London, the new designers presented their work to the special prize judging panel.

Royal College of Art graduate Cherica Haye wins the Texprint Pattern Award.

Kasuza Takamura, a Chelsea College of Art & Design graduate, wins the Texprint Body Award.

Chelsea College of Art & Design graduate Ffion Griffith is winner of the Texprint Space Award.

Taslima Sultana, who trained at Central St Martins, takes the Texprint Colour Award. textiles 31


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Approved Courses

Professional Qualifications

The approved course scheme was launched in 2012 for programmes seeking Textile Institute validation, without academic credit and later in the year the scheme will be expanded to include credit which will lead to professional qualifications. Approval is aimed at providers of short courses, e-learning and in house training who wish to have the TI stamp of approval against their courses. The approved status will last for twelve months. For further details, contact Rebecca Unsworth: runsworth@textileinst.org.uk

Textile Institute professional qualifications are for all members of the industry and not just those with a background in textile technology. We have qualified members from all areas including clothing, design, teaching, footwear, marketing, media, art, historical experts, wet processing, chemistry, smart textiles the list is endless. The professional affairs team is always there to support you through the application process, please contact Rebecca Unsworth runsworth@textileinst.org or Emma Scott escott@textileinst.org.uk

textiles On-line textiles, the quarterly magazine of The Textile Institute is now available as a digital publication. This new format will allow instant access for members and subscribers and will mean that overseas readers who have to wait a number of weeks for their printed publication to arrive will now have immediate access as soon as it is published. Contact Emma Scott for details of how to subscribe: escott@textileinst.org.uk

TT&D On-line The digital version of Textile Terms and Definitions is now available on-line. Portable, continuously updated, yet still compiled by a panel of global experts, this dynamic new format retains the essence of the print version as the definitive and authoritative work but by publishing on-line the text can be expanded, new subject areas included and terms added as they happen.

New subject areas to be launched soon include: smart, sustainability, nano and leather. There are two subscription packages available: 12 months – GBP£50 60 months – GBP£125 Members of The Textile Institute receive a 20% discount on this and all other publications. To subscribe please visit www.ttandd.org

The magazine is available: for members www.textileinstitute.org/membersonlylogin.asp for subscribers www.textileinstitute.org/TextilesMagSubscribersLogin.asp 32 textiles


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textiles

Diary Dates SEPTEMBER 25-27 25-28

2013/14

The events highlighted are Textile Institute events or those supported by the Institute.

Heimtextil Russia 5th International Conference on Advanced Design

Moscow, Russia Valencia, Spain

Fashion Impossible – ASBCI industry conference TEXMED Tunisia JEC America 2013 Closing the Loop International Textile & Clothing Equipment Exhibition Techtexil India Lagos Fashion Lineapelle Texbridge Tokyo Fashion Wear Expo FILO - International Yarn Exhibition Helsinki Fashion Fair Introduction to Textiles, Short Training Course Next steps for the British fashion industry Taipei in Style Taipei Innovative Textile Application Show European Outdoor Summit The Trade Fair for Technical Textiles Baltic Textile & Leather Intertextile 1st Asia Pacific Nonwovens Symposium Filtech 2013 IFAI Specialty Fabrics Expo 2013 2013 SGIA Expo Nonwoven Conference & Exhibition Hide to High Street 2 – Value through the supply chain Planet Textiles 2013 Conference 3rd Jakarta International Yarn & Fabric Show Technical Textiles Present and Future Smart Fabric Europe

Leeds, UK Tunis, Tunisia Boston, USA Scherpenzeel, Netherlands Tunis, Tunisia Mumbai, India Lagos, Nigeria Bologna, Italy Istanbul, Turkey Tokyo, Japan Milano, Italy Helsinki, Finland Manchester, UK London, UK Taipei, Taiwan Taipei, Taiwan Stockholm, Sweden Lodz, Poland Vilnius, Lithuania Shanghai, China Shanghai, China Wiesbaden, Germany Orlando, USA Orlando, USA Shanghai, China Northampton, UK Shanghai, China Jakarta, Indonesia Iasi, Romania Barcelona, Spain

Seminar for School Teachers in Textiles SDC Childrenswear Seminar Domotex Middle East International Exhibition for Apparel Fabric & Accessories Textile Institute Parliamentary Lunch Textile Exchange Sustainability Conference Lineapelle Asia China Clothing & Textiles Expo Managing Innovation in Textiles 2013 Texworld USA ASBCI Annual Grand Ball 2013

London, UK Leicester, UK Istanbul, Turkey Guangzhou, China London, UK Istanbul, Turkey Guangzhou, China Melbourne, Australia Manchester, UK New York, USA Manchester, UK

Pitti Imagine Uomo Heimtextil Frankfurt Domotex Couromoda Ethical Fashion Show Colombiatex de las Americas Première Vision-Brazil Outdoor Retailer ISPO

Florence, Italy Frankfurt, Germany Hannover, Germany São Paulo, Brazil Berlin, Germany Medellin, Colombia São Paula, Brazil Salt Lake City, USA Munich, Germany

OCTOBER 01 02-04 02-04 02-04 02-04 03-05 08-10 08-10 09-11 09-11 09-10 11-13 14-16 15 15-17 15-17 16-18 17-18 17-19 21-24 22 22-24 23-25 23-25 23-25 23 23 24-26 25-26 29-31

NOVEMBER 02 06 07-10 08-10 08 11-13 13-14 13-15 21 21-23 23

JANUARY 2014 07-10 08-11 11-14 13-16 14-16 21-23 22-23 22-25 26-29

Whilst every care is taken in compiling this calendar, no responsibility can be taken by the publisher for any of the information listed. Please ensure that you check details with the organisers before making any plans to travel. If you are organising an event that you would like to have appear please contact The Textile Institute with details. This calendar is a list of key events it is compiled from the International Textile Calendar, which contains a more complete listing, published online by The Textile Institute. The ITC includes further information and contact details, it is available free to members of the Institute.


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A direct path to advancing your career

Advance your career prospects with a Textile Institute qualification; a global mark of industry excellence.

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The Textile Institute

International Headquarters 1st Floor St James’ Buildings St James’ Buildings 79 Oxford Street 7 Manchester M1 6FQ UK UK T: +44 (0)161 237 1188 F: +44 (0)161 236 1991 E: tiihq@textileinst.org.uk www.textileinstitute.org

Textile Institute qualifications enable people with all kinds of career backgrounds in textiles, clothing and footwear to make the most of their chosen profession. They provide the opportunity to demonstrate learning, and show applied valuable knowledge and skills in the workplace.


Textiles 3 2013